Symmetry Love Quotes

Break a vase, and the love that reassembles the fragments is stronger than that love which took its symmetry for granted when it was whole.

Do you fall in love often?" Yes often. With a view, with a book, with a dog, a cat, with numbers, with friends, with complete strangers, with nothing at all.

My dear, In the midst of hate, I found there was, within me, an invincible love. In the midst of tears, I found there was, within me, an invincible smile. In the midst of chaos, I found there was, within me, an invincible calm. I realized, through it all, that… In the midst of winter, I found there was, within me, an invincible summer. And that makes me happy. For it says that no matter how hard the world pushes against me, within me, there’s something stronger – something better, pushing right back. Truly yours, Albert Camus” I like this because only one part is usually quoted but the full quote has such symmetry.

It’s a profoundly strange feeling, to stumble across someone whose desires are shaped so closely to your own, like reaching toward your reflection in a mirror and finding warm flesh under your fingertips. If you should ever be lucky enough to find that magical, fearful symmetry, I hope you’re brave enough to grab it with both hands and not let go.

What is more basic than the need to be known? It is the entirety of intimacy, the elixir of love, this knowing.

Did I say that she was beautiful? I was wrong. Beauty is too tame a notion; it evokes only faces in magazines. A lovely eloquence, a calming symmetry; none of that describes this woman’s face. So perhaps I should assume I cannot do it justice with words. Suffice it to say that it would break your heart to see her; and it would mend what was broken in the same moment; and you would be twice what you’d been before.

I cannot assume you will understand me. It is just as likely that as I invent what I want to say, you will invent what you want to hear. Some story we must have. Stray words on crumpled paper. A weak signal into the outer space of each other. The probability of seperate worlds meeting is very small. The lure is immense. We send starships. We fall in love

Walk with me, hand in hand through the neon and styrofoam. Walk the razor blades and the broken hearts. Walk the fortune and the fortune hunted. Walk the chop suey bars and the tract of stars. I know I am a fool, hoping dirt and glory are both a kind of luminous paint; the humiliations and exaltations that light us up. I see like a bug, everything too large, the pressure of infinity hammering at my head. But how else to live, vertical that I am, pressed down and pressing up simultaneously? I cannot assume you will understand me. It is just as likely that as I invent what I want to say, you will invent what you want to hear. Some story we must have. Stray words on crumpled paper. A weak signal into the outer space of each other. The probability of separate worlds meeting is very small. The lure of it is immense. We send starships. We fall in love.

And you? Now that I have discovered you? Beautiful, dangerous, unleashed. Still I try to hold you, knowing that your body is faced with knives.

It was a fine thing indeed, Luna thought, being eleven. She loved the symmetry of it, and the lack of symmetry. Eleven was a number that was visually even, but functionally not - it looked one way and behaved in quite another. Just like most eleven-year-olds, or so she assumed.

I love badly. That is too little or too much. I throw myself over an unsuitable cliff, only to reel back in horror from a simple view out the window.

Love bears all things, believes all things, hopes all things, endures all things. Love never ends.

Two obsessions are the hallmarks of Nature's artistic style: Symmetry- a love of harmony, balance, and proportion Economy- satisfaction in producing an abundance of effects from very limited means

The human heart is my territory. I write about love because it’s the most important thing in the world. I write about sex because often it feels like the most important thing in the world.

Do you know what makes people love one another? Well, no one else does, either. But scientists study it, and there’s all this bizarre stuff about pheromones and facial symmetry and the circumstances under which you first met. People are weird. Our bodies are weird. Maybe I can’t help being attracted to her the same way flies can’t help being attracted to carnivorous plants.

Martin said, "It feels as though part of my self has detached and gone to Amsterdam, where it—she—is waiting for me. Do you know about phantom-limb syndrome?" Julia nodded. "There's pain where she ought to be. It's feeding the other pain, the thing that makes me wash and count and all that. So her absence is stopping me from going to find her. Do you see?

Being in love is…anxious,” he said. “Wanting to please, worrying that she will see me as I really am. But wanting to be known. That is…you’re naked, moaning in the dark, no dignity at all…I wanted her to see me and to love me even though she knew everything I am, and I knew her

We wish for a symmetry of feeling, but we rarely get it. It is painful to be the one who loves more, and painful to be the one who loves less.

Walk with me, memory to memory, the shared path, the mutual view. Walk with me. The past lies in wait. It is not behind. It seems to be in front. How else could it trip me as as I start to run?

Being in love is…anxious,” he said. “Wanting to please, worrying that she will see me as I really am. But wanting to be known. That is…you’re naked, moaning in the dark, no dignity at all…I wanted her to see me and to love me even though she knew everything I am, and I knew her.

It is good you have each other, the artist had said, regarding them seriously as she worked. You never have to explain yourself to sisters. It was true. Being one of four sisters always felt like being part of something magic. Once Bonnie noticed it, she saw the world was made up of fours. The seasons. The elements. The points on a compass. Four suits in a pack of cards. Four chambers of a human heart. Bonnie loved being a part of this mystical number, this perfect symmetry of two sets of two.

