Symbols Of Life Quotes

To be rejected by someone doesn't mean you should also reject yourself or that you should think of yourself as a lesser person. It doesn't mean that nobody will ever love you anymore. Remember that only ONE person has rejected you at the moment, and it only hurt so much because to you, that person's opinion symbolized the opinion of the whole world, of God.

The money you make is a symbol of the value you create.

We are so lonely in life that we must ask ourselves if the loneliness of dying is not a symbol of our human existence.

Who knows how to make love stay? 1. Tell love you are going to Junior's Deli on Flatbush Avenue in Brooklyn to pick up a cheesecake, and if loves stays, it can have half. It will stay. 2. Tell love you want a momento of it and obtain a lock of its hair. Burn the hair in a dime-store incense burner with yin/yang symbols on three sides. Face southwest. Talk fast over the burning hair in a convincingly exotic language. Remove the ashes of the burnt hair and use them to paint a moustache on your face. Find love. Tell it you are someone new. It will stay. 3. Wake love up in the middle of the night. Tell it the world is on fire. Dash to the bedroom window and pee out of it. Casually return to bed and assure love that everything is going to be all right. Fall asleep. Love will be there in the morning.

Relationships in life don't really end, even if you never see the person again. Every person you've been close to lives on somewhere inside you. Your past lovers, your parents, your friends, people both alive and dead (symbolically or literally)--all of them evoke memories, conscious or not.

The paradox of volcanoes was that they were symbols of destruction but also life. Once the lava slows and cools, it solidifies and then breaks down over time to become soil - rich, fertile soil. She wasn't a black hole, she decided. She was a volcano. And like a volcano she couldn't run away from herself. She'd have to stay there and tend to that wasteland. She could plant a forest inside herself.

Occasionally in life there are those moments of unutterable fulfillment which cannot be completely explained by those symbols called words. Their meanings can only be articulated by the inaudible language of the heart.

People leave imprints on our lives, shaping who we become in much the same way that a symbol is pressed into the page of a book to tell you who it comes from. Dogs, however, leave paw prints on our lives and our souls, which are as unique as fingerprints in every way.

Life is a battleground. It always has been, and always will be; and if it were not so, existence would come to an end.

It is not wise to find symbols in everything that one sees. It makes life too full of terrors.

Every transformation demands as its precondition "the ending of a world"-the collapse of an old philosophy of life.

I hated the mountains and the hills, the rivers and the rain. I hated the sunsets of whatever colour, I hated its beauty and its magic and the secret I would never know. I hated its indifference and the cruelty which was part of its loveliness. Above all I hated her. For she belonged to the magic and the loveliness. She had left me thirsty and all my life would be thirst and longing for what I had lost before I found it.

It is easy to see things in retrospect. But I was ignorant then of everything but my own happiness, and I don’t know what else to say except that life itself seemed very magical in those days: a web of symbol, coincidence, premonition, omen. Everything, somehow, fit together; some sly and benevolent Providence was revealing itself by degrees and I felt myself trembling on the brink of a fabulous discovery, as though any morning it was all going to come together–my future, my past, the whole of my life–and I was going to sit up in bed like a thunderbolt and say oh! oh! oh!

In the east," she says after a time, her gaze still downcast, "there is a tradition known as kintsukuroi. It is the practice of mending broken ceramic pottery using lacquer dusted with gold and silver and other precious metals. It is meant to symbolize that things can be more beautiful for having been broken." "Why are you telling me this?" I ask. At last she looks at me. Her irises are polished obsidian in the moonlight. "Because I want you to know," she says, "that there is life after survival.

Stars also symbolize the cycle of life, solitude and gravity. They glow in the dark energy that’s the majority of space, and remind us that even in the pitch black, there’s always something that can shine.

Only those are happy who never think or, rather, who only think about life's bare necessities, and to think about such things means not to think at all. True thinking resembles a demon who muddies the spring of life or a sickness which corrupts its roots. To think all the time, to raise questions, to doubt your own destiny, to feel the weariness of living, to be worn out to the point of exhaustion by thoughts and life, to leave behind you, as symbols of your life's drama, a trail of smoke and blood - all this means you are so unhappy that reflection and thinking appear as a curse causing a violent revulsion in you.

Some people like living in black and white worlds. Let them stay there. Appreciate all the colors you see in your world though.

After all Death is a Symbol that there was Life.

A book is a physical object in a world of physical objects. It is a set of dead symbols. And then the right reader comes along, and the words—or rather the poetry behind the words, for the words themselves are mere symbols—spring to life, and we have a resurrection of the word.

The time is a critical one, for it marks the beginning of the second half of life, when a metanoia, a mental transformation, not infrequently occurs. (on being 36 yrs old)

The sad truth is that man's real life consists of a complex of inexorable opposites—day and night, birth and death, happiness and misery, good and evil. We are not even sure that one will prevail against the other, that good will overcome evil, or joy defeat pain. Life is a battleground. It always has been and always will be; and if it were not so, existence would come to an end.

Anyone else feel like that? Like your life's a big act. Like you're trying to be a man when you're just a scared kid, trying to keep under control when you really want to scream, cry, maybe hit someone. Ever feel like you're breathing underwater, and you have to stop because you're gulping in too much fluid?

I don't know whether you can look at your past and find, woven like the hidden symbols on a treasure map, the path that will point to your final destination.

There is a thinking in primordial images, in symbols which are older than the historical man, which are inborn in him from the earliest times, eternally living, outlasting all generations, still make up the groundwork of the human psyche. It is only possible to live the fullest life when we are in harmony with these symbols; wisdom is a return to them.

Stone and sea are deep in life Two unalterable symbols of the world Permanence at rest And permanence in motion Participants in the power that remains

Then Jesus changed the situation. When he paid for our sins on the cross, the veil in the temple that symbolized our separation from God was split from top to bottom, indicating that direct access to God was once again available.

Whatever is deeply, essentially female--the life in a woman's expression, the feel of her flesh, the shape of her breasts, the transformations after childbirth of her skin--is being reclassified as ugly, and ugliness as disease. These qualities are about an intensification of female power, which explains why they are being recast as a diminution of power. At least a third of a woman's life is marked with aging; about a third of her body is made of fat. Both symbols are being transformed into operable condition--so that women will only feel healthy if we are two thirds of the women we could be. How can an "ideal" be about women if it is defined as how much of a female sexual characteristic does not exist on the woman's body, and how much of a female life does not show on her face?

That’s what i love about poetry. The more abstract, the better. The stuff were your not sure what the poets talking about. You may have an idea, but you cant be sure. Not a hundred percent. Each word, specifically chosen, could have a million different meanings. Is it a stand-in ―a symbol for another idea? Does it fit into a larger, more hidden, metaphor? ...I hated poetry until someone showed me how to appreciate it. He told me to see poetry as a puzzle. Its up to the reader to decipher the code, or the words, based on everything they know about life and emotions.

