Symphony Sayings Quotes

Someone real," I hear myself saying. "Someone who never has to pretend, and who I never have to pretend around. Someone who's smart, but knows how to laugh at himself. Someone who would listen to a symphony and start to cry, because he understands music can be too big for words. Someone who knows me better than I know myself. Someone I want to talk to first thing in the morning and last thing at night. Someone I feel like I've known my whole life, even if I haven't.

Around us the night creatures have their say. We are surrounded by a symphony of crickets and frogs. Neither of us feels the need to speak, and I suppose that is one of the qualities I find comforting in Kartik. We can be alone together.

Our DNA is coded to harmonise the frequency of the atoms we use to build ourselves. The frequencies of the subatomic particles making up the atoms are changed subtly enough to do this but not enough to change their structure. You could say throughout our development, from birth to death, our genes are composing a harmonic symphony that makes us what we are. It's what makes us individual; it's our life force, our soul.

Because memory…is everything. Physically speaking, a memory is nothing but a specific combination of neurons firing together—a symphony of neural activity. But in actuality, it’s the filter between us and reality. You think you’re tasting this wine, hearing the words I’m saying, in the present, but there’s no such thing. The neural impulses from your taste buds and your ears get transmitted to your brain, which processes them and dumps them into working memory—so by the time you know you’re experiencing something, it’s already in the past. Already a memory.

I don't know if this is true to you but for me sometimes it gets so bad that anything else say like looking at a bird on an overhead power line seems as great as a Beethoven symphony. then you forget it and you're back again.

I miss your voice because it is a symphony; your scent because it is a treasure; your smile because it is a jewel; your hug because it is a masterpiece; and your kiss because it is a miracle.

I say the same thing about the death of James Wait. "Oh, well -- he wasn't going to write the Beethoven's Ninth Symphony anyway.

And I decided that there might be things I would never understand, no matter how hard I tried. Though try I would. And that there would be people who would never hear my one small voice, no matter what I had to say. But then a better thought occurred, and this was the one I carried away with me that day: If my life was to be just a single note in an endless symphony, how could I not sound it out for as long and as loudly as I could? (p228)

The writer's silent mind is a period of intermission before orchestrating a symphony of words.

Perfectionism is a particularly evil lure for women, who, I believe, hold themselves to an even higher standard of performance than do men. There are many reasons why women’s voices and visions are not more widely represented today in creative fields. Some of that exclusion is due to regular old misogyny, but it’s also true that—all too often—women are the ones holding themselves back from participating in the first place. Holding back their ideas, holding back their contributions, holding back their leadership and their talents. Too many women still seem to believe that they are not allowed to put themselves forward at all, until both they and their work are perfect and beyond criticism. Meanwhile, putting forth work that is far from perfect rarely stops men from participating in the global cultural conversation. Just sayin’. And I don’t say this as a criticism of men, by the way. I like that feature in men—their absurd overconfidence, the way they will casually decide, “Well, I’m 41 percent qualified for this task, so give me the job!” Yes, sometimes the results are ridiculous and disastrous, but sometimes, strangely enough, it works—a man who seems not ready for the task, not good enough for the task, somehow grows immediately into his potential through the wild leap of faith itself. I only wish more women would risk these same kinds of wild leaps. But I’ve watched too many women do the opposite. I’ve watched far too many brilliant and gifted female creators say, “I am 99.8 percent qualified for this task, but until I master that last smidgen of ability, I will hold myself back, just to be on the safe side.” Now, I cannot imagine where women ever got the idea that they must be perfect in order to be loved or successful. (Ha ha ha! Just kidding! I can totally imagine: We got it from every single message society has ever sent us! Thanks, all of human history!) But we women must break this habit in ourselves—and we are the only ones who can break it. We must understand that the drive for perfectionism is a corrosive waste of time, because nothing is ever beyond criticism. No matter how many hours you spend attempting to render something flawless, somebody will always be able to find fault with it. (There are people out there who still consider Beethoven’s symphonies a little bit too, you know, loud.) At some point, you really just have to finish your work and release it as is—if only so that you can go on to make other things with a glad and determined heart. Which is the entire point. Or should be.

Holy water cannot help you now A thousand armies couldn’t keep me out See, I’ve come to burn your kingdom down I’ve come to smoke you out Seven devils all around you Seven devils in my house See, I was dead when I woke up this morning, And I’ll be dead before the day is done And now all your love will be exorcised And we will find your sayings to be paradox And it’s an even sum It’s a symphony It’s a battle cry They can keep me alive ‘Til I tear the walls ‘Til I slave you heart And they take your soul And what have we done?

To me, the summer wind in the Midwest is one of the most melancholy things in all life. It comes from so far away and blows so gently and yet so relentlessly; it rustles the leaves and the branches of the maple trees in a sort of symphony of sadness, and it doesn't pass on and leave them still. It just keeps coming, like the infinite flow of Old Man River. You could -- and you do -- wear out your lifetime on the dusty plains with that wind of futility blowing in your face. And when you are worn out and gone, the wind -- still saying nothing, still so gentle and sad and timeless -- is still blowing across the prairies, and will blow in the faces of the little men who follow you, forever.

I feel the music. I fell his pulse beneath my hands, but mostly I feel us. We're the music of this moment. He's the beat that I'm dancing to. And our music is a beautiful symphony.

I say the same thing about the death of James Wait: "Oh, well - he wasn't going to write Beethoven's Ninth Symphony anyway." This wry comment on how little most of us were likely to accomplish in life, no matter how long we lived, isn't my own invention.

That’s the thing, Beauty. With me, you rarely have to say a word.” “You keep calling me that.” “Yeah, well, it’s a large part of the reason I drove to Austin to collect the girl I met. Because that’s all I see when she reveals herself to me.” He runs a gentle thumb across my lower lip. “Raw. Fucking. Beauty.

And the goblins--they had not really been there at all? They were only the phantoms of cowardice and unbelief? One healthy human impulse would dispel them? Men like the Wilcoxes, or ex-President Roosevelt, would say yes. Beethoven knew better. The goblins really had been there. They might return--and they did. It was as if the splendour of life might boil over and waste to steam and froth. In its dissolution one heard the terrible, ominous note, and a goblin, with increased malignity, walked quietly over the universe from end to end. Panic and emptiness! Panic and emptiness! Even the flaming ramparts of the world might fall. Beethoven chose to make all right in the end. He built the ramparts up. He blew with his mouth for the second time, and again the goblins were scattered. He brought back the gusts of splendour, the heroism, the youth, the magnificence of life and of death, and, amid vast roarings of a superhuman joy, he led his Fifth Symphony to its conclusion. But the goblins were there. They could return. He had said so bravely, and that is why one can trust Beethoven when he says other things.

A witer's mind is NEVER silent. It is always conducting the next symphony of words.

She bursts into laughter. I can tell she wasn’t expecting me to say that. But I’m so glad I did. Hearing her laugh is like listening to the best kind of symphony.

...I'm not saying I needed my life to be a symphony - I just never thought it'd turn out to be a country song.