You didn’t answer my question. I asked you about being in love. You said what it was like when your wife went away.” Martin sat down again. How young she is. When we were that young we invented the world, no one could tell us a thing. Julia stood with her hands clenched, as though she wanted to pound an answer out of him. “Being in love is…anxious,” he said. “Wanting to please, worrying that she will see me as I really am. But wanting to be known. That is…you’re naked, moaning in the dark, no dignity at all…I wanted her to see me and to love me even though she knew everything I am, and I knew her. Now she’s gone, and my knowledge is incomplete. So all day I imagine what she is doing, what she says and who she talks to, how she looks. I try to supply the missing hours, and it gets harder as they pile up, all the time she’s been gone. I have to imagine. I don’t know, really. I don’t know any more.

Death, like fiction, is brutal in its symmetry. Take this story and strip it down -all the way back- until you are left with two points. Two dots on a vast, blank canvas, separeted by a sea of white. Here, we have come to the first point, where the batj is drawn and the hand is reachinh for the razor blade. I will meet you at the next, by the axle of a screaming wheel, the revolution of a clock, the closing of an orbit.

Physics, mathematics, music, painting, my politics, my love for you, my work, the star-dust of my body, the spirit that impels it, clocks diurnal, time perpetual, the roll, rough, tender, swamping, liberating, breathing, moving, thinking nature, human nature and the cosmos are patterned together.

But, Ashley, what are you afraid of?' 'Oh, nameless things. Things which sound very silly when they are put into words. Mostly of having life suddenly become too real, of being brought into personal, too personal, contact with some of the simple facts of life. It isn't that I mind splitting logs here in the mud, but I do mind what it stands for. I do mind, very much, the loss of the beauty of the old life I loved. Scarlett, before the war, life was beautiful. There was a glamor to it, a perfection and a completeness and a symmetry to it like Grecian art. Maybe it wasn't so to everyone. I know that now. But to me, living at Twelve Oaks, there was a real beauty to living. I belonged in that life. I was a part of it. And now it is gone and I am out of place in this new life, and I am afraid. Now, I know that in the old days it was a shadow show I watched. I avoided everything which was not shadowy, people and situations which were too real, too vital. I resented their intrusion.

<...> out of love of symmetry, just as people put two vases above a fireplace.

Seeing all life in perfect symmetry. Perceiving each day with righteous clarity. Living each moment in purposed reality. Believing each day is the start of eternity.

Requited love is only a pleasing symmetry, and symmetry is a kind of justice.

I have a feeling she loves symmetry like cats love catnip.

He did not say so, but the words behind the words told me that he would rather have launched me into a good marriage than watch me row against the tide at my own work. It remains that a woman with an incomplete emotional life has herself to blame, while a man with no time for his heart just needs a wife.

I never shoot for perfection or symmetry in doll making. It is our lovely flaws that make us each special.

Her face was a synthesis of perfect symmetry and unusual proportion; he could have gazed at it for hours, trying to locate the source of its fascination.

Perhaps it is worse when love has flowed freely to find it one day dammed.

[Donald] Keene observed [in a book entitled The Pleasures of Japanese Literature, 1988] that the Japanese sense of beauty has long sharply differed from its Western counterpart: it has been dominated by a love of irregularity rather than symmetry, the impermanent rather than the eternal and the simple rather than the ornate. The reason owes nothing to climate or genetics, added Keene, but is the result of the actions of writers, painters and theorists, who had actively shaped the sense of beauty of their nation. Contrary to the Romantic belief that we each settle naturally on a fitting idea of beauty, it seems that our visual and emotional faculties in fact need constant external guidance to help them decide what they should take note of and appreciate. 'Culture' is the word we have assigned to the force that assists us in identifying which of our many sensations we should focus on and apportion value to.

She had navigated her parents' hostile waters with a child's discretion, learning to keep from one the confessions of the other. Learning to hide love.

And thinking of her waiting to be found, while he was waiting to find, gave a beautiful symmetry to the love he felt for her.

Hence 8197. He liked 97 because it was the largest two-digit prime number, and he loved 81 because it was absolutely the only number out of all the literally infinite possibilities whose square root was also the sum of its digits. Square root of eighty-one was nine, and eight and one made nine. No other nontrivial number in the cosmos had that kind of sweet symmetry. Perfect.

Walk with me, memory to memory, the shared path, the mutual view. Walk with me. The past lies in wait. It is not behind. It seems to be in front. How else could it trip me as I start to run?

Writers are not called poets just because they make words rhyme. Poets respond to an inner calling that enables them to add symmetry to mere vocabulary in such a way as to resonate beyond our minds to our souls. Poetry though, however sublime, does not end with words. The most beautiful verses are poems of affection. A hug is a poem of tenderness spoken with our arms. The act of love is a sonnet written by the passion of two authors. A newborn child is a poem of Divinity in human form; whose birth is an expression of the miracle of creation. If our perceptions are such that we do not acknowledge any of the above, perhaps we need to reestablish the link to the Poet who lives in each of us.

Nothing could exceed in beauty the contrast between these two excellent creatures. One was old, with silver hairs and countenance beaming with benevolence and love; the younger was slight and graceful in his figure, and his features were moulded with the finest symmetry, yet his eyes and attitude expressed the utmost sadness and despondency.

It turns out that this new numerical system has a hidden property that the rational numbers didn’t have. This property will be our portal into the magical world of numbers. Namely, it turns out that this numerical system has symmetries.

I would order whatever she ordered, and, because I had already decided she was special, I could not imagine her ordering anything as mundane as water. It would be something more unusual, like pineapple juice with ice, and when I ordered the same thing we would have a moment of symmetry, symbiosis, serendipity—it didn’t matter what.