We believe that we invent symbols. The truth is that they invent us; we are their creatures, shaped by their hard, defining edges. When soldiers take their oath they are given a coin, an asimi stamped with the profile of the Autarch. Their acceptance of that coin is their acceptance of the special duties and burdens of military life—they are soldiers from that moment, though they may know nothing of the management of arms. I did not know that then, but it is a profound mistake to believe that we must know of such things to be influenced by them, and in fact to believe so is to believe in the most debased and superstitious kind of magic. The would-be sorcerer alone has faith in the efficacy of pure knowledge; rational people know that things act of themselves or not at all.

We do not know whether Hitler is going to found a new Islam. He is already on the way; he is like Mohammad. The emotion in Germany is Islamic; warlike and Islamic. They are all drunk with wild god. That can be the historic future.

It is not a person or situation that affects your life; it is the meaning you give to that person or situation, which influences your emotions and actions. Your choice is to change the meaning you gave it or to change your response, in order to create the outcome you want.

Another dream. Another long-distance call on my phantom party line. No wonder i had steadfastly refused to have dreams for most of my life. So stupid; such pointless, obvious symbols. Totally uncontrollable anxiety soup, hateful, blatant nonsense.

i am a little church(no great cathedral) far from the splendor and squalor of hurrying cities --i do not worry if briefer days grow briefest, i am not sorry when sun and rain make april my life is the life of the reaper and the sower; my prayers are prayers of earth's own clumsily striving (finding and losing and laughing and crying)children whose any sadness or joy is my grief or my gladness around me surges a miracle of unceasing birth and glory and death and resurrection: over my sleeping self float flaming symbols of hope,and i wake to a perfect patience of mountains i am a little church(far from the frantic world with its rapture and anguish)at peace with nature --i do not worry if longer nights grow longest; i am not sorry when silence becomes singing winter by spring,i lift my diminutive spire to merciful Him Whose only now is forever: standing erect in the deathless truth of His presence (welcoming humbly His light and proudly His darkness)

But I see in the clothes a symbol of continuing life. And proof that I still want to be myself. If I must drool, I may as well drool on cashmere.

What if it becomes less about how we look and more about how much we care? What if it becomes less about how much money we earn and more about how much we share our good fortune? Imagine a world where who we are in our hearts is the ultimate status symbol.

I see it for what is is, now. It is a house built on ashes. Ashes of the life Granddad shared with Gran, ashes of the maple from which the tire swing flew, ashes of the old Victorian house with the porch and the hammock. The new house is built on the grave of all the trophies and symbols of the family: the New Yorker cartoons, the taxidermy, the embroidered pillows, the family portraits.

If we want to live a Wholehearted life, we have to become intentional about cultivating sleep and play, and about letting go of exhaustion as a status symbol and productivity as self-worth.

With the abolition of private property, then, we shall have true, beautiful, healthy Individualism. Nobody will waste his life in accumulating things, and the symbols of things. One will live. To live is the rarest thing in the world. Most people exist, that is all.

Life lives on life. This is the sense of the symbol of the Ouroboros, the serpent biting its tail. Everything that lives lives on the death of something else. Your own body will be food for something else. Anyone who denies this, anyone who holds back, is out of order. Death is an act of giving.

Symbolic of life, hair bolts from our head[s]. Like the earth, it can be harvested, but it will rise again. We can change its color and texture when the mood strikes us, but in time it will return to its original form, just as Nature will in time turn our precisely laid-out cities into a weed-way.

The mermaid is an archetypal image that represents a woman who is at ease in the great waters of life, the waters of emotion and sexuality. She shows us how to embrace our instinctive sexuality and sensuality so that we can affirm the essence of our feminine nature, the wisdom of our bodies, and the playfulness of our spirits. She symbolizes our connection with our deepest instinctive feelings, our wild and untamed animal nature that exists below the surface of outward personalities. She is able to respond to her mysterious sexual impulses without abandoning her more human, conscious side. What happened to the girls who dreamed of being mermaids?

Marriage is not a love affair. A love affair is a totally different thing. A marriage is a commitment to that which you are. That person is literally your other half. And you and the other are one. A love affair isn't that. That is a relationship for pleasure, and when it gets to be unpleasurable, it's off. But a marriage is a life commitment, and a life commitment means the prime concern of your life. If marriage is not the prime concern, you're not married....The Puritans called marriage "the little church within the Church." In marriage, every day you love, and every day you forgive. It is an ongoing sacrament – love and forgiveness.... Like the yin/yang symbol....Here I am, and here she is, and here we are. Now when I have to make a sacrifice, I'm not sacrificing to her, I'm sacrificing to the relationship. Resentment against the other one is wrongly placed. Life in in the relationship, that's where your life now is. That's what a marriage is – whereas, in a love affair, you have two lives in a more or less successful relationship to each other for a certain length of time, as long as it seems agreeable.

The symbolism of meat-eating is never neutral. To himself, the meat-eater seems to be eating life. To the vegetarian, he seems to be eating death. There is a kind of gestalt-shift between the two positions which makes it hard to change, and hard to raise questions on the matter at all without becoming embattled.

For me, the short story is not a character sketch, a mouse trap, an epiphany, a slice of suburban life. It is the flowering of a symbol center. It is a poem grafted onto sturdier stock.

I have never in my life typed a heart symbol. Those are for milquetoast girls. Karou will probably think my phone’s been stolen – or possibly my body, by a lovelorn alien. I send the text anyway. This is what comes back: …who is this??

He thought about science, about faith, about man. he thought about how every culture, in every country, in every time, had always shared one thing. We all had the Creator. We used different names, different faces, and different prayers, but God was the universal constant for man. God was the symbol we all shared...the symbol of all the mysteries of life that we could not understand. The ancients had praised God as a symbol of our limitless human potential, but that ancient symbol had been lost over time. Until now.

Baudelaire writes: In certain almost supernatural inner states, the depth of life is entirely revealed in the spectacle, however ordinary, that we have before our eyes, and which becomes the symbol of it." Here we have a passage that designates the phenomenological direction I myself pursue. The exterior spectacle helps intimate grandeur unfold.

The symbol of Goddess gives us permission. She teaches us to embrace the holiness of every natural, ordinary, sensual dying moment. Patriarchy may try to negate body and flee earth with its constant heartbeat of death, but Goddess forces us back to embrace them, to take our human life in our arms and clasp it for the divine life it is - the nice, sanitary, harmonious moment as well as the painful, dark, splintered ones. If such a consciousness truly is set loose in the world, nothing will be the same. It will free us to be in a sacred body, on a sacred planet, in sacred communion with all of it. It will infect the universe with holiness. We will discover the Divine deep within the earth and the cells of our bodies, and we will lover her there with all our hearts and all our souls and all our minds.

It is not given to us to grasp the truth, which is identical with the divine, directly. We perceive it only in reflection, in example and symbol, in singular and related appearances. It meets us as a kind of life which is incomprehensible to us, and yet we cannot free ourselves from the desire to comprehend it.

The details and symbols of your life have been deliberately constructed to make you believe what white people say about you. Please try to remember that what they believe, as well as what they do and cause you to endure, does not testify to your inferiority but to their inhumanity and fear.