Poets represent love as sculptors design beauty, as musicians create melody; that is to say, endowed with an exquisite nervous organization, they gather up with discerning ardor the purest elements of life, the most beautiful lines of matter, and the most harmonious voices of nature. There lived, it is said, at Athens a great number of beautiful girls; Praxiteles drew them all one after another; then from these diverse types of beauty, each one of which had its defects, he formed a single faultless beauty and created Venus. The man who first created a musical instrument, and who gave to harmony its rules and its laws, had for a long time listened to the murmuring of reeds and the singing of birds. Thus the poets, who understand life, after knowing much of love, more or less transitory, after feeling that sublime exaltation which real passion can for the moment inspire, eliminating from human nature all that degrades it, created the mysterious names which through the ages fly from lip to lip: Daphnis and Chloe, Hero and Leander, Pyramus and Thisbe. To try to find in real life such love as this, eternal and absolute, is but to seek on public squares a woman such as Venus, or to expect nightingales to sing the symphonies of Beethoven.

KPS is not, and I say this with absolutely no slight intended, a brooding symphony of a novel. It’s a pop song. It’s meant to be light and catchy, with three minutes of hooks and choruses for you to sing along with, and then you’re done and you go on with your day, hopefully with a smile on your face. I had fun writing this, and I needed to have fun writing this. We all need a pop song from time to time, particularly after a stretch of darkness.

My wife says books aren't real." "Thank God for that. You can shut them, say, 'Hold on a moment.' You play God to it. But who has ever torn himself from the claw that encloses you when you drop a seed in a TV and parlour? It grows you any shape it wishes! It is an environment as real as the world. It becomes truth and is the truth. Books can be beaten down with reason. But with all my knowledge and scepticism, I have never been able to argue with a one-hundred piece symphony orchestra, full colour, three dimension, and I being in and part of those incredible parlours.

Symphonies begin with one note; fires with one flame; gardens with one flower; and masterpieces with one stroke.

One note does not make a symphony; one artist does not make an orchestra.

He was the second violin and a secret poet, which is to say that no one in the Symphony knew he wrote poetry except Kirsten and the seventh guitar.

Here’s to the misfits and foolish ones who think differently. They’re not fond of simplicity. They live unconventionally existing at a different level of intensity. They add elasticity and flexibility to what’s inflexibly rigid, bringing warmth to the frigid systems of existence. You can hate them acidicly, discredit their credibility or even oppose them ritualistically. Look down on them cynically, say they became great accidentally, rain on them torrentially or see brilliance academically. You can look and see density or see a lovely symphony. About the only thing you can’t do is disqualify their eligibility. Because they change history. Everything in existence moves them restlessly on to destiny backed by infinity. Their spirit is immensity, they overcome resiliently and follow their hearts existentially. Though they may be misunderstood until the next century, we see their opponents’ adrenaline as only minimally convincing, simply for a time because in them there’s a tendency for the divine to visit earth coincidentally. And while others may see misfits and foolishness we see wisdom and genius because the ones crazy enough to think they can live and love limitlessly are the ones who actually do.

Pribram realized that if the holographic brain model was taken to its logical conclusions, it opened the door on the possibility that objective reality—the world of coffee cups, mountain vistas, elm trees, and table lamps—might not even exist, or at least not exist in the way we believe it exists. Was it possible, he wondered, that what the mystics had been saying for centuries was true, reality was maya, an illusion, and what was out there was really a vast, resonating symphony of wave forms, a "frequency domain" that was transformed into the world as we know it only after it entered our senses?

Usually, the murmur that rises up from Paris by day is the city talking; in the night it is the city breathing; but here it is the city singing. Listen, then, to this chorus of bell-towers - diffuse over the whole the murmur of half a million people - the eternal lament of the river - the endless sighing of the wind - the grave and distant quartet of the four forests placed upon the hills, in the distance, like immense organpipes - extinguish to a half light all in the central chime that would otherwise be too harsh or too shrill; and then say whetehr you know of anything in the world more rich, more joyous, more golden, more dazzling, than this tumult of bells and chimes - this furnace of music - these thousands of brazen voices, all singing together in flutes of stone three hundred feet high, than this city which is but one orchestra - this symphony which roars like a tempest.

So perhaps the reason I shuddered at the idea of writing something about 'Christian art' is that to paint a picture or to write a story or to compose a song is an incarnational activity. The artist is a servant who is willing to be a birth-giver. In a very real sense the artist (male or female) should be like Mary, who, when the angel told her that she was to bear the Messiah, was obedient to the command. Obedience is an unpopular word nowadays, but the artist must be obedient to the work, whether it be a symphony, a painting, or a story for a small child. I believe that each work of art, whether it is a work of great genius or something very small, comes to the artist and says 'Here I am. Enflesh me. Give birth to me.' And the artist either says 'My soul doth magnify the Lord' and willingly becomes the bearer of the work, or refuses; but the obedient response is not necessicarily a conscious one, and not everyone has the humble, courageous obedience of Mary.

If a bird does not bring out all of the songs on its heart, all its symphonies die inside.

A bird that sings too much will only lose its voice, but a bird that does not sing at all will lose its symphonies.

It wasn't a wedding a small girl dreams of - the white lace dress and a flowing veil. There were no bridesmaids or a symphony orchestra or long trails of white roses. But what does a small girl know of real love?

The classics constitute an almost infallible process for awakening the soul to its full stature. In coming to know a classic, one has made a friend for life. It can be recalled to the mind and 'read' all over again in the imagination. And actually perusing the text anew provides a joy that increases with time. These marvelous works stand many rereadings without losing their force. In fact, they almost demand rereading, as a Beethoven symphony demands replaying. We never say of a music masterpiece, 'Oh I've heard that!' Instead, we hunger to hear it again to take in once more, with new feeling and insight, its long-familiar strains.

Because memory…is everything. Physically speaking, a memory is nothing but a specific combination of neurons firing together—a symphony of neural activity. But in actuality, it’s the filter between us and reality. You think you’re tasting this wine, hearing the words I’m saying, in the present, but there’s no such thing. The neural impulses from your taste buds and your ears get transmitted to your brain, which processes them and dumps them into working memory—so by the time you know you’re experiencing something, it’s already in the past. Already a memory.” Helena leans forward, snaps her fingers. “Just what your brain does to interpret a simple stimulus like that is incredible. The visual and auditory information arrive at your eyes and ears at different speeds, and then are processed by your brain at different speeds. Your brain waits for the slowest bit of stimulus to be processed, then reorders the neural inputs correctly, and lets you experience them together, as a simultaneous event—about half a second after what actually happened. We think we’re perceiving the world directly and immediately, but everything we experience is this carefully edited, tape-delayed reconstruction.

Obedience is an unpopular word nowadays, but the artist must be obedient to the work, whether it be a symphony, a painting, or a story for a small child. I believe that each work of art, whether it is a work of great genius or something very small, comes to the artist and says, "Here I am, Enflesh me. Give birth to me." And the artist either says, "My soul doth magnify the Lord," and willingly becomes the bearer of the work, or refuses; but the obedient response is not necessarily a conscious one, and not everyone has the humble, courageous obedience of Mary.