How else can I know you but through the body you rent? Forgive me if I love it too much.

Rights begin where love ends. Shall we argue over who is the most to blame?

What is it that you contain? The dead, time, light patterns of millenia opening in your gut. What is salted up in the memory of you? Memory past and memory future.

Thoughtful symmetry in a maze of tortuous confusion, Loving me is a battle, wrought with pain and illusion

he said it quietly but with such intensity that Valentina fell in love with him, though she had no name for the feeling and nothing to compare it to.

I would love you as a bird loves flight, as meat loves salt, as a dog loves chase, as water finds its own level. Or I would not love you at all.

She was used to the profound intimacy of her life with Julia, and she did not know that a cloud of hope and wild illusion is required to begin a relationship.

I love the waves of your lips The symmetries of your eyes The gazes The smiles

If I am a wound would love be my salve? If I am speechless would love be a mouth?

Addiction has its own mnemonics- skin, smell, the length of the loved one's fingers. In Tilo's case it was the slant of her eyes, the shape of her mouth, the almost invisible scar that slightly altered the symmetry of her lips and made her look defiant even when she did not mean to, the way her nostrils flared, announcing the displeasure even before hr eyes did.

Stone works with you. It reveals itself. But you must strike it right. Stone does not resent the chisel. It is not being violated. Its nature is to change. Each stone has its own character. It must be understood. Handle it carefully, or it will shatter. Never let stone destroy itself. Stone gives itself to skill and to love. To kicks and curses, to hurry and dislike, it closed a hard stone veil around its soft inner nature. It could be smashed by violence but never forced to fulfill. To sympathy, it yielded: grew even more luminous and sparkling, achieved fluid forms and symmetry.

The worse things are, the more they play philosopher. The more obvious the nonsense, the profounder their thoughts. The more lawlessness there is, the more laws. The more widespread the chaos, the more insistent their love of symmetry.

His words slow my pulse. His fingers, square and even, feel nonpareil entwined with mine. He is symmetry. He is color. "Never," I tell him. "I will never go away." "You're sure about that?" "I'm sure I can't live with a Ram-sized hole in my chest." "That would be a pretty big hole, I think," Ram says. "Don't be so sure. You're short." "Hey," Ram protests. "I worry for you on carnival rides." "I get on carnival rides just fine, thanks." "The operator doesn't stop you?" "Tim," He pauses. "Sometimes.

I also fell in love with Borges. He is a mathematician’s writer. His short stories are like mathematical proofs, delicately constructed and with ideas laced together effortlessly. Each step is taken with precision and watertight logic, yet the narrative is full of surprising twists and turns.

We didn’t just love each other and make each other laugh and share the same basic values—there was symmetry there, the way we complemented each other. We could have each other’s back, guard each other’s blind spots. We could be a team. Of course, that was another way of saying we were very different, in experience and in temperament.

Love happened at last, And we entered God's paradise, Sliding Under the skin of the water Like fish. We saw the precious pearls of the sea And were amazed. Love happened at last Without intimidation...with symmetry of wish. So I gave...and you gave And we were fair. It happened with marvelous ease Like writing with jasmine water, Like a spring flowing from the ground.

-Exposition: the workings of the actual past + the virtual past may be illustrated by an event well known to collective history, such as the sinking of the Titanic. The disaster as it actually occurred descends into obscurity as its eyewitnesses die off, documents perish + the wreck of the ship dissolves in its Atlantic grave. Yet a virtual sinking of the Titanic, created from reworked memories, papers, hearsay, fiction--in short, belief--grows ever 'truer.' The actual past is brittle, ever-dimming + ever more problematic to access + reconstruct: in contrast, the virtual past is malleable, ever-brightening + ever more difficult to circumvent/expose as fraudulent. -The present presses the virtual past into its own service, to lend credence to its mythologies + legitimacy to the imposition of will. Power seeks + is the right to 'landscape' the virtual past. (He who pays the historian calls the tune.) -Symmetry demands an actual + virtualfuture, too. We imagine how next week, next year, or 2225 will shape up--a virtual future, constructed by wishes, prophecies + daydreams. This virtual future may influence the actual future, as in a self-fulfilling prophecy, but the actual future will eclipse our virtual one as surely as tomorrow eclipses today. Like Utopia, the actual future + the actual past exist only in the hazy distance, where they are no good to anyone. -Q: Is there a meaningful distinction between one simulacrum of smoke, mirrors + shadows--the actual past--from another such simulacrum--the actual future? -One model of time: an infinite matryoshka doll of painted moments, each 'shell' (the present) encased inside a nest of 'shells' (previous presents) I call the actual past but which we perceive as the virtual past. The doll of 'now' likewise encases a nest of presents yet to be, which I call the actual future but which we perceive as the virtual future. -Proposition: I am in love with Luisa Ray.

Guardian spirits of mankind, have we thought about the powers that passion creates in human beings? Have we considered why a man could run through a field of fire to get to a woman he loves? Have we thought about the impact of love on the body of lovers? Have we considered the symmetry of its power? Have we considered what poetry incites in their souls, and the impress of endearments on a softened heart?