It was lunar symbolism that enabled man to relate and connect such heterogeneous things as: birth, becoming, death, and ressurection; the waters, plants, woman, fecundity, and immortality; the cosmic darkness, prenatal existence, and life after death, followed by the rebirth of the lunar type ("light coming out of darkness"); weaving, the symbol of the "thread of life," fate, temporality, and death; and yet others. In general most of the ideas of cycle, dualism, polarity, opposition, conflict, but also of reconciliation of contraries, of coincidentia oppositorum, were either discovered or clarified by virtue of lunar symbolism. We may even speak of a metaphysics of the moon, in the sense of a consistent system of "truths" relating to the mode of being peculiar to living creatures, to everything in the cosmos that shares in life, that is, in becoming, growth and waning, death and ressurrection.

For the hero, fear is a challenge and a task, because only boldness can deliver from fear. And if the risk is not taken, the meaning of life is somehow violated, and the whole future is condemned to hopeless staleness, to a drab grey lit only by will-o’-the-wisps.

I write because I have nothing better to do in this world: I am superfluous and last in the world of men. I write because I am desperate and weary. I can no longer bear the routine of my existence and, were it not for the constant novelty of writing, I should die symbolically each day.

Life is a lot like pizza… But in fact, Hank, the fundamental thing that all critical reading does is reveal to us there are not easy definitions that distinguish us from them. Reading with an eye toward metaphor allows us to become the person we’re reading about while reading about them. That’s why there are symbols in books and why your English teacher deserves your attention. Ultimately it doesn’t matter if the author intended a symbol to be there because the job of reading is not to understand the author’s intent. The job of reading is to use stories as a way into other people as we see ourselves, and when we do that we can look out at the world and see a giant endless set of beautiful variations of pizzas; the whole world composed of billions of beautiful, delicious pizzas.

I think the way I feel about the internet is the way some people feel about the ocean. It's so huge and unknowable, but also totally predictable. You type a line of symbols and click enter, and everything you want to happen, happens. Not like real life, where all the wanting in the world can't make something exist.

A subject to which few intellectuals ever give a thought is the right to be a vagrant, the freedom to wander. Yet vagrancy is a deliverance, and life on the open road is the essence of freedom. To have the courage to smash the chains with which modern life has weighted us (under the pretext that it was offering us more liberty), then to take up the symbolic stick and bundle and get out.

By refusing to risk its way of life, by rejecting the idea that the powerful might have to sacrifice for the common good, it clings to a set of social arrangements that allow it to monopolize progress and then give symbolic scraps to the forsaken—many of whom wouldn’t need the scraps if the society were working right.

The first thing you notice about New Orleans are the burying grounds - the cemeteries - and they're a cold proposition, one of the best things there are here. Going by, you try to be as quiet as possible, better to let them sleep. Greek, Roman, sepulchres- palatial mausoleums made to order, phantomesque, signs and symbols of hidden decay - ghosts of women and men who have sinned and who've died and are now living in tombs. The past doesn't pass away so quickly here. You could be dead for a long time. The ghosts race towards the light, you can almost hear the heavy breathing spirits, all determined to get somewhere. New Orleans, unlike a lot of those places you go back to and that don't have the magic anymore, still has got it. Night can swallow you up, yet none of it touches you. Around any corner, there's a promise of something daring and ideal and things are just getting going. There's something obscenely joyful behind every door, either that or somebody crying with their head in their hands. A lazy rhythm looms in the dreamy air and the atmosphere pulsates with bygone duels, past-life romance, comrades requesting comrades to aid them in some way. You can't see it, but you know it's here. Somebody is always sinking. Everyone seems to be from some very old Southern families. Either that or a foreigner. I like the way it is. There are a lot of places I like, but I like New Orleans better. There's a thousand different angles at any moment. At any time you could run into a ritual honoring some vaguely known queen. Bluebloods, titled persons like crazy drunks, lean weakly against the walls and drag themselves through the gutter. Even they seem to have insights you might want to listen to. No action seems inappropriate here. The city is one very long poem. Gardens full of pansies, pink petunias, opiates. Flower-bedecked shrines, white myrtles, bougainvillea and purple oleander stimulate your senses, make you feel cool and clear inside. Everything in New Orleans is a good idea. Bijou temple-type cottages and lyric cathedrals side by side. Houses and mansions, structures of wild grace. Italianate, Gothic, Romanesque, Greek Revival standing in a long line in the rain. Roman Catholic art. Sweeping front porches, turrets, cast-iron balconies, colonnades- 30-foot columns, gloriously beautiful- double pitched roofs, all the architecture of the whole wide world and it doesn't move. All that and a town square where public executions took place. In New Orleans you could almost see other dimensions. There's only one day at a time here, then it's tonight and then tomorrow will be today again. Chronic melancholia hanging from the trees. You never get tired of it. After a while you start to feel like a ghost from one of the tombs, like you're in a wax museum below crimson clouds. Spirit empire. Wealthy empire. One of Napoleon's generals, Lallemaud, was said to have come here to check it out, looking for a place for his commander to seek refuge after Waterloo. He scouted around and left, said that here the devil is damned, just like everybody else, only worse. The devil comes here and sighs. New Orleans. Exquisite, old-fashioned. A great place to live vicariously. Nothing makes any difference and you never feel hurt, a great place to really hit on things. Somebody puts something in front of you here and you might as well drink it. Great place to be intimate or do nothing. A place to come and hope you'll get smart - to feed pigeons looking for handouts

People are going to come into your life, and God is going to use them to help you. To them you’re insignificant and don’t matter. They are not going to understand you, or even see the point of why God had you hang in there with them for so long. Remember this: Sometimes meeting someone has nothing to do with what you can provide for him or her and everything to do with what God needs you to recognize in that person. If you didn’t understand the message, God will keep sending the same person or situation into your life.

We are all born and someday we’ll all die. Most likely to some degree alone.What if our aloneness isn’t a tragedy? What if our aloneness is what allows us to speak the truth without being afraid? What if our aloneness is what allows us to adventure – to experience the world as a dynamic presence – as a changeable, interactive thing? If I lived in Bosnia or Rwanda or who knows where else, needless death wouldn’t be a distant symbol to me, it wouldn’t be a metaphor, it would be a reality. And I have no right to this metaphor. But I use it to console myself. To give a fraction of meaning to something enormous and needless. This realization. This realization that I will live my life in this world where I have privileges. I can’t cool boiling waters in Russia. I can’t be Picasso. I can’t be Jesus. I can’t save the planet single-handedly. I can wash dishes.

She grasped the crook and flail with cool hands and sank gracefully to her knees. The High Priest of Amun placed a piece of flatbread imprinted with an ankh, the symbol of everlasting life, upon her tongue. It was gritty, the dough having been sprinkled with sand blessed by all the High Priests before it was baked that morning.

It was the impatience of the way he tore my panties from my body, that really turned me on: I was all he could think of, as his lust got the better of him. I glanced back, and saw the underwear torn and discarded, a little strip of thin black material on the floor, and thought, Yes, this is the kind of impatient sex I’m looking for. The way they looked so small, and cruelly forgotten, was a beautiful symbol of how much we both needed to satisfy our lusts.