A man comes to Mozart and wants to become a composer.  Mozart says that they have to study theory for a couple of years, that they should study orchestration and become proficient at the piano, and goes on like this.  Finally, the man says “but you wrote your first symphony when you were 8 years old.”  Mozart says “Yes, but I didn’t ask anybody.

The fact is that odors and flavors are created entirely inside our heads. Think of something delicious—a moist, gooey, warm chocolate brownie fresh from the oven, say. Take a bite and savor the velvety smoothness, the rich heady waft of chocolate that fills your head. Now consider the fact that none of those flavors or aromas actually exist. All that is really going in your mouth is texture and chemicals. It is your brain that reads these scentless, flavorless molecules and vivifies them for your pleasure. Your brownie is sheet music. It is your brain that makes it a symphony.

Sometimes life does not give us everything that we want. But then that is what life is all about. You can't have happiness all the time. And neither can you have sadness all the time. But you can create a symphony out of happiness and sadness.

SOMETIMES THE TRAVELING SYMPHONY thought that what they were doing was noble. There were moments around campfires when someone would say something invigorating about the importance of art, and everyone would find it easier to sleep that night.

RESISTANCE AND PROCRASTINATION   Procrastination is the most common manifestation of Resistance because it’s the easiest to rationalize. We don’t tell ourselves, “I’m never going to write my symphony.” Instead we say, “I am going to write my symphony; I’m just going to start tomorrow.

We got to the moment when I wake up from being "mostly dead" and say: "I'll beat you both apart! I'll take you both together!", Fezzik cups my mouth with his hand, and answers his own question to Inigo as to how long it might be before Miracle Max's pill begins to take effect by stating: "I guess not very long." As soon as he delivered that line, there issued forth from Andre' one of the most monumental farts any of us had ever heard. Now I suppose you wouldn't expect a man of Andre's proportions to pass gas quietly or unobtrusively, but this particular one was truly epic, a veritable symphony of gastric distress that roared for more than several seconds and shook the very foundations of the wood and plaster set were now grabbing on to out of sheer fear. It was long enough and loud enough that every member of the crew had time to stop what they were doing and take notice. All I can say is that it was a wind that could have held up in comparison to the one Slim Pickens emitted int eh campfire scene in Mel Brooks's Blazing Saddles, widely acknowledged as the champion of all cinematic farts. Except of course, this one wasn't in the script.

Why do you haunt me? You, like a tattoo on my tongue, like the bay leaf at the bottom of every pan. You who sprawled out beside me and sang my horoscope to a Schubert symphony, something about travel and money again, and we lay there, both of our breaths bad, both of our underwear dangling elastic, and then you turned toward me with a gaze like two matches, putting the horoscope aside, you traced my buried ribs with your index finger, lingered at my collarbone, admiring it as one might a flying buttress, murmuring: Nice clavicle. And me, too new at it and scared, not knowing what to say, whispering: You should see my ten-speed.

I am into classical music, in fact,” I say. “It’s been around for more than a thousand years, its composers have more name recognition than whatever ‘indie’ music you’re listening to right now, and symphonies sell out millions of performances a year. So go ahead, tell me classical music is tedious or boring or inferior.

partially digested. Like someone ate them from the inside out.” The room went silent for a minute, then I said, “That is creepy.” “I’ll say,” Vic said with a nod. “Maybe some kind of animal ate the body parts, after they were dead,” I suggested. “Yeah, sure, I’d say it was a gerbil but it’s the wrong hole,” Tate said.

Because life is a symphony it must have its C Minor. Days there be when we hear only a discord of sharps and flats, and we wonder whether harmony will ever be restored. On other days we hear only an ominous, deep strain which seems to say that hope is fled. But why this chill despair? Symphonies are a blending of many tones, high and low, over and under, major and minor. One day cannot make a life a whole any more than shadows can make a picture or minor notes a symphony. We need to hear life's song, not as the discord of a single day, but as the completed harmony of all the years. Then will today's sorrow and tomorrow's disappointment ring forth in major key as glorious melody.

Where, then, is any particular gene—say, the gene for long legs in humans? This is a little like asking where is Beethoven’s Piano Sonata in E minor. Is it in the original handwritten score? The printed sheet music? Any one performance—or perhaps the sum of all performances, historical and potential, real and imagined? The quavers and crotchets inked on paper are not the music. Music is not a series of pressure waves sounding through the air; nor grooves etched in vinyl or pits burned in CDs; nor even the neuronal symphonies stirred up in the brain of the listener. The music is the information. Likewise, the base pairs of DNA are not genes. They encode genes. Genes themselves are made of bits.

Love is the soul's music; all its songs are symphonies.

Good deeds are the highest notes in life's symphony.

There were many cynical things a veteran might say to such a thoughtful recruit, and one of those was: “Don’t worry about it. He wasn’t going to write Beethoven’s Ninth Symphony anyway.” ***

I once was the guest of the week on a British radio show called Desert Island Discs. You have to choose the eight records you would take with you if marooned on a desert island. Among my choices was Mache dich mein Herze rein from Bach’s St Matthew Passion. The interviewer was unable to understand how I could choose religious music without being religious. You might as well say, how can you enjoy Wuthering Heights when you know perfectly well that Cathy and Heathcliff never really existed? But there is an additional point that I might have made, and which needs to be made whenever religion is given credit for, say, the Sistine Chapel or Raphael’s Annunciation. Even great artists have to earn a living, and they will take commissions where they are to be had. I have no reason to doubt that Raphael and Michelangelo were Christians—it was pretty much the only option in their time—but the fact is almost incidental. Its enormous wealth had made the Church the dominant patron of the arts. If history had worked out differently, and Michelangelo had been commissioned to paint a ceiling for a giant Museum of Science, mightn’t he have produced something at least as inspirational as the Sistine Chapel? How sad that we shall never hear Beethoven’s Mesozoic Symphony, or Mozart’s opera The Expanding Universe. And what a shame that we are deprived of Haydn’s Evolution Oratorio—but that does not stop us from enjoying his Creation.

The truth is you already know what it’s like. You already know the difference between the size and speed of everything that flashes through you and the tiny inadequate bit of it all you can ever let anyone know. As though inside you is this enormous room full of what seems like everything in the whole universe at one time or another and yet the only parts that get out have to somehow squeeze out through one of those tiny keyholes you see under the knob in older doors. As if we are all trying to see each other through these tiny keyholes. But it does have a knob, the door can open. But not in the way you think. But what if you could? Think for a second — what if all the infinitely dense and shifting worlds of stuff inside you every moment of your life turned out now to be somehow fully open and expressible afterward, after what you think of as you has died, because what if afterward now each moment itself is an infinite sea or span or passage of time in which to express it or convey it, and you don’t even need any organized English, you can as they say open the door and be in anyone else’s room in all your own multiform forms and ideas and facets? Because listen — we don’t have much time, here’s where Lily Cache slopes slightly down and the banks start getting steep, and you can just make out the outlines of the unlit sign for the farmstand that’s never open anymore, the last sign before the bridge — so listen: What exactly do you think you are? The millions and trillions of thoughts, memories, juxtapositions — even crazy ones like this, you’re thinking — that flash through your head and disappear? Some sum or remainder of these? Your history? Do you know how long it’s been since I told you I was a fraud? Do you remember you were looking at the respicem watch hanging from the rearview and seeing the time, 9:17? What are you looking at right now? Coincidence? What if no time has passed at all?* The truth is you’ve already heard this. That this is what it’s like. That it’s what makes room for the universes inside you, all the endless inbent fractals of connection and symphonies of different voices, the infinities you can never show another soul. And you think it makes you a fraud, the tiny fraction anyone else ever sees? Of course you’re a fraud, of course what people see is never you. And of course you know this, and of course you try to manage what part they see if you know it’s only a part. Who wouldn’t? It’s called free will, Sherlock. But at the same time it’s why it feels so good to break down and cry in front of others, or to laugh, or speak in tongues, or chant in Bengali — it’s not English anymore, it’s not getting squeezed through any hole. So cry all you want, I won’t tell anybody.