Prose vs. Poetry To a writer of prose a flower is a flower. To a poet a flower can be the origami of God's eye enfolding the cosmos; it is the luminous well of imagination bursting into pattern; it is the coalescence of infinite possibility into palpable reality; it is a confetti forest for dancing bumble bees; it is the flirtatious blush ofradial symmetry; it is the heartache of love manifest in a rose. For a true poet A FLOWER IS NOT A FLOWER.

Anybody who has done high school physics knows Newton’s Third Law. For every action there is an equal and opposite reaction. You push against a wall; it pushes back against you. I love the poetry hidden in these truths, in the many laws we’ve discovered that underpin the universal fabric. We search for meaning ever hungrier, perhaps even with desperation: the symmetry in the equations freaks us out; for all we know, there is just us on this lonely little marble in the inky void.

The black-haired man she had seen in the courtyard was indeed McKenna. He was even larger and more imposing than he had seemed at a distance. His features were blunt and strong, his bold, wide-bridged nose set with perfect symmetry between the distinct planes of his cheekbones. He was too masculine to be considered truly handsome- a sculptor would have tried to soften those uncompromising features. But somehow his hard face was the perfect setting for those lavish eyes, the clear blue-green brilliance shadowed by thick black lashes. No one else on earth had eyes like that. "McKenna," she said huskily, searching for any resemblance he might bear to the lanky, love-struck boy she had known. There was none. McKenna was a stranger now, a man with no trace of boyishness. He was sleek and elegant in well-tailored clothes, his glossy black hair cut in short layers that tamed its inherent tendency to curl. As he drew closer, she gathered more details... the shadow of bristle beneath his close-shaven skin, the glitter of a gold watch chain in his waistcoat, the brutal swell of muscle in his shoulders and thighs as he sat on a rock nearby.

Three injured. Three dead. That’s what all the news reports said. Six people caught bullets that night at Mystic—half of them died, while the other half lived. The neurotic asshole that exists inside of me loves the symmetry of it. Three has always been my favorite number. Three books in a trilogy. Three sheets to the wind. They say the third time is the charm. Three strikes and you’re out. Rock, paper, scissors... Beetlejuice, Beetlejuice, Beetlejuice... the good, the bad, and the ugly... need I go on? Hell, there are three good Star Wars movies. I’ll leave it up to you to figure out which ones I’m talking about. They say deaths come in threes, too.

The Choir And Music Of Solitude And Silence - Silence is a great blue bell Swinging and ringing, tinkling and singing, In measure’s pleasure, and in the supple symmetry of the soaring of the immense intense wings glinting against All the blue radiance above us and within us, hidden Save for the stars sparking, distant and unheard in their singing. And this is the first meaning of the famous saying, The stars sang. They are the white birds of silence And the meaning of the difficult famous saying that the sons and daughters of morning sang, Meant and means that they were and they are the children of God and morning, Delighting in the lights of becoming and the houses of being, Taking pleasure in measure and excess, in listening as in seeing. Love is the most difficult and dangerous form of courage. Courage is the most desperate, admirable and noble kind of love. So that when the great blue bell of silence is stilled and stopped or broken By the babel and chaos of desire unrequited, irritated and frustrated, When the heart has opened and when the heart has spoken Not of the purity and symmetry of gratification, but action of insatiable distraction’s dissatisfaction, Then the heart says, in all its blindness and faltering emptiness: There is no God. Because I am hope. And hope must be fed. And then the great blue bell of silence is deafened, dumbed, and has become the tomb of the living dead.

The gnarled pine, I would have said, touch it. This is China. Horticulturalists around the world have come to study it. Yet no one has ever been able to explain why it grows like a corkscrew, just as no one can adequately explain China. But like that tree, there it is, old, resilient, and oddly magnificent. Within that tree are the elements in nature that have inspired Chinese artists for centuries: gesture over geometry, subtlety over symmetry, constant flow over static form. And the temples, walk and touch them. This is China. Don't merely stare at these murals and statues. Fly up to the crossbeams, get down on your hands and knees, and press your head to the floor tiles. Hide behind that pillar and come eye to eye with its flecks of paint. Imagine that you are the interior decorator who is a thousand years in age. Start with a bit of Tibetan Buddhism, plus a dash each of animism and Taoism. A hodgepodge, you say? No, what is in those temples is an amalgam that is pure Chinese, a lovely shabby elegance, a glorious new motley that makes China infinitely intriguing. Nothing is ever completely thrown away and replaced. If one period of influence falls out of favor, it is patched over. The old views still exist, one chipped layer beneath, ready to pop through with the slightest abrasion. That is the Chinese aesthetic and also its spirit. Those are the traces that have affected all who have traveled along China's roads.

Blessedness is within us all It lies upon the long scaffold Patrols the vaporous hall In our pursuits, though still, we venture forth Hoping to grasp a handful of cloud and return Unscathed, cloud in hand. We encounter Space, fist, violin, or this — an immaculate face Of a boy, somewhat wild, smiling in the sun. He raises his hand, as if in carefree salute Shading eyes that contain the thread of God. Soon they will gather power, disenchantment They will reflect enlightenment, agony They will reveal the process of love They will, in an hour alone, shed tears. His mouth a circlet, a baptismal font Opening wide as the lips of a damsel Sounding the dizzying extremes. The relativity of vein, the hip of unrest For the sake of wing there is shoulder. For symmetry there is blade. He kneels, humiliates, he pierces her side. Offering spleen to the wolves of the forest. He races across the tiles, the human board. Virility, coquetry all a game — well played. Immersed in luminous disgrace, he lifts As a slave, a nymph, a fabulous hood As a rose, a thief of life, he will parade Nude crowned with leaves, immortal. He will sing of the body, his truth He will increase the shining neck Pluck airs toward our delight Of the waning The blossoming The violent charade But who will sing of him? Who will sing of his blessedness? The blameless eye, the radiant grin For he, his own messenger, is gone He has leapt through the orphic glass To wander eternally In search of perfection His blue ankles tattooed with stars.