Pride is the recognition of the fact that you are your own highest value and, like all of man’s values, it has to be earned. His own happiness is man’s only moral purpose, but only his own virtue can achieve it…Life is the reward of virtue- and happiness is the goal and the reward of life. Happiness is a state of non-contradictory joy- a joy without penalty or guilt, a joy that does not clash with any of your values and does not work for your won destruction, not the joy of escaping from your mind, but using your mind’s fullest power. Happiness is possible only to a rational man, the man who desires nothing but rational goals, seek nothing but rational values and finds his joy in nothing bu rational actions. The symbol of all relationships among such men, the moral symbol of respect for human beings, is the trade…A trader is a man who earns what he gets and does not give or take the undeserved.

The private experience that you perceive forms your world, period. But which world do you inhabit? For if you altered your private sensations of reality, then that world, seemingly the only one, would also change. You do go through transformations of beliefs all the time, and your perception of the world is different. You seem to be, no longer, the person you that you were. You are quite correct — you are not the person that you were, and your world has changed, and not just symbolically.

I'm hip to their game, hip to the science of war Propoganda makes me fight but what am I fightin for? My way of life? Beans and rice? Give and take, less or more? See through the eyes of the poor, plus I'm black to the core Ignorance is on tour bookin stadiums and more The days of hitler painted pictures patriotic before You raise your flag on a land snatched from bald eagles claw, and stamp the symbol on your currency to finance your war. I'm sayin no. Not in my name. Not in my life. Not by my hands. That ain't my fight. Not in my name. You wage your war against terrorists and violence, and try to wave your guns and fear us all into silence. NO.

And so, at least symbolically, the blood of Eve courses through each one of her daughters' veins. We are each associated with life; each subject to the impossible expectations and cruel projections of men; each fallen, blamed, and misunderstood; and each stubbornly vital to the process of bringing something new--perhaps something better--into this world... We are each an Eve.

The psychological dangers through which earlier generations were guided by the symbols and spiritual exercises of their mythological and religious inheritance, we today (in so far as we are unbelievers, or, if believers, in so far as our inherited beliefs fail to represent the real problems of contemporary life) must face alone, or, at best with only tentative, impromptu, and not often very effective guidance. This is our problem as modern, "enlightened" individuals, for whom all gods and devils have been rationalized out of existence.

One could not stand and watch very long without being philosophical, without beginning to deal in symbols and similes, and to hear the hog-squeal of the universe.... Each of them had an individuality of his own, a will of his own, a hope and a heart's desire; each was full of self-confidence, of self-importance, and a sense of dignity. And trusting and strong in faith he had gone about his business, the while a black shadow hung over him, and a horrid Fate in his pathway. Now suddenly it had swooped upon him, and had seized him by the leg. Relentless, remorseless, all his protests, his screams were nothing to it. It did its cruel will with him, as if his wishes, his feelings, had simply no existence at all; it cut his throat and watched him gasp out his life.

Some people are born with a vital and responsive energy. It not only enables them to keep abreast of the times; it qualifies them to furnish in their own personality a good bit of the motive power to the mad pace. They are fortunate beings. They do not need to apprehend the significance of things. They do not grow weary nor miss step, nor do they fall out of rank and sink by the wayside to be left contemplating the moving procession. Ah! that moving procession that has left me by the road-side! Its fantastic colors are more brilliant and beautiful than the sun on the undulating waters. What matter if souls and bodies are failing beneath the feet of the ever-pressing multitude! It moves with the majestic rhythm of the spheres. Its discordant clashes sweep upward in one harmonious tone that blends with the music of other worlds--to complete God's orchestra. It is greater than the stars--that moving procession of human energy; greater than the palpitating earth and the things growing thereon. Oh! I could weep at being left by the wayside; left with the grass and the clouds and a few dumb animals. True, I feel at home in the society of these symbols of life's immutability. In the procession I should feel the crushing feet, the clashing discords, the ruthless hands and stifling breath. I could not hear the rhythm of the march. Salve! ye dumb hearts. Let us be still and wait by the roadside.

We know what happened to those who chanced to meet the Great God Pan, and those who are wise know that all symbols are symbols of something, not of nothing. It was, indeed, an exquisite symbol beneath which men long ago veiled their knowledge of the most awful, most secret forces which lie at the heart of all things; forces before which the souls of men must wither and die and blacken, as their bodies blacken under the electric current. Such forces cannot be named, cannot be spoken, cannot be imagined except under a veil and a symbol, a symbol to the most of us appearing a quaint, poetic fancy, to some a foolish tale. But you and I, at all events, have known something of the terror that may dwell in the secret place of life, manifested under human flesh; that which is without form taking to itself a form.

There are no telegraphs on Tralfamadore. But you're right: each clump of symbols is a brief, urgent message-- describing a situation, a scene. We Tralfamadorians read them all at once, not one after the other. There isn't any particular relationship between all the messages, except that the author has chosen them carefully, so that, when seen all at once, they produce an image of life that is beautiful and surprising and deep. There is no beginning, no middle, no end, no suspense, no moral, no causes, no effects. What we love in our books are the depths of many marvelous moments seen all at one time.

Will we turn our backs on science because it is perceived as a threat to God, abandoning all the promise of advancing our understanding of nature and applying that to the alleviation of suffering and the betterment of humankind? Alternatively, will we turn our backs on faith, concluding that science has rendered the spiritual life no longer necessary, and that traditional religious symbols can now be replaced by engravings of the double helix on our alters? Both of these choices are profoundly dangerous. Both deny truth. Both will diminish the nobility of humankind. Both will be devastating to our future. And both are unnecessary. The God of the Bible is also the God of the genome. He can be worshipped in the cathedral or in the laboratory. His creation is majestic, awesome, intricate and beautiful - and it cannot be at war with itself. Only we imperfect humans can start such battles. And only we can end them.

Everyone's looking for the perfect teacher, but although their teachings might be divine, teachers are all too human, and that's something people find all too hard to accept. Don't confuse the teacher with the lesson, the ritual with the ecstasy, the transmitter of the symbol with the symbol itself. The Tradition is linked to our encounter with the forces of life and not with the people who bring this about. But we are weak: we ask the Mother to send us guides, and all she sends are signs to the road we need to follow. Pity those who seek for shepherds, instead of longing for freedom! An encounter with superior energy is open to anyone but remains far from those who shift responsibility onto others. Our time on earth is sacred and we should celebrate every moment.

A self-destructive man feels completely alienated, utterly alone. He's an outsider to the human community. He thinks to himself, "I must be insane." What he fails to realize is that society has, just as he does, a vested interest in considerable losses and catastrophes. These wars, famines, floods and quakes meet well-defined needs. Man wants chaos. In fact, he has to have it. Depression, strife, riots, murder - all this dread. We're irresistibly drawn to that almost orgiastic state created out of death and destruction. It's in all of us. We revel in it. Sure, the media tries to put a sad face on these things and paints them up as great human tragedies. But we all know the function of the media has never been to eliminate the evils of the world - no! Their job is to persuade us to accept those evils and get used to living with them. The powers that be want us to be passive observers, and they haven't given us any other options outside the occasional, purely symbolic, participatory act of voting. "You want the puppet on the right or the puppet on the left?" I feel that the time has come to project my own inadequacies and dissatisfactions into the sociopolitical and scientific schemes, let my own lack of a voice be heard.