Sobriety diminishes, discriminates, and says no; drunkenness expands, unites and says yes. It is, in fact, the great exciter of the Yes function in man,” James wrote of the alcoholic high. “To the poor and the unlettered it stands in the place of symphony concerts and of literature. . . . The drunken consciousness is one bit of the mystic consciousness, and our total opinion of it must find its place in our opinion of that larger whole.

She looked me in the eye without saying anything. We both knew what was going to happen next. There would never be a better moment. I leaned over and kissed her on the lips and if we had have been actors in a movie, the camera would have panned upwards at that point to capture fireworks exploding in the sky. I didn't need any fireworks or orchestral symphonies to complete the moment though, because for me it was perfect exactly the way it was.

I never thought people actually woke up the way I did that morning. I always figured it was hyperbole and massive overcompensation to say that you woke up grinning, woke up in a state of contentment and excitement for the smallest things. Even while I was in love formerly, it seemed more like a comfortable thing rather than a giddy, overwhelming happiness. Realize, then, that I had never been joined in a mutual state of infatuation with someone else. My infatuations tended to be unrequited, accompanied by a sense of muted sadness. I sat up at 7:00a.m. without even waiting for the alarm, and kept still there, smiling, looking at nothing and going over yesterday’s conversations, the fevered symphony of emotion ringing forever in my ears. I fell back and actually laughed to myself, reaching for my glasses to slide them on as I stretched out my back comfortably in a lazy, half-waking state. You are in love.

Be a man. Not any old man, not mankind, but manhood. To do this you don’t need to play pro football and grow hair on your chest and seduce every third woman you meet long as she’s female. All you have to do is hunt, fish (or talk sense about ’em as if you had) and go bug-eyed when the girls go by. If a sunset moves you so much you have to express yourself, do it with a grunt and a dirty word. Or you say, ‘That Beethoven, he blows a cool symphony.’ Never champion a real underdog unless it’s a popular type, like a baseball team. Always treat other men as if you were sore at something and will wipe it off on them if they give you the slightest excuse. I mean sore, Louis, not vexed or in a snit. And stay away from women. They have an intuition that’ll find you nine times out of ten. The tenth time she falls for you, and there’s nothing funnier.” “I think,” Loolyo said after a time, “that you hate human beings.

world has already begun. That suffering nourishes grace, and pain and joy are arteries of the same heart—and mourning and dancing are but movements in His unfinished symphony of beauty. Can I believe the gospel, that God is patiently transfiguring all the notes of my life into the song of His Son? What in the world, in all this world, is grace? I can say it certain now: All is grace. I see through the woods of the world: God is always good and I am always loved. God is

Lend your ear then to this tutti of steeples; diffuse over the whole the buzz of half a million of human beings, the eternal murmur of the river, the infinite piping of the wind, the grave and distant quartet of the four forests placed like immense organs on the four hills of the horizon; soften down, as with a demi-tint, all that is too shrill and too harsh in the central mass of sound, and say if you know any thing in the world more rich, more gladdening, more dazzling than that tumult of bells; than that furnace of music; than those ten thousand brazen tones breathed all at once from flutes of stone three hundred feet high; than that city which is but one orchestra; than that symphony rushing and roaring like a tempest.

Lao Tzu's first paragraph in the book "Tao Te Ching" is that the Tao that can be told is not the absolute Tao. Lao Tzu has his own logic, the logic of paradoxes, the logic of life. To understand Tao, you will have to create eyes. Lao Tzu believes in the unity of opposites, because that is how life is. The Tao can be communicated, but it can only be communicated from heart to heart, from being to being, from love to love, from silence to silence. Truth is always realized in silence. In silence, the truth is realized. You reach to truth through silence. All spiritual books tries to say something that can not be said in the hope that a thirst, a longing, is created in your heart to know the truth. Tao is totality. Life exists through the tension of the opposites, the meeting of the opposites. Lao Tzu says that the opposite poles of life are not really opposites, but complementaries. Thinking is always of opposites. Lao Tzu says: drop the split attitude. Be simple. And when you are simple, you do not choose. Lao Tzu says: be choiceless, let life flow. Enjoy both poles in life, and then your life becomes a symphony of opposites. How to drop the mind: do not choose. If you do not choose, the mind drops. Live life as it comes - float. Float with life. Enjoy the moment in its totality, It is to live as part of the whole, to live as part of existence. If you become silent and empty, everything will come on it's own accord. When you live without any desire for power, position, fame or success, the whole existence pours down into your emptiness.

What is today’s date? Who is the President? How great a danger do you pose, on a scale of one to ten? What does “people who live in glass houses” mean? Every symphony is a suicide postponed, true or false? Should each individual snowflake be held accountable for the avalanche? Name five rivers. What do you see yourself doing in ten minutes? How about some lovely soft Thorazine music? If you could have half an hour with your father, what would you say to him? What should you do if I fall asleep? Are you still following in his mastodon footsteps? What is the moral of “Mary Had a Little Lamb”? What about his Everest shadow? Would you compare your education to a disease so rare no one else has ever had it, or the deliberate extermination of indigenous populations? Which is more puzzling, the existence of suffering or its frequent absence? Should an odd number be sacrificed to the gods of the sky, and an even to those of the underworld, or vice versa? Would you visit a country where nobody talks? What would you have done differently? Why are you here?

I look over to him to see his gaze fixed on my hair just as he reaches up and rubs one of my curls between his fingers. “I like it like this.” “Clean?” “Natural,” he says, taking his coffee as a tinge of exhilaration shoots up my spine. “You can’t be serious.” “I am.