My shaking jerked to a stop; heat flooded through me, stronger than before, but it was a new kind of heat—not a burning. It was a glowing. Everything inside me came undone as I stared at the tiny porcelain face of the half-vampire, half-human baby. All the lines that held me to my life were sliced apart in swift cuts, like clipping the strings to a bunch of balloons. Everything that made me who I was—my love for the dead girl upstairs, my love for my father, my loyalty to my new pack, the love for my other brothers, my hatred for my enemies, my home, my name, my self—disconnected from me in that second—snip, snip, snip—and floated up into space. I was not left drifting. A new string held me where I was. Not one string, but a million. Not strings, but steel cables. A million steel cables all tying me to one thing—to the very center of the universe. I could see that now—how the universe swirled around this one point. I’d never seen the symmetry of the universe before, but now it was plain.

Exposition: the workings of the actual past + the virtual past may be illustrated by an event well known to collective history, such as the sinking of the Titanic. The disaster as it actually occurred descends into obscurity as its eyewitnesses die off, documents perish + the wreck of the ship dissolves in its Atlantic grave. Yet a virtual sinking of the Titanic, created from reworked memories, papers, hearsay, fiction - in short, belief - grows ever “truer.” The actual past is brittle, ever-dimming + ever more problematic to access + reconstruct: in contrast, the virtual past is malleable, ever-brightening + ever more difficult to circumvent/expose as fraudulent. The present presses the virtual past into its own service, to lend credence to its mythologies + legitimacy to the imposition of will. Power seeks + is the right to “landscape” the virtual past. (He who pays the historian calls the tune.) Symmetry demands an actual + virtual future, too. We imagine how next week, next year, or 2225 will shape up - a virtual future, constructed by wishes, prophecies + daydreams. This virtual future may influence the actual future, as in a self-fulfilling prophecy, but the actual future will eclipse our virtual one as surely as tomorrow eclipses today. Like Utopia, the actual future + the actual past exist only in the hazy distance, where they are no good to anyone. Q: Is there a meaningful distinction between one simulacrum of smoke, mirrors + shadows - the actual past - from another such simulacrum - the actual future? One model of time: an infinite matryoshka doll of painted moments, each “shell” (the present) encased inside a nest of “shells” (previous presents) I call the actual past but which we perceive as the virtual past. The doll of “now” likewise encases a nest of presents yet to be, which I call the actual future but which we perceive as the virtual future. Proposition: I have fallen in love with Luisa Rey.

Those minutes were the beginning of his abandoning himself to a very strange kind of devotion, such a reeling, intoxicated sensation that the proud and portentous word ‘love’ is not quite right for it. It was that faithful, dog-like devotion without desire that those in mid-life seldom feel, and is known only to the very young and the very old. A love devoid of any deliberation, not thinking but only dreaming. He entirely forgot the unjust yet ineradicable disdain that even the clever and considerate show to those who wear a waiter’s tailcoat, he did not look for opportunities and chance meetings, but nurtured this strange affection in his blood until its secret fervour was beyond all mockery and criticism. His love was not a matter of secret winks and lurking glances, the sudden boldness of audacious gestures, the senseless ardour of salivating lips and trembling hands; it was quiet toil, the performance of those small services that are all the more sacred and sublime in their humility because they are intended to go unnoticed. After the evening meal he smoothed out the crumpled folds of the tablecloth where she had been sitting with tender, caressing fingers, as one would stroke a beloved woman’s soft hands at rest; he adjusted everything close to her with devout symmetry, as if he were preparing it for a special occasion. He carefully carried the glasses that her lips had touched up to his own small, musty attic bedroom, and watched them sparkle like precious jewellery by night when the moonlight streamed in. He was always to be found in some corner, secretly attentive to her as she strolled and walked about. He drank in what she said as you might relish a sweet, fragrantly intoxicating wine on the tongue, and responded to every one of her words and orders as eagerly as children run to catch a ball flying through the air. So his intoxicated soul brought an ever-changing , rich glow into his dull, ordinary life. The wise folly of clothing the whole experience in the cold, destructive words of reality was an idea that never entered his mind: the poor waiter François was in love with an exotic Baroness who would be for ever unattainable. For he did not think of her as reality, but as something very distant, very high above him, sufficient in its mere reflection of life. He loved the imperious pride of her orders, the commanding arch of her black eyebrows that almost touched one another, the wilful lines around her small mouth, the confident grace of her bearing. Subservience seemed to him quite natural, and he felt the humiliating intimacy of menial labour as good fortune, because it enabled him to step so often into the magic circle that surrounded her.

NO MATTER WHAT ANYONE TELLS YOU, being agonizingly crushed to death does not concentrate the mind in any way. Take it from me – I was being crushed and my mind was anything but concentrated. If you can believe it, the experience was the opposite, an expansion of thought that made the totality of existence as clear as crystal: why we have gravity, why all love is tragic, why dogs are nicer than cats, all of that.