No doubt your sword is indeed a beautiful thing. It is a tribute to whoever forged it in bygone ages. There are very few such swords as this one left in the world, but remember, it is only a sword, Matthias! It contains no secret spell, nor holds within its blade any magical power. This sword is made for only one purpose, to kill. It will only be as good or evil as the one who wields it. I know that you intend to use it only for the good of your Abbey, Matthias; do so, but never allow yourself to be tempted into using it in a careless or idle way. It would inevitably cost you your life, or that of your dear ones. Martin the Warrior used the sword only for right and good. This is why it has become a symbol of power to Redwall. Knowledge is gained through wisdom, my friend. Use the sword wisely.

All this unfolded in what I now know to call our last weeks. Within the action of this story, these memories mean little. After the first time Graham and I went to bed together, they are symbolically all of a piece. I could have written to you without including them; after all, the things that happen between lovers are lost to the work of history anyway. But I wrote it down because I need you to bear witness to it. He was here, by and with and in my body. He lives in me like trauma does. If you ever fall in love, you’ll be a person who was in love for the rest of your life.

All of us have two minds, a private one, which is usually strange, I guess, and symbolic, and a public one, a social one. Most of us stream back and forth between those two minds, drifting around in our private self and then coming forward into the public self whenever we need to. But sometimes you get a little slow making the transition, you drag out the private part of your life and people know you’re doing it. They almost always catch on, knowing that someone is standing before them thinking about things that can’t be shared, like the one monkey that knows where a freshwater pond is. And sometimes the public mind is such a total bummer and the private self is alive with beauty and danger and secrets and things that don’t make any sense but that repeat and repeat and demand to be listened to, and you find it harder and harder to come forward. The pathway between those two states of mind suddenly seems very steep, a hell of a lot of work and not really worth it. Then I think it becomes a matter of what side of the great divide you get caught on. Some people get stuck on the public, approved side and they’re all right, for what it’s worth. And some people get stuck on the completely strange and private side of the divide, and that’s what we call crazy and its not really completely wrong to call it that but it doesn’t say it as it truly is. It’s more like a lack of mobility, a transportation problem, getting stuck, being the us we are in private but not stopping…

Christianity is a religion in a rush. Look at the world created in seven days. Even on a symbolic level, that's creation in a frenzy. To one born in a religion where the battle for a single soul can be a relay race run over many centuries, with innumerable generations passing along the baton, the quick resolution of Christianity has a dizzying effect. If Hinduism flows placidly like the Ganges, then Christianity bustles like Toronto at rush hour. It is religion as swift as a swallow, as urgent as an ambulance. It turns on a dime, expresses itself in the instant. In a moment you are lost or saved. Christianity stretches back through the ages, but in essence it exists only at one time: right now.

Even people whose lives have been made various by learning sometimes find it hard to keep a fast hold on their habitual views of life, on their faith in the Invisible - nay, on the sense that their past joys and sorrows are a real experience, when they are suddenly transported to a new land, where the beings around them know nothing of their history, and share none of their ideas - where their mother earth shows another lap, and human life has other forms than those on which their souls have been nourished. Minds that have been unhinged from their old faith and love have perhaps sought this Lethean influence of exile in which the past becomes dreamy because its symbols have all vanished, and the present too is dreamy because it is linked with no memories.

I have often reflected upon the new vistas that reading opened to me. I knew right there, in prison, that reading had changed forever the course of my life. As I see it today, the ability to read awoke inside me some long dormant craving to be mentally alive. I certainly wasn’t seeking any degree, the way a college confers a status symbol upon its students. My home made education gave me, with every additional book that I read, a little bit more sensitivity to the deafness, dumbness, and blindness that was afflicting the black race in America. Not long ago, an English writer telephoned me from London asking questions. One was, “What’s your alma mater?” I told him, “Books.” You will never catch me with a free fifteen minutes in which I’m not studying something I feel might be able to help the black man.

One of the schools of Tlön goes so far as to negate time; it reasons that the present is indefinite, that the future has no reality other than as a present hope, that the past has no reality other than as a present memory. Another school declares that all time has already transpired and that our life is only the crepuscular and no doubt falsified an mutilated memory or reflection of an irrecoverable process. Another, that the history of the universe — and in it our lives and the most tenuous detail of our lives — is the scripture produced by a subordinate god in order to communicate with a demon. Another, that the universe is comparable to those cryptographs in which not all the symbols are valid and that only what happens every three hundred nights is true. Another, that while we sleep here, we are awake elsewhere and that in this way every man is two men.

Forty is a most beautiful age for both men and women. Did you know that in mystic thought forty symbolizes the ascent from one level to a higher one and spiritual awakening? When we mourn we mourn for forty days. When a baby is born it takes forty days for him to get ready to start life on earth. And when we are in love we need to wait for forty days to be sure of our feelings. The Flood of Noah lasted forty days, and while the waters destroyed life, they also washed all impurity away and enabled human beings to make a new, fresh start. In Islamic mysticism there are forty degrees between man and God. Likewise, there are four basic stages of consciousness and ten degrees in each, making forty levels in total. Jesus went into the wilderness for forty days and nights. Muhammad was forty years old when he received the call to become a prophet. Buddha meditated under a linden tree for forty days. Not to mention the forty rules of Shams. You receive a new mission at forty, a new lease on life! You have reached a most auspicious number. Congratulations! And don’t worry about getting old. There are no wrinkles or gray hair strong enough to defy the power of forty!

I sit here before my computer, Amiguita, my altar on top of the monitor with the Virgen de Coatlalopeuh candle and copal incense burning. My companion, a wooden serpent staff with feathers, is to my right while I ponder the ways metaphor and symbol concretize the spirit and etherealize the body. The Writing is my whole life, it is my obsession. This vampire which is my talent does not suffer other suitors. Daily I court it, offer my neck to its teeth. This is the sacrifice that the act of creation requires, a blood sacrifice. For only through the body, through the pulling of flesh, can the human soul be transformed. And for images, words, stories to have this transformative power, they must arise from the human body--flesh and bone--and from the Earth's body--stone, sky, liquid, soil. This work, these images, piercing tongue or ear lobes with cactus needle, are my offerings, are my Aztecan blood sacrifices.

The road to the kingdom of childhood, governed by ingenuousness and innocence, is thus regained in the horror of atonement. The purity of love is regained in its intimate truth which, as I said, is that of death. Death and the instant of divine intoxication merge when they both oppose those intentions of Good which are based on rational calculation. And death indicates the instant which, in so far as it is instantaneous, renounces the calculated quest for survival. The instant of the new individual being depended on the death of other beings. Had they not died there would have been no room for new ones. Reproduction and death condition the immortal renewal of life; they condition the instant which is always new. That is why we can only have a tragic view of the enchantment of life, but that is also why tragedy is the symbol of enchantment.

The difference between the "natural" individuation process, which runs its course unconsciously, and the one which is consciously realized, is tremendous. In the first case consciousness nowhere intervenes; the end remains as dark as the beginning. In the second case so much darkness comes to light that the personality is permeated with light, and consciousness necessarily gains in scope and insight. The encounter between conscious and unconscious has to ensure that the light which shines in the darkness is not only comprehended by the darkness, but comprehends it. The filius solis et lunae (the son of the Sun and Moon) is the possible result as well as the symbol of this union of opposites. It is the alpha and omega of the process, the mediator and intermedius. "It has a thousand names," say the alchemists, meaning that the source from which the individuation process rises and the goal toward which it aims is nameless, ineffable.