You all remember,” said the Controller, in his strong deep voice, “you all remember, I suppose, that beautiful and inspired saying of Our Ford’s: History is bunk. History,” he repeated slowly, “is bunk.” He waved his hand; and it was as though, with an invisible feather wisk, he had brushed away a little dust, and the dust was Harappa, was Ur of the Chaldees; some spider-webs, and they were Thebes and Babylon and Cnossos and Mycenae. Whisk. Whisk-and where was Odysseus, where was Job, where were Jupiter and Gotama and Jesus? Whisk-and those specks of antique dirt called Athens and Rome, Jerusalem and the Middle Kingdom-all were gone. Whisk-the place where Italy had been was empty. Whisk, the cathedrals; whisk, whisk, King Lear and the Thoughts of Pascal. Whisk, Passion; whisk, Requiem; whisk, Symphony; whisk...

he made Widecombe-in-the-Moor sound awfully pretty and I was curious to see to what extent it remained so. I am happy to say it is still a gorgeous place. It has a lovely church with a magnificent tower, a green, a pub, and a shop, and stands amid a symphony of rocky hills.

Even right now, it’s like I’m seeing you for the first time, and I have this nervous ache in my stomach. I think about you every second. I think about all the choices we’ve made that created this moment. Us sitting here together at this beautiful table. Then I think of all the possible events that could have stopped this moment from ever happening, and it all feels, I don’t know…” “What?” “So fragile.” Now he becomes thoughtful for a moment. He says finally, “It’s terrifying when you consider that every thought we have, every choice we could possibly make, branches into a new world. After the baseball game today, we went to Navy Pier and then came here for dinner, right? But that’s only one version of what happened. In a different reality, instead of the pier, we went to the symphony. In one, we stayed home. In another still, we got into a fatal wreck on Lakeshore Drive and never made it anywhere.

Genetics means that my parents really aren't my parents. I know Galen has thought this all along, but I still can't accept it. I also can't completely shun the possibility either. Especially after I just conducted a symphony of fish. How would I even start that conversation with my mom? "So, Galen thinks you've been lying to me for the past eighteen years." Even if I didn't say it directly, that's what it amounts to. And when she asks where I'd get an idea like that? "Well, I recently discovered I can hold my breath for almost two hours and tell fish what to do. I couldn't help but notice that you can't." Yeah, not happening. There's got to be some other way...

SOMETIMES THE TRAVELING SYMPHONY thought that what they were doing was noble. There were moments around campfires when someone would say something invigorating about the importance of art, and everyone would find it easier to sleep that night. At other times it seemed a difficult and dangerous way to survive and hardly worth it, especially at times when they had to camp between towns, when they were turned away at gunpoint from hostile places, when they were traveling in snow or rain through dangerous territory, actors and musicians carrying guns and crossbows, the horses exhaling great clouds of steam, times when they were cold and afraid and their feet were wet.

You shop in supermarkets, you say good morning to friends on the telephone, you hear symphony orchestras on the radio. But suddenly the music stops and a terrorist bomb is reported. A new explosion outside a coffee shop on the Jaffa Road: six young people killed and thirty-eight more wounded. Pained, you put down your civilized drink.

Because it’s too late,” I said as my heart sounded off a warning. “I don’t want to fight with you, Reid.” “I’m fighting for you, Stella,” he said, taking a step forward. “I keep waiting for you to end it with this guy. You tell me he’s a good man, fine. I say I can be the better man. I’m putting my hat in the ring. Right. Fucking. Now.

We know, however, that the mind is capable of understanding these matters in all their complexity and in all their simplicity. A ball flying through the air is responding to the force and direction with which it was thrown, the action of gravity, the friction of the air which it must expend its energy on overcoming, the turbulence of the air around its surface, and the rate and direction of the ball's spin. And yet, someone who might have difficulty consciously trying to work out what 3 x 4 x 5 comes to would have no trouble in doing differential calculus and a whole host of related calculations so astoundingly fast that they can actually catch a flying ball. People who call this "instinct" are merely giving the phenomenon a name, not explaining anything. I think that the closest that human beings come to expressing our understanding of these natural complexities is in music. It is the most abstract of the arts - it has no meaning or purpose other than to be itself. Every single aspect of a piece of music can be represented by numbers. From the organization of movements in a whole symphony, down through the patterns of pitch and rhythm that make up the melodies and harmonies, the dynamics that shape the performance, all the way down to the timbres of the notes themselves, their harmonics, the way they change over time, in short, all the elements of a noise that distinguish between the sound of one person piping on a piccolo and another one thumping a drum - all of these things can be expressed by patterns and hierarchies of numbers. And in my experience the more internal relationships there are between the patterns of numbers at different levels of the hierarchy, however complex and subtle those relationships may be, the more satisfying and, well, whole, the music will seem to be. In fact the more subtle and complex those relationships, and the further they are beyond the grasp of the conscious mind, the more the instinctive part of your mind - by which I mean that part of your mind that can do differential calculus so astoundingly fast that it will put your hand in the right place to catch a flying ball- the more that part of your brain revels in it. Music of any complexity (and even "Three Blind Mice" is complex in its way by the time someone has actually performed it on an instrument with its own individual timbre and articulation) passes beyond your conscious mind into the arms of your own private mathematical genius who dwells in your unconscious responding to all the inner complexities and relationships and proportions that we think we know nothing about. Some people object to such a view of music, saying that if you reduce music to mathematics, where does the emotion come into it? I would say that it's never been out of it.

Though we never factor heart break into the plot of a romance, they happen all the same. It’s the cord break that is never written into the symphony. It’s the paint splash on canvass that’s never preconceived by the artist. At its worst, it’s that grand iceberg thousands of nautical miles away the Titanic maker did not foresee." Dami K. in To Live Again

One day at the library I found a stack of record albums. I was hoping I’d find ta Beatles album, but it was all classical music so I reached for the first name I knew, Beethoven. I checked it out his Sixth Symphony and walked home. I didn’t own a record player and I don’t know why I took it out. I had Beethoven’s Sixth Symphony but nothing to play it on.

I think I would rather hear roundabout music than any symphony concert. I know Beatrix would be disgusted to hear me say so, but its so gladsad somehow and makes me feel brave, late at night long after we were in bed we could hear the music floating over the river, and see the reflected moving lights on our walls, it was beautiful to lie in bed like that.

Zen master is not trying to give you ideas about life; he is trying to give you life itself, to make you realize life in and around you, to make you live it instead of being a mere spectator, a mere pedant absorbed in the dry bones of something which the life has long deserted. A symphony is not explained by a mathematical analysis of its notes; the mystery of a woman’s beauty is not revealed by a postmortem dissection; and no one ever understood the wonder of a bird on the wing by stuffing it and putting it in a glass case. To understand these things, you must live and move with them as they are alive. The same is true of the universe: no amount of intellectual analysis will explain it, for philosophy and science can only reveal its mechanism, never its meaning or, as the Chinese say, its Tao. “What is the Tao?” A Zen master answers, “Usual life is the very Tao.” “How does one bring oneself into accord with it?” “If you try to accord with it, you will get away from it.” For to imagine that there is a “you” separate from life which somehow has to accord with life is to fall straight into the trap.