I think my sacrifice was a counterweight in the great balance of justice. Because I was willing to give so much, Seka was willing to give so much. My actions in some sense inspired hers, even though neither of us knew what the other was planning. She probably slipped from camp with Mally in her arms the minute I swallowed the fatal dose. The universe loves such symmetry.

But Tilo had crept up on him, and become a kind of compulsion, an addiction almost. Addiction has its own mnemonics – skin, smell, the length of the loved one’s fingers. In Tilo’s case it was the slant of her eyes, the shape of her mouth, the almost ­invisible scar that slightly altered the symmetry of her lips and made her look defiant even when she did not mean to, the way her nostrils flared, announcing her displeasure even before her eyes did. The way she held her shoulders. The way she sat on the pot stark naked and smoked cigarettes. So many years of marriage, the fact that she was not young any more – and did nothing to pretend otherwise – didn’t change the way he felt. Because it had to do with more than all that. It was the haughtiness (despite the question mark over her ‘stock’, as his mother had not hesitated to put it). It had to do with the way she lived, in the country of her own skin. A country that issued no visas and seemed to have no consulates.

I, Zane Hunter, promise to stand by your side and sleep in your arms. I will risk my life for yours. I will die for you. There are only so many ways I can tell you how much I love you, but I vow to show you every day. We shall bear together whatever trouble and sorrow may lie upon us. You will never be alone. Even in death, our souls will find each other. I let you go once; I won’t do it again, Piper. I can’t lose you. Never.” His accent came across, punctuating his words, heavy and lyrical. It was beautiful. He was beautiful. “I marry you and bind my life and soul to yours.

And that same ‘with’ is even more evident when we turn to the relationship within the Godhead itself, the Trinity of Father, Son and Holy Spirit. God is three, which means God is a perfect symmetry of with, three beings wholly present to one another, without envy, without misunderstanding, without irritation, without selfishness, without two ganging up against the third, without anger, without anxiety, without mistrust. So present to one another, so rapt in love, and cherishing, and mutuality, and devotion, that they seem to transcend with and become in.

He liked 97 because it was the largest two-digit prime number, and he loved 81 because it was absolutely the only number out of all the literally infinite possibilities whose square root was also the sum of its digits. Square root of eighty-one was nine, and eight and one made nine. No other nontrivial number in the cosmos had that kind of sweet symmetry. Perfect.

The directionality and asymmetry of similarity relations are particularly noticeable in similes and metaphors,” Amos wrote. “We say ‘Turks fight like tigers’ and not ‘tigers fight like Turks.’ Since the tiger is renowned for its fighting spirit, it is used as the referent rather than the subject of the simile. The poet writes ‘my love is as deep as the ocean,’ not ‘the ocean is as deep as my love,’ because the ocean epitomizes depth.” When people compared one thing to another—two people, two places, two numbers, two ideas—they did not pay much attention to symmetry. To Amos—and to no one else before Amos—it followed from this simple observation that all the theories that intellectuals had dreamed up to explain how people made similarity judgments had to be false.

But the fact was, Sherrie Marla trusted him already. When he took the ice off, and showed to her his new symmetry, she didn't flinch. His face was him to her now. It was not a map or an indicator of some abstract idea. Turned out it was only the first impression he needed to alter.

Poetry vs. Prose To a writer of prose a flower is a flower. To a poet a flower can be the origami of God's eye enfolding the cosmos; it is the luminous well of imagination bursting into pattern; it is the coalescence of infinite possibility into palpable reality; it is a confetti forest for dancing bumble bees; it is the flirtatious blush ofradial symmetry; it is the heartache of love manifest in a rose. For a true poet A FLOWER IS NOT A FLOWER.

Dandy, I thought. When it gets too hot, the earth freezes over. Makes sense, though. A perfect incongruous symmetry. If life is filled with ironies, why shouldn’t nature be? Hard work leads to coronaries, love to heartbreak of another kind, life to death. As night follows day, sorrow follows joy. The affluent, many of whom labored mightily to get there, spawn indolent children. The kid from the ghetto gets an Ivy League scholarship, then is cut down in a gang fight at home. The rich get richer, the poor get poorer, and the meek shall inherit the shit.

The point is not that women necessarily fetishize these parts of men’s bodies, but that these parts can be measured easily and are good markers of overall symmetry. Men with symmetrical bodies also do well in their own sexual marketplace. They tend to have sex a few years earlier than other men. They also have sex earlier when courting a specific woman, and have two or three times as many partners than less symmetrical men. Their partners even experience them as better in bed! It turns out that a man’s physical symmetry can predict the likelihood of his female lover having an orgasm better than his earnings, investment in the relationship, or frequency of love-making [31]. Heterosexual men also prefer symmetrical women. This preference is evident in laboratory experiments as well as from behavioral observations. Physically symmetrical women have more sexual partners than less symmetrical women. It turns out that women with large and symmetrical breasts are more fertile than women with less symmetrical breasts. Women also become more symmetrical during ovulation. Symmetry in soft tissue as measured in women’s ears and third, fourth, and fifth fingers can increase up to 30 percent during ovulation [32]. We saw that sexual dimorphic features can drive attractiveness in male and female faces. Sexual dimorphic features also influence how animals and people

I need to tell you a story.' What about? Zachariah, Zachariah, my foundling boy. 'A boy. A boxer, a fighting man. A brother. No. About brothers, sisters. Foundlings, laid-in-the-streets. Fights, fighting. A boy, it all begins with the boy. My love. A wolf. Peter and the Wolf! Oh dear! I am very crazy! Let me—I must tell you this story.' Why? 'I'm frightened.' Of? 'Fractals. Patterns.' Ah, says the fish, looking at Rachel with his wise eyes. Chaos! 'Yes,' thinks Rachel. 'Chaos. Fearful symmetry.' Go home, says the fish, flipping over, flashing in light, and diving down into the great blue sea.