It was love at first touch rather than at first sight, for I had met her several times before without experiencing any special emotions; but one night as I was seeing her home, something quaint she had said made me stoop with a laugh and lightly kiss her on the hair - and of course we all know of that blinding blast which is caused by merely picking up a small doll from the floor of a carefully abandoned house: the soldier involved hears nothing; for him it is but an ecstatic soundless and boundless expansion of what had been during his life a pinpoint of light in the dark center of his being. And really, the reason we think of death in celestial terms is that the visible firmament, especially at night (above our blacked-out Paris with the gaunt arches of its Boulevard Exelmans and the ceaseless Alpine gurgle of desolate latrines), is the most adequate and ever-present symbol of that vast silent explosion' The time, the place, the torture. Her fan, her gloves, her mask. I spent that night and many others getting it out of her bit by bit, but not getting it all. I was under the strange delusion that first I must find out every detail, reconstruct every minute, and only then decide whether I could bear it. But the limit of desired knowledge was unattainable, nor could I ever foretell the approximate point after which I might imagine myself satiated, because of course the denominator of every fraction of knowledge was potentially as infinite as the number of intervals between the fractions themselves.

I think that if the beast who sleeps in man could be held down by threats - any kind of threat, whether of jail or of retribution after death - then the highest emblem of humanity would be the lion tamer in the circus with his whip, not the prophet who sacrificed himself. But don't you see, this is just the point - what has for centuries raised man above the beast is not the cudgel but an inward music: the irresistible power of unarmed truth, the powerful attraction of its example. It has always been assumed that the most important things in the Gospels are the ethical maxims and commandments. But for me the most important thing is that Christ speaks in parables taken from life, that He explains the truth in terms of everyday reality. The idea that underlies this is that communion between mortals is immortal, and that the whole of life is symbolic because it is meaningful.

There is no need to be worried by facetious people who try to make the Christian hope of ‘Heaven’ ridiculous by saying they do not want ‘to spend eternity playing harps’. The answer to such people is that if they cannot understand books written for grown-ups, they should not talk about them. All the scriptural imagery (harps, crowns, gold, etc.) is, of course, a merely symbolical attempt to express the inexpressible. Musical instruments are mentioned because for many people (not all) music is the thing known in the present life which most strongly suggests ecstasy and infinity. Crowns are mentioned to suggest the fact that those who are united with God in eternity share His splendour and power and joy. Gold is mentioned to suggest the timelessness of Heaven (gold does not rust) and the preciousness of it. People who take these symbols literally might as well think that when Christ told us to be like doves, He meant that we were to lay eggs.

Faustus, who embraced evil and shunned righteousness, became the foremost symbol of the misuse of free will, that sublime gift from God with its inherent opportunity to choose virtue and reject iniquity. “What shall a man gain if he has the whole world and lose his soul,” (Matt. 16: v. 26) - but for a notorious name, the ethereal shadow of a career, and a brief life of fleeting pleasure with no true peace? This was the blackest and most captivating tragedy of all, few could have remained indifferent to the growing intrigue of this individual who apparently shook hands with the devil and freely chose to descend to the molten, sulphuric chasm of Hell for all eternity for so little in exchange. It is a drama that continues to fascinate today as powerfully as when Faustus first disseminated his infamous card in the Heidelberg locale to the scandal of his generation. In fine, a life of good or evil, the hope of Heaven or the despair of Hell, Faustus stands as a reminder that the choice between these two absolutes also falls to us.

The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless.

There is no remedy against this reversal of the natural order. Man cannot escape from his own achievement. He cannot but adopt the conditions of his own life. No longer in a merely physical universe, man lives in a symbolic universe. Language, myth, art, and religion are parts of this universe. They are the varied threads which weave the symbolic net, the tangled web of human experience. All human progress in thought and experience refines and strengthens this net. No longer can man confront reality immediately; he cannot see it, as it were, face to face. Physical reality seems to recede in proportion as man's symbolic activity advances. Instead of dealing with the things themselves man is in a sense constantly conversing with himself. He has so enveloped himself in linguistic forms, in artistic images, in mythical symbols or religious rites that he cannot see or know anything except by the interposition of this artificial medium. His situation is the same in the theoretical as in the practical sphere. Even here man does not live in a world of hard facts, or according to his immediate needs and desires. He lives rather in the midst of imaginary emotions, in hopes and fears, in illusions and disillusions, in his fantasies and dreams. 'What disturbs and alarms man,' said Epictetus, 'are not the things, but his opinions and fantasies about the things.

When confronted with a problem involving the use of the reasoning faculties, individuals of strong intellect keep their poise, and seek to reach a solution by obtaining facts bearing upon the question. Those of immature mentality, on the other hand, when similarly confronted, are overwhelmed. While the former may be qualified to solve the riddle of their own destiny, the latter must be led like a flock of sheep and taught in simple language. They depend almost entirely upon the ministrations of the shepherd. The Apostle Paul said that these little ones must be fed with milk, but that meat is the food of strong men. Thoughtlessness is almost synonymous with childishness, while thoughtfulness is symbolic of maturity. There are, however, but few mature minds in the world; and thus it was that the philosophic-religious doctrines of the pagans were divided to meet the needs of these two fundamental groups of human intellect--one philosophic, the other incapable of appreciating the deeper mysteries of life. To the discerning few were revealed the esoteric, or spiritual, teachings, while the unqualified many received only the literal, or exoteric, interpretations. In order to make simple the great truths of Nature and the abstract principles of natural law, the vital forces of the universe were personified, becoming the gods and goddesses of the ancient mythologies. While the ignorant multitudes brought their offerings to the altars of Priapus and Pan (deities representing the procreative energies), the wise recognized in these marble statues only symbolic concretions of great abstract truths. In all cities of the ancient