Human beings have their great chance in the novel. They say to the novelist: “Recreate us if you like, but we must come in,” and the novelist’s problem, as we have seen all along, is to give them a good run and to achieve something else at the same time. Whither shall he turn? not indeed for help but for analogy. Music, though it does not employ human beings, though it is governed by intricate laws, nevertheless does offer in its final expression a type of beauty which fiction might achieve in its own way. Expansion. That is the idea the novelist must cling to. Not completion. Not rounding off but opening out. When the symphony is over we feel that the notes and tunes composing it have been liberated, they have found in the rhythm of the whole their individual freedom. Cannot the novel be like that? Is not there something of it in War and Peace?-—the book with which we began and in which we must end. Such an untidy book. Yet, as we read it, do not great chords begin to sound behind us, and when we have finished does not every item—even the catalogue of strategies—lead a larger existence than was possible at the time?

its heart, it is a story about the power of music and its meanings — a story of secret messages and doublespeak, and of how music itself is a code; how music coaxes people to endure unthinkable tragedy; how it allows us to whisper between the prison bars when we cannot speak aloud; how it can still comfort the suffering, saying, “Whatever has befallen you — you are not alone.

He knew Kandinsky by heart: every trickle of red, slash of black ink, and hemorrhage of gold. Each dissonant note in its allegro, the harmony in its adagio, and its deep blue intermezzo, formed a symphony he had memorized in his body. He couldn’t say if Fragment 2 symbolized the Deluge, the Last Judgment, or the Resurrection. But it had become his religion, offering both redemption and pain..

In his book Real Presences, George Steiner asks us to "imagine a society in which all talk about the arts, music and literature is prohibited." In such a society there would be no more essays on whether Hamlet was mad or only pretending to be, no reviews of the latest exhibitions or novels, no profiles of writers or artists. There would be no secondary, or parasitic, discussion - let alone tertiary: commentary on commentary. We would have, instead, a "republic for writers and readers" with no cushion of professional opinion-makers to come between creators and audience. While the Sunday papers presently serve as a substitute for the experiencing of the actual exhibition or book, in Steiner's imagined republic the review pages would be turned into listings:catalogues and guides to what is about to open, be published, or be released. What would this republic be like? Would the arts suffer from the obliteration of this ozone of comment? Certainly not, says Steiner, for each performance of a Mahler symphony is also a critique of that symphony. Unlike the reviewer, however, the performer "invests his own being in the process of interpretation." Such interpretation is automatically responsible because the performer is answerable to the work in a way that even the most scrupulous reviewer is not. Although, most obviously, it is not only the case for drama and music; all art is also criticism. This is most clearly so when a writer or composer quotes or reworks material from another writer or composer. All literature, music, and art "embody an expository reflection which they pertain". In other words it is not only in their letters, essays, or conversation that writers like Henry James reveal themselves also to be the best critics; rather, The Portrait of a Lady is itself, among other things, a commentary on and a critique of Middlemarch. "The best readings of art are art." No sooner has Steiner summoned this imaginary republic into existence than he sighs, "The fantasy I have sketched is only that." Well, it is not. It is a real place and for much of the century it has provided a global home for millions of people. It is a republic with a simple name: jazz.

The fact is that odours and flavours are created entirely inside our heads. Think of something delicious. A moist, gooey, warm chocolate brownie fresh from the oven, say. Take a bite and savour the velvety smoothness, the rich heady waft of chocolate that fills your head. Now consider the fact that none of those flavours or aromas actually exist. All that is really going on in your mouth is texture and chemicals. It is your brain that reads these scentless, flavourless molecules and vivifies them for your pleasure. Your brownie is sheet music. It is your brain that makes it a symphony.

Hey - Duggie! Duggie! Duggie!" He came running up to me, sparkler in hand. I felt like sticking one on him, the cheeky bastard. Nobody called me Duggie. He held the sparkler up in front of my face and said, "Wait. Wait." I was already waiting. What else was there to do? "Here you are," he said. "Look! What's this?" At that precise moment, his sparkler fizzled out. I didn't say anything, so he supplied the answer himself. "The death of the socialist dream," he said. He giggled like a little maniac, and stared at me for a second or two before running off, and in that time I saw exactly the same thing I'd seen in Stubbs's eyes the day before. The same triumphalism, the same excitement, not because something new was being created, but because something was being destroyed. I thought about Phillip and his stupid rock symphony and I swear that my eyes pricked with tears. This ludicrous attempt to squeeze the history of the countless millennia into half an hour's worth of crappy riffs and chord changes suddenly seemed no more Quixotic than all the things my dad and his colleagues had been working towards for so long. A national health service, free to everyone who needed it. Redistribution of wealth through taxation. Equality of opportunity. Beautiful ideas, Dad, noble aspirations, just as there was the kernel of something beautiful in Philip's musical hodge-podge. But it was never going to happen. If there had ever been a time when it might have happened, that time was slipping away. The moment had passed. Goodbye to all that. Easy to be clever with hindsight, I know, but I was right, wasn't I? Look back on that night from the perspective of now, the closing weeks of the closing century of our second millennium - if the calendar of some esoteric and fast-disappearing religious sect counts for anything any more - and you have to admit that I was right. And so was Benjamin's brother, the little bastard, with his sparkler and his horrible grin and that nasty gleam of incipient victory in his twelve-year-old eyes. Goodbye to all that, he was saying. He'd worked it out already. He knew what the future held in store.

From Lee’s extensive quotes of Edwards on page 152 we can gather that the reason some reject good thoughts that might order their minds aright is because of a disposition of the heart, or a “taste” for evil. The habit of a person’s mind is in accordance with his spiritual appetite, a good man’s mind will always suggest and supply good and holy thoughts to connect ideas and information to create a beautiful picture in one’s mind of God’s orderly universe (Himself at the helm) but the evil man’s mind is habitually disorganizing the things of this world or rather dis-integrating them from the knowledge of God, and so Edwards might say that his mind is not a cosmos but a chaos, or a conductor-less cacophony rather than a grand symphony.

The usual notion of prayer is so absurd. How can those who know nothing about it, who pray little or not at all, dare speak so frivolously of prayer? A Carthusian, a Trappist will work for years to make of himself a man of prayer, and then any fool who comes along sets himself up as judge of this lifelong effort. If it were really what they suppose, a kind of chatter, the dialogue of a madman with his shadow, or even less—a vain and superstitious sort of petition to be given the good things of this world, how could innumerable people find until their dying day, I won't even say such great 'comfort'—since they put no faith in the solace of the senses—but sheer, robust, vigorous, abundant joy in prayer? Oh, of course—suggestion, say the scientists. Certainly they can never have known old monks, wise, shrewd, unerring in judgement, and yet aglow with passionate insight, so very tender in their humanity. What miracle enables these semi-lunatics, these prisoners of their own dreams, these sleepwalkers, apparently to enter more deeply each day into the pain of others? An odd sort of dream, an unusual opiate which, far from turning him back into himself and isolating him from his fellows, unites the individual with mankind in the spirit of universal charity! This seems a very daring comparison. I apologise for having advanced it, yet perhaps it might satisfy many people who find it hard to think for themselves, unless the thought has first been jolted by some unexpected, surprising image. Could a sane man set himself up as a judge of music because he has sometimes touched a keyboard with the tips of his fingers? And surely if a Bach fugue, a Beethoven symphony leave him cold, if he has to content himself with watching on the face of another listener the reflected pleasure of supreme, inaccessible delight, such a man has only himself to blame. But alas! We take the psychiatrists' word for it. The unanimous testimony of saints is held as of little or no account. They may all affirm that this kind of deepening of the spirit is unlike any other experience, that instead of showing us more and more of our own complexity it ends in sudden total illumination, opening out upon azure light—they can be dismissed with a few shrugs. Yet when has any man of prayer told us that prayer had failed him?