The first mile was torture. I passed beneath the massive stone arch at the entrance to the school, pulled off the road and threw up. I felt better and ran down the long palm-lined drive to the Old Quad. Lost somewhere in the thicket to my left was the mausoleum containing the remains of the family by whom the university had been founded. Directly ahead of me loomed a cluster of stone buildings, the Old Quad. I stumbled up the steps and beneath an archway into a dusty courtyard which, with its clumps of spindly bushes and cacti, resembled the garden of a desert monastery. All around me the turrets and dingy stone walls radiated an ominous silence, as if behind each window there stood a soldier with a musket waiting to repel any invader. I looked up at the glittering facade of the chapel across which there was a mosaic depicting a blond Jesus and four angels representing Hope, Faith, Charity, and, for architectural rather than scriptural symmetry, Love. In its gloomy magnificence, the Old Quad never failed to remind me of the presidential palace of a banana republic. Passing out of the quad I cut in front of the engineering school and headed for a back road that led up to the foothills. There was a radar installation at the summit of one of the hills called by the students the Dish. It sat among herds of cattle and the ruins of stables. It, too, was a ruin, shut down for many years, but when the wind whistled through it, the radar produced a strange trilling that could well be music from another planet. The radar was silent as I slowed to a stop at the top of the Dish and caught my breath from the upward climb. I was soaked with sweat, and my headache was gone, replaced by giddy disorientation. It was a clear, hot morning. Looking north and west I saw the white buildings, bridges and spires of the city of San Francisco beneath a crayoned blue sky. The city from this aspect appeared guileless and serene. Yet, when I walked in its streets what I noticed most was how the light seldom fell directly, but from angles, darkening the corners of things. You would look up at the eaves of a house expecting to see a gargoyle rather than the intricate but innocent woodwork. The city had this shadowy presence as if it was a living thing with secrets and memories. Its temperament was too much like my own for me to feel safe or comfortable there. I looked briefly to the south where San Jose sprawled beneath a polluted sky, ugly and raw but without secrets or deceit. Then I stretched and began the slow descent back into town.

I think you’ve taught him his lesson, Oren.” The young lady pushed the barrel away from Connell’s face. “I don’t think he’ll manhandle me again.” When she gave him a “so-there” look and then raised her chin, a spark of self-pride flamed to life in his gut. His mam had always made sure he knew how to treat a girl, but this was obviously no ordinary girl. “If anyone was doing the manhandling, it was you.” Connell rubbed the sore spot on his forehead. “I didn’t ask you to sit on my lap.” Her eyes widened, revealing a woodsy brown that was as dark and rich as fine-grained walnut. The color matched the thick curls that had come loose from the knitted hat covering her head. Oren stood back, tucked his gun under his arm, and tapped his black derby up. His eyebrows followed suit. The girl opened her mouth to speak but then clamped it shut, apparently at a loss for words. A wisp of satisfaction curled through Connell. After the way she’d let the old man humiliate him, he didn’t mind letting her squirm for a minute. But only for a minute. Mam’s training was ingrained too deeply to wish the girl ill will for more than that. He shoved himself out of the chair and straightened his aching back. “Look,” he said, plucking a last dirty sock from his shoulder. “Can we start over? I’m Connell McCormick.” She hesitated and then tilted her head at him. “And I’m Miss Young.” “I sure hope you’ll forgive me if I’ve caused you any . . . discomfort.” Surprise flitted across her elegant, doelike features. “Well now. With that polite apology, how could I refuse to forgive you?” He gave her a smile and waited. The polite thing for her to do was offer her own apology and perhaps even a thank-you for his attempts to save her from Jimmy Neil. But she only returned the smile, one that curved her lovely full lips in perfect symmetry but didn’t make it into the depths of her eyes.

With flamenco I was transported into a world where everyone is beautiful, because beauty is in everything, the glorious and the ugly; because flamenco celebrates living, through the cries of pain and the cries of joy, the symmetry of a young face and the character of an old face.

I will never forget the asymmetry of your eyes. it is transformative symmetry. it is the best symmetry. It is the symmetry that is beauty.

All dahlias are beautiful in their own way! I love them because they have the most perfect symmetry and come in a rainbow of color options.

We’ve already noted how physicists love symmetry because, in general, it makes life easier. If the universe obeys a given symmetry, the laws of physics will be the same for everything in it with respect to that symmetry. If a symmetry of the universe is broken, we have to start worrying about physics being different for different things and life gets complicated.