No, you don't feel it now. Some day, when you are old and wrinkled and ugly, when thought has seared your forehead with its lines, and passion branded your lips with itshideous fires, you will feel it, you will feel it terribly.Now, wherever you go, you charm the world. Will it always be so? . . . You have a wonderfully beautiful face, Mr. Gray. Don't frown. You have. And beauty is a form of genius-- is higher, indeed, than genius, as it needs no explanation. It is of the great facts of the world, like sunlight, or spring-time, or the reflection in dark waters of that silver shell we call the moon. It cannot be questioned. It has its divine right of sovereignty. It makes princes of those who have it.You smile? Ah! when you have lost it you won't smile. . . . People say sometimes that beauty is only superficial.That may be so, but at least it is not so superficial as thought is. To me, beauty is the wonder of wonders.It is only shallow people who do not judge by appearances. The true mystery of the world is the visible, not the invisible. . . . Yes, Mr. Gray, the gods have been good to you.But what the gods give they quickly take away. You have only a few years in which to live really, perfectly, and fully.When your youth goes, your beauty will go with it, and then you will suddenly discover that there are no triumphs left for you, or have to content yourself with those mean triumphs that the memory of your past will make more bitter than defeats.Every month as it wanes brings you nearer to something dreadful. Time is jealous of you, and wars against your lilies and your roses. You will become sallow, and hollow-cheeked, and dull-eyed. You will suffer horribly.... Ah! realize your youth while you have it. Don't squander the gold of your days,listening to the tedious, trying to improve the hopeless failure,or giving away your life to the ignorant, the common, and the vulgar. These are the sickly aims, the false ideals,of our age. Live! Live the wonderful life that is in you! Let nothing be lost upon you. Be always searching for new sensations. Be afraid of nothing. . . . A new Hedonism-- that is what our century wants. You might be its visible symbol.With your personality there is nothing you could not do.The world belongs to you for a season. . . . The moment I met you I saw that you were quite unconscious of what you really are, of what you really might be. There was so much in you that charmed me that I felt I must tell you something about yourself.I thought how tragic it would be if you were wasted. For there is such a little time that your youth will last--such a little time.The common hill-flowers wither, but they blossom again.The laburnum will be as yellow next June as it is now.In a month there will be purple stars on the clematis, and year after year the green night of its leaves will hold its purple stars. But we never get back our youth. The pulse of joy that beats in us at twenty becomes sluggish. Our limbs fail, our senses rot. We degenerate into hideous puppets, haunted by the memory of the passions of which we were too much afraid, and the exquisite temptations that we had not the courage to yield to. Youth! Youth! There is absolutely nothing in the world but youth!

My mother's suffering grew into a symbol in my mind, gathering to itself all the poverty, the ignorance, the helplessness; the painful, baffling, hunger-ridden days and hours; the restless moving, the futile seeking, the uncertainty, the fear, the dread; the meaningless pain and the endless suffering. Her life set the emotional tone of my life, colored the men and women I was to meet in the future, conditioned my relation to events that had not yet happened, determined my attitude to situations and circumstances I had yet to face. A somberness of spirit that I was never to lose settled over me during the slow years of my mother's unrelieved suffering, a somberness that was to make me stand apart and look upon excessive joy with suspicion, that was to make me keep forever on the move, as though to escape a nameless fate seeking to overtake me. At the age of twelve, before I had one year of formal schooling, I had a conception of life that no experience would ever erase, a predilection for what was real that no argument could ever gainsay, a sense of the world that was mine and mine alone, a notion as to what life meant that no education could ever alter, a conviction that the meaning of living came only when one was struggling to wring a meaning out of meaningless suffering. At the age of twelve I had an attitude toward life that was to endure, that was to make me seek those areas of living that would keep it alive, that was to make me skeptical of everything while seeking everything, tolerant of all and yet critical. The spirit I had caught gave me insight into the sufferings of others, made me gravitate toward those whose feelings were like my own, made me sit for hours while others told me of their lives, made me strangely tender and cruel, violent and peaceful. It made me want to drive coldly to the heart of every question and it open to the core of suffering I knew I would find there. It made me love burrowing into psychology, into realistic and naturalistic fiction and art, into those whirlpools of politics that had the power to claim the whole of men's souls. It directed my loyalties to the side of men in rebellion; it made me love talk that sought answers to questions that could help nobody, that could only keep alive in me that enthralling sense of wonder and awe in the face of the drama of human feeling which is hidden by the external drama of life.

There is, of course, always the personal satisfaction of writing down one's experiences so they may be saved, caught and pinned under glass, hoarded against the winter of forgetfulness. Time has been cheated a little, at least in one's own life, and a personal, trivial immortality of an old self assured. And there is another personal satisfaction: that of the people who like to recount their adventures, the diary-keepers, the story-tellers, the letter-writers, a strange race of people who feel half cheated of an experience unless it is retold. It does not really exist until it is put into words. As though a little doubting or dull, they could not see it until it is repeated. For, paradoxically enough, the more unreal an experience becomes - translated from real action into unreal words, dead symbols for life itself - the more vivid it grows. Not only does it seem more vivid, but its essential core becomes clearer. One says excitedly to an audience, 'Do you see - I can't tell you how strange it was - we all of us felt...' although actually, at the time of incident, one was not conscious of such a feeling, and only became so in the retelling. It is as inexplicable as looking all afternoon at a gray stone of a beach, and not realizing, until one tries to put it on canvas, that is in reality bright blue.

Because we cannot discover God's throne in the sky with a radiotelescope or establish (for certain) that a beloved father or mother is still about in a more or less corporeal form, people assume that such ideas are "not true." I would rather say that they are not "true" enough, for these are conceptions of a kind that have accompanied human life from prehistoric times, and that still break through into consciousness at any provocation. Modern man may assert that he can dispose with them, and he may bolster his opinion by insisting that there is no scientific evidence of their truth. Or he may even regret the loss of his convictions. But since we are dealing with invisible and unknowable things (for God is beyond human understanding, and there is no means of proving immortality), why should we bother about evidence? Even if we did not know by reason our need for salt in our food, we should nonetheless profit from its use. We might argue that the use of salt is a mere illusion of taste or a superstition; but it would still contribute to our well-being. Why, then, should we deprive ourselves of views that would prove helpful in crises and would give a meaning to our existence? And how do we know that such ideas are not true? Many people would agree with me if I stated flatly that such ideas are probably illusions. What they fail to realize is that the denial is as impossible to "prove" as the assertion of religious belief. We are entirely free to choose which point of view we take; it will in any case be an arbitrary decision. There is, however, a strong empirical reason why we should cultivate thoughts that can never be proved. It is that they are known to be useful. Man positively needs general ideas and convictions that will give a meaning to his life and enable him to find a place for himself in the universe. He can stand the most incredible hardships when he is convinced that they make sense; he is crushed when, on top of all his misfortunes, he has to admit that he is taking part in a "tale told by an idiot." It is the role of religious symbols to give a meaning to the life of man. The Pueblo Indians believe that they are the sons of Father Sun, and this belief endows their life with a perspective (and a goal) that goes far beyond their limited existence. It gives them ample space for the unfolding of personality and permits them a full life as complete persons. Their plight is infinitely more satisfactory than that of a man in our own civilization who knows that he is (and will remain) nothing more than an underdog with no inner meaning to his life.

Try as we will to take the “cure” of ineffectuality; to meditate on the Taoist fathers’ doctrine of submission, of withdrawal, of a sovereign absence; to follow, like them, the course of consciousness once it ceases to be at grips with the world and weds the form of things as water does, their favorite element—we shall never succeed. They scorn both our curiosity and our thirst for suffering; in which they differ from the mystics, and especially from the medieval ones, so apt to recommend the virtues of the hair shirt, the scourge, insomnia, inanition, and lament. “A life of intensity is contrary to the Tao,” teaches Lao Tse, a normal man if ever there was one. But the Christian virus torments us: heirs of the flagellants, it is by refining our excruciations that we become conscious of ourselves. Is religion declining? We perpetuate its extravagances, as we perpetuate the macerations and the cell-shrieks of old, our will to suffer equaling that of the monasteries in their heyday. If the Church no longer enjoys a monopoly on hell, it has nonetheless riveted us to a chain of sighs, to the cult of the ordeal, of blasted joys and jubilant despair. The mind, as well as the body, pays for “a life of intensity.” Masters in the art of thinking against oneself, Nietzsche, Baudelaire, and Dostoevsky have taught us to side with our dangers, to broaden the sphere of our diseases, to acquire existence by division from our being. And what for the great Chinaman was a symbol of failure, a proof of imperfection, constitutes for us the sole mode of possessing, of making contact with ourselves.