As soon as he delivered that line, there issued forth from André one of the most monumental farts any of us had ever heard. Now, I suppose you wouldn’t expect a man of André’s proportions to pass gas quietly or unobtrusively, but this particular one was truly epic, a veritable symphony of gastric distress that roared for more than several seconds and shook the very foundations of the wood and plaster set we were now grabbing on to out of sheer fear. It was long enough and loud enough that every member of the crew had time to stop what they were doing and take notice. All I can say is that it was a wind that could have held up in comparison to the one Slim Pickens emitted in the campfire scene in Mel Brooks’s Blazing Saddles, widely acknowledged as the champion of all cinematic farts.

Dance with me', he says. There is a longing in his voice, and loss, and she thinks, perhaps, it is the end, of this, of them. A game finally played out. A war with no winners. And so she agrees to dance. There is no music, but it does not matter. When she takes his hand, she hears the melody, soft and soothing in her head. Not a song, exactly, but the sound of the woods in summer, the steady hush of the wind through the fields. And as he pulls her close, she hears a violin, low and mournful, along the Seine. His hand slides through hers, and there is the steady murmur of the seaside. The symphony soaring through Munich. Addie leans her head against his shoulder, and hears the rain falling in Villon, the brass band ringing in an L.A. lounge, and the ripple of a saxophone thorugh the open windows on Bourbon.

Anger is loaded with information and energy,” says Audre Lorde. “Every woman has a well-stocked arsenal of anger potentially useful against those oppressions, personal and institutional, which brought that anger into being. Focused with precision it can become a powerful source of energy serving progress and change.” Lorde asks us to tend to the rage within us as a symphony, “to listen to its rhythms, to learn within it, to move beyond the manner of presentation to the substance, to tap that anger as an important source of empowerment.” It is a rhythm: Step away to rage, return to listen, and reimagine the solutions together. It becomes a kind of dance—to release raw rage in a safe container, in order to send divine rage into the world, like focused fury. The way of the warrior-sage is not only loving-kindness but loving-revolution, or revolutionary love.

and here instead’s another version of what was happening that morning, as if from a novel in which sophia is the kind of character she’d choose to be, prefer to be, a character in a much more classic sort of story, perfectly honed and comforting, about how sombre yet bright the major-symphony of winter is and how beautiful everything looks under a high frost, how every grassblade is enhanced and silvered into individual beauty by it, how even the dull tarmac of the roads, the paving under our feet, shines when the weather’s been cold enough and how something at the heart of us, at the heart of all our cold and frozen states, melts when we encounter a time of peace on earth, goodwill to all men; a story in which there’s no room for severed heads; a work in which sophia’s perfectly honed minor-symphony modesty and narrative decorum complement the story she’s in with the right kind of quiet wisdom-from-experience ageing-female status, making it a story that’s thoughtful, dignified, conventional in structure thank god, the kind of quality literary fiction where the slow drift of snow across the landscape is merciful, has a perfect muffling decorum of its own, snow falling to whiten, soften, blur and prettify even further a landscape where there are no heads divided from bodies hanging around in the air or anywhere, either new ones, from new atrocities or murders or terrorisms, or old ones, left over from old historic atrocities and murders and terrorisms and bequeathed to the future as if in old french revolution baskets, their wickerwork brown with the old dried blood, placed on the doorsteps of the neat and central-heating-interactive houses of now with notes tied to the handles saying please look after this head thank you, well, no, thank you, thank you very much:

I imagine you not telling me to whisper. I imagine you not saying oh don't say this literally. You want me to evoke as opposed to mere describing. You want me to be an invisible scribe that an octoepoose was hiding. I'm not sure if my facial features are an autograph that your Picasso smile is signing. Infamous for the mirror I shook when my sock puppets were pining? I am not just a fish that you gave wings to! I don't simply flop in the air whenever you brush some mannequinn's hair. There is a reason for the bad timing. Exquisite imbalances. A child enjoying the pink sky. I won't say that is my clue! Playing The Beatles on a kazoo is beautiful oooh ooooh Your laughter is a woman with alot of eyeballs on her stomach that pretends that she doesn't see the colors of all them songs. In the pre dawn hours we dance with delusions and illusions. The eternal seamstress does not care for Frakenstein's dress(she still loves our unique caress ) She loves and laughs despite some so-called scientist. Where is that emperor and his nakedness! Darling, our atoms need never split. We compliment in so many ways that all our night's and days have become one swirling sunrise/sunset that only true lovers can scoff at(those who shhhhh) The flower is not passive or apologetic. It blooms through the fractured net. Floating magnetic(eep eeep) You are not just some seductress. You are the leader of an elite group of intergalactic seductress impersonators who reveal corruption but then choose to love. We embrace conclusions that make the puddle heart awake with ethereal drum beat gongs. You think of a heroic poodle in the dark. We both know that the trapeze artist that followed us was not a cliche. He smelled differently. He had never met a floating lady that showed him how to appreciate a symphony without taking away his love for a good rock n roll melody. I am not sure I can only whisper of such realities. I am not sure I can only whisper of such realities.-

The televisor is ‘real.’ It is immediate, it has dimension. It tells you what to think and blasts it in. It must be right. It seems so right. It rushes you on so quickly to its own conclusions your mind hasn’t time to protest, ‘What nonsense!’ ” “Only the ‘family’ is ‘people.’ ” “I beg pardon?” “My wife says books aren’t ‘real.’ ” “Thank God for that. You can shut them, say, ‘Hold on a moment.’ You play God to it. But who has ever torn himself from the claw that encloses you when you drop a seed in a TV parlor? It grows you any shape it wishes! It is an environment as real as the world. It becomes and is the truth. Books can be beaten down with reason. But with all my knowledge and skepticism, I have never been able to argue with a one-hundred-piece symphony orchestra, full color, three dimensions, and being in and part of those incredible parlors. As you see, my parlor is nothing but four plaster walls. And here.” He held out two small rubber plugs. “For my ears when I ride the subway jets.

Behold at a sign from heaven, because it comes from the Sun itself, those thousand churches trembling all at once. At first a faint tinkling passes from church to church...see how, all of a sudden, at the same moment, there rises from each steeple as it were a column of sound, a cloud of harmony. At first the vibration of each bell rises straight, pure, and in a manner separate from that of the others, into the splendid morning sky; then swelling by degrees, they blend, melt, intermingle, and amalgamate into a magnificent concert...this sea of harmony, however, is not chaos... This is truly an opera well worth listening to...In this case the city sings....Say if you know anything in the world more rich, more joyful, more golden, more overwhelming than that tumult of bells, than that furnace of music, than those ten thousand voices of bronze singing all at once from flutes of stone three hundred feet high, than that city which has become an orchestra, than that symphony which roars like a storm.