Jefferson loved order, symmetry, and balance, and there was no place on the mountaintop more orderly, symmetrical, and balanced than the garden,

Thus the surface of all my virtues had a less imposing reverse side. It is true that, in another sense, my shortcomings turned to my advantage. For example, the obligation I felt to conceal the vicious part of my life gave me a cold look that was confused with the look of virtue; my indifference made me loved; my selfishness wound up in my generosities. I stop there, for too great a symmetry would upset my argument. But after all, I presented a harsh exterior and yet could never resist the offer of a glass or of a woman! I was considered active, energetic, and my kingdom was the bed. I used to advertise my loyalty and I don’t believe there is a single person I loved that I didn’t eventually betray. Of course, my betrayals didn’t stand in the way of my fidelity; I used to knock off a considerable pile of work through successive periods of idleness; and I had never ceased aiding my neighbor, thanks to my enjoyment in doing so. But however much I repeated such facts to myself, they gave me but superficial consolations. Certain mornings, I would get up the case against myself most thoroughly, coming to the conclusion that I excelled above all in scorn. The very people I helped most often were the most scorned. Courteously, with a solidarity charged with emotion, I used to spit daily in the face of all the blind.

I would give my kids a copy of Richard Feynman’s Six Easy Pieces and Six Not-So-Easy Pieces: Einstein’s Relativity, Symmetry, and Space-Time. Richard Feynman is a famous physicist. I love both his demeanor as well as his understanding of physics.

Transcendence: help others realize their potential • Self-actualization: realize our own potential, self-fulfillment, peak experiences • Aesthetic: symmetry, order, beauty, balance • Learning: know, understand, mentally connect • Esteem: achieve, be competent, gain approval, independence, status • Belonging: love, family, friends, affection

Similarly, the best-loved public squares and courtyards all have a focal point: a fountain, obelisk, or other object of interest in the middle. An object in the center of a space tends to change the space around it, anchoring a blank expanse. It may be that defining a center heightens the sense of symmetry that helps us get our bearings.

MAINTAINING INTACTNESS OF THE SILLY Small cellulite of the upper arms Maintaining intactness of the silly Putty genital I’d rather eat Than fuck I’d rather read than quote Unquote make love, yearning to turn From symmetry my eye wants To goggle. I was looking at his sleeping Countenance, as steadfast as one dead The moon was rotting

Time and space Like an avalanche Beyond the age of possibilities Too heavy to be seen The super partner spinning and pops into existence I see your reflection Avoiding changes and divergences Love get smaller, we limited with the small mind try to control the flow New phenomena inversely proportional Momentum is all that matters We must let it all change The symmetry was not preserved Look forward and absorb the moment BOOK: LIFTING THE VAIL BY: A. M. FRITH

Addiction has its own mnemonics- skin, smell, the length of the loved one's fingers. In Tilo's case it was the slant of her eyes, the shape of her mouth, the almost invisible scar that slightly altered the symmetry of her lips and made her look defiant even when she did not mean to, the way her nostrils flared, announcing the displeasure even before her eyes did.

Brian Wecht was born in New Jersey to an interfaith couple. His father ran an army-navy store and enjoyed going to Vegas to see Elvis and Sinatra. Brian loved school, especially math and science, but also loved jazz saxophone and piano. “A large part of my identity came from being a fat kid who was bullied through most of my childhood,” he said. “I remember just not having many friends.” Brian double majored in math and music and chose graduate school in jazz composition. But when his girlfriend moved to San Diego, he quit and enrolled in a theoretical physics program at UC San Diego. Six months later the relationship failed; six years later he earned a PhD. When he solved a longstanding open problem in string theory (“the exact superconformal R-symmetry of any 4d SCFT”), Brian became an international star and earned fellowships at MIT, Harvard, and the Institute for Advanced Study in Princeton, New Jersey. He secured an unimaginable job: a lifetime professorship in particle physics in London. He was set. Except. Brian never lost his interest in music. He met his wife while playing for an improv troupe. He started a comedic band with his friend Dan called Ninja Sex Party. “I was always afraid it was going to bite me in the ass during faculty interviews because I dressed up like a ninja and sang about dicks and boning.” By the time Brian got to London, the band’s videos were viral sensations. He cried on the phone with Dan: Should they try to turn their side gig into a living? Brian and his wife had a daughter by this point. The choice seemed absurd. “You can’t quit,” his physics adviser said. “You’re the only one of my students who got a job.” His wife was supportive but said she couldn’t decide for him. If I take the leap and it fails, he thought, I may be fucking up my entire future for this weird YouTube career. He also thought, If I don’t jump, I’ll look back when I’m seventy and say, “Fuck, I should have tried.” Finally, he decided: “I’d rather live with fear and failure than safety and regret.” Brian and his family moved to Los Angeles. When the band’s next album was released, Ninja Sex Party was featured on Conan, profiled in the Washington Post, and reached the top twenty-five on the Billboard charts. They went on a sold-out tour across the country, including the Brooklyn Bowl in Las Vegas.

I’ve been the queen of symmetry and everything had to be in identical balance, no matter how you looked at it. But I’ve realized that sometimes things can be a little different, almost vastly different, yet make perfect sense when they are brought together. Sometimes differences are what make things symmetrical.

It was true. Being one of four sisters always felt like being part of something magic. Once Bonnie noticed it, she saw the world was made up of fours. The seasons. The elements. The points on a compass. Four suits in a pack of cards. Four chambers of a human heart. Bonnie loved being a part of this mystical number, this perfect symmetry of two sets of two. Until you know my sisters, she used to say to Pavel, you don’t know me.

To love order is to love life: love of order is therefore love of symmetry, and love of symmetry is a memory of eternal truth,