There's a class of things to be afraid of: it's "those things that you should be afraid of". Those are the things that go bump in the night, right? You're always exposed to them when you go to horror movies, especially if they're not the gore type of horror movie. They're always hinting at something that's going on outside of your perceptual sphere, and they frighten you because you don't know what's out there. For that the Blair Witch Project was a really good example, because nothing ever happens in that movie but it's frightenting and not gory. It plays on the fact tht you do have a category of Those Things Of Which You Should Be Afraid. So it's a category, frightening things. And only things capable of abstraction can come up with something like the caregory of frightenting things. And so Kali is like an embodied representation of the category of frightening things. And then you might ask yourself, well once you come up with the concept of the category of frightening things, maybe you can come up with the concept of what to do in the face of frightening things. Which is not the same as "what do you do when you encounter a lion", or "what do you do when you encounter someone angry". It's a meta question, right? But then you could say, at a philosophical level: "You will encounter elements of the category of all those things which can frighten and undermine you during your life. Is there something that you can do *as a category* that would help you deal with that." And the answer is yeah, there is in fact. And that's what a lot of religious stories and symbolic stories are trying to propose to you, is the solution to that. One is, approach it voluntarily. Carefully, but voluntarily. Don't freeze and run away. Explore, instead. You expose yourself to risk but you gain knowledge. And you wouldn't have a cortex which, you know, is ridiculously disproportionate, if as a species we hadn't decided that exploration trumps escape or freezing. We explore. That can make you the master of a situation, so you can be the master of something like fire without being terrified of it. One of the things that the Hindus do in relationship to Kali, is offer sacrifices. So you can say, well why would you offer sacrifices to something you're afraid of. And it's because that is what you do, that's always what you do. You offer up sacrifices to the unknown in the hope that good things will happen to you. One example is that you're worried about your future. Maybe you're worried about your job, or who you're going to marry, or your family, there's a whole category of things to be worried about, so you're worried about your future. SO what're you doing in university? And the answer is you're sacrificing your free time in the present, to the cosmos so to speak, in the hope that if you offer up that sacrifice properly, the future will smile upon you. And that's one of the fundamental discoveries of the human race. And it's a big deal, that discovery: by changing what you cling to in the present, you can alter the future.

Here one comes upon an all-important English trait: the respect for constituitionalism and legality, the belief in 'the law' as something above the state and above the individual, something which is cruel and stupid, of course, but at any rate incorruptible. It is not that anyone imagines the law to be just. Everyone knows that there is one law for the rich and another for the poor. But no one accepts the implications of this, everyone takes for granted that the law, such as it is, will be respected, and feels a sense of outrage when it is not. Remarks like 'They can't run me in; I haven't done anything wrong', or 'They can't do that; it's against the law', are part of the atmosphere of England. The professed enemies of society have this feeling as strongly as anyone else. One sees it in prison-books like Wilfred Macartney's Walls Have Mouths or Jim Phelan's Jail Journey, in the solemn idiocies that take places at the trials of conscientious objectors, in letters to the papers from eminent Marxist professors, pointing out that this or that is a 'miscarriage of British justice'. Everyone believes in his heart that the law can be, ought to be, and, on the whole, will be impartially administered. The totalitarian idea that there is no such thing as law, there is only power, has never taken root. Even the intelligentsia have only accepted it in theory. An illusion can become a half-truth, a mask can alter the expression of a face. The familiar arguments to the effect that democracy is 'just the same as' or 'just as bad as' totalitarianism never take account of this fact. All such arguments boil down to saying that half a loaf is the same as no bread. In England such concepts as justice, liberty and objective truth are still believed in. They may be illusions, but they are powerful illusions. The belief in them influences conduct,national life is different because of them. In proof of which, look about you. Where are the rubber truncheons, where is the caster oil? The sword is still in the scabbard, and while it stays corruption cannot go beyond a certain point. The English electoral system, for instance, is an all but open fraud. In a dozen obvious ways it is gerrymandered in the interest of the moneyed class. But until some deep change has occurred in the public mind, it cannot become completely corrupt. You do not arrive at the polling booth to find men with revolvers telling you which way to vote, nor are the votes miscounted, nor is there any direct bribery. Even hypocrisy is powerful safeguard. The hanging judge, that evil old man in scarlet robe and horse-hair wig,whom nothing short of dynamite will ever teach what century he is living in, but who will at any rate interpret the law according to the books and will in no circumstances take a money bribe,is one of the symbolic figures of England. He is a symbol of the strange mixture of reality and illusion, democracy and privilege, humbug and decency, the subtle network of compromises, by which the nation keeps itself in its familiar shape.

Hey,” Fitz said, leaning closer. “You trust me, don’t you?” Sophie’s traitorous heart still fluttered, despite her current annoyance. She did trust Fitz. Probably more than anyone. But having him keep secrets from her was seriously annoying. She was tempted to use her telepathy to steal the information straight from his head. But she’d broken that rule enough times to know the consequences definitely weren’t worth it. “What is with these clothes?” Biana interrupted, appearing out of thin air next to Keefe. Biana was a Vanisher, like her mother, though she was still getting used to the ability. Only one of her legs reappeared, and she had to hop up and down to get the other to show up. She wore a sweatshirt three sizes too big and faded, baggy jeans. “At least I get to wear my shoes,” she said, hitching up her pants to reveal purple flats with diamond-studded toes. “But why do we only have boy stuff?” “Because I’m a boy,” Fitz reminded her. “Besides, this isn’t a fashion contest.” “And if it was, I’d totally win. Right, Foster?” Keefe asked. Sophie actually would’ve given the prize to Fitz—his blue scarf worked perfectly with his dark hair and teal eyes. And his fitted gray coat made him look taller, with broader shoulders and— “Oh please.” Keefe shoved his way between them. “Fitz’s human clothes are a huge snoozefest. Check out what Dex and I found in Alvar’s closet!” They both unzipped their hoodies, revealing T-shirts with logos underneath. “I have no idea what this means, but it’s crazy awesome, right?” Keefe asked, pointing to the black and yellow oval on his shirt. “It’s from Batman,” Sophie said—then regretted the words. Of course Keefe demanded she explain the awesomeness of the Dark Knight. “I’m wearing this shirt forever, guys,” he decided. “Also, I want a Batmobile! Dex, can you make that happen?” Sophie wouldn’t have been surprised if Dex actually could build one. As a Technopath, he worked miracles with technology. He’d made all kinds of cool gadgets for Sophie, including the lopsided ring she wore—a special panic switch that had saved her life during her fight with one of her kidnappers. “What’s my shirt from?” Dex asked, pointing to the logo with interlocking yellow W’s. Sophie didn’t have the heart to tell him it was the symbol for Wonder Woman.