We must remember with Heine that Aristophanes is the God of this ironic earth, and that all argument is apparently vitiated from the start by the simple fact that Wagner and a rooster are given an analogous method of making love. And therefore it seems impeccable logic to say that all that is most unlike the rooster is the most spiritual part of love. All will agree on that, schisms only arise when one tries to decide what does go farthest from the bird's automatic mechanism. Certainly not a Dante-Beatrice affair which is only the negation of the rooster in terms of the swooning bombast of adolescence, the first onslaught of a force which the sufferer cannot control or inhabit with all the potentialities of his body and soul. But the rooster is troubled by no dreams of a divine orgy, no carnival-loves like Beethoven's Fourth Symphony, no heroic and shining lust gathering and swinging into a merry embrace like the third act of Siegfried. It is desire in this sense that goes farthest from the animal.

Why would anyone write anything after Hemingway, or compose a symphony after Beethoven, or paint a landscape after Turner? It isn't necessarily about doing it better. It's about doing it." "Michael, that isn't what I meant. It's just, why should I slave away in the kitchen when I can just come here and pay for someone really talented to do all the work while I enjoy the results?" "Tell her, Mira," Michael says, reaching back into Renata's dish for another taste. I know what Michael means. If someone told me that I could travel anywhere and eat anything I wanted, choosing, if I so desired, to eat only in Michelin-rated restaurants for the rest of my life, but the price for such a gourmand's dream would be that I could never cook again, I'd turn it down without a moment's hesitation. It's about doing your best by a pile of mussels sweet from the sea, or holding a perfect tomato, warm, rosy, and smelling like summer, and knowing that there are a dozen ways that you can prepare it, each one a delicious homage.

The tornadic bundle of legs and arms and feet and hands push farther into the kitchen until only the occasional flailing limb is visible from the living room, where I can’t believe I’m still standing. A spectator in my own life, I watch the supernova of my two worlds colliding: Mom and Galen. Human and Syrena. Poseidon and Triton. But what can I do? Who should I help? Mom, who lied to me for eighteen years, then tried to shank my boyfriend? Galen, who forgot this little thing called “tact” when he accused my mom of being a runaway fish-princess? Toraf, who…what the heck is Toraf doing, anyway? And did he really just sack my mom like an opposing quarterback? The urgency level for a quick decision elevates to right-freaking-now. I decide that screaming is still best for everyone-it’s nonviolent, distracting, and one of the things I’m very, very good at. I open my mouth, but Rayna beats me to it-only, her scream is much more valuable than mine would have been, because she includes words with it. “Stop it right now, or I’ll kill you all!” She pushed past me with a decrepit, rusty harpoon from God-knows-what century, probably pillaged from one of her shipwreck excursions. She waves it at the three of them like a crazed fisherman in a Jaws movie. I hope they don’t notice she’s got it pointed backward and that if she fires it, she’ll skewer our couch and Grandma’s first attempt at quilting. It works. The bare feet and tennis shoes stop scuffling-out of fear or shock, I’m not sure-and Toraf’s head appears at the top of the counter. “Princess,” he says, breathless. “I told you to stay outside.” “Emma, run!” Mom yells. Toraf disappears again, followed by a symphony of scraping and knocking and thumping and cussing. Rayna rolls her eyes at me, grumbling to herself as she stomps into the kitchen. She adjusts the harpoon to a more deadly position, scraping the popcorn ceiling and sending rust and Sheetrock and tetanus flaking onto the floor like dirty snow. Aiming it at the mound of struggling limbs, she says, “One of you is about to die, and right now I don’t really care who it is.” Thank God for Rayna. People like Rayna get things done. People like me watch people like Rayna get things done. Then people like me round the corner of the counter as if they helped, as if they didn’t stand there and let everyone they love beat the shizzle out of one another. I peer down at the three of them all tangled up. Crossing my arms, I try to mimic Rayna’s impressive rage, but I’m pretty sure my face is only capable of what-the-crap-was-that. Mom looks up at me, nostrils flaring like moth wings. “Emma, I told you to run,” she grinds out before elbowing Toraf in the mouth so hard I think he might swallow a tooth. Then she kicks Galen in the ribs. He groans, but catches her foot before she can re-up. Toraf spits blood on the linoleum beside him and grabs Mom’s arms. She writhes and wriggles, bristling like a trapped badger and cussing like sailor on crack. Mom has never been girlie. Finally she stops, her arms and legs slumping to the floor in defeat. Tears puddle in her eyes. “Let her go,” she sobs. “She’s got nothing to do with this. She doesn’t even know about us. Take me and leave her out of this. I’ll do anything.” Which reinforces, right here and now, that my mom is Nalia. Nalia is my mom. Also, holy crap.

Now, although hypertension is accentuated by modern civilisation, it is not specifically a disease of civilisation. It is a disease of consciousness—that is, of being human. The farm labourer going to work is as likely to ignore his surroundings as the harassed car salesman. And if the inhabitants of some Amazon village are ‘closer to nature’ than New Yorkers, this is usually at the cost of dirt and ignorance and inconvenience. Hypertension is the price we pay for the symphonies of Beethoven, the novels of Balzac, the advances in medical knowledge that prevent children dying of smallpox. However, it is not a necessary and inescapable price. It is the result of ignorance, of bad management of our vital economy. The point to observe here is that although hypertension may not be necessary, it is as widespread as the common cold. It would not be inaccurate to say that all human beings live in a state of ‘vigilance’ and anxiety that is far above the level they actually need for vital efficiency. It is a general tendency of consciousness to ‘spread the attention too thinly’; and, like an over-excited child with too many toys on Christmas Day, the result is nervous exhaustion.

the Bible requires being read "constantly" and "regularly"—"all" of it. To modern readers, accustomed to rather linear, flat narratives that neatly fit into our limited definitions of reality, the Bible can come across to us as a mess. To be sure, one encounters inconsistencies and contradictions, to say nothing of downright bad ideas in the Bible. Scripture has a marvelous way of arguing with itself, correcting itself, one witness giving countertestimony to another. Scripture is a record of a people's determination to hear God truthfully and then to follow God faithfully. The record is in the form of a journey through many centuries. Scripture is the account of the adventure of a journey, not a report on having arrived at a destination. Might I also point out that we ourselves are a mess of inconsistencies, contradictions, and bad ideas? Most of the time it's much easier to see the cultural and historical limitations of the people in the Bible rather than in ourselves. We are still on the journey. It's not a simple song that the Bible wants to teach us to sing. It is a grand symphony that must be heard together with all of its highs and lows, its seemingly dissonant notes that all somehow come together and move in a definite direction.

In 1997 an IBM computer called Deep Blue defeated the world chess champion Garry Kasparov, and unlike its predecessors, it did not just evaluate trillions of moves by brute force but was fitted with strategies that intelligently responded to patterns in the game. [Y]ou might still object that chess is an artificial world with discrete moves and a clear winner, perfectly suited to the rule-crunching of a computer. People, on the other hand, live in a messy world offering unlimited moves and nebulous goals. Surely this requires human creativity and intuition — which is why everyone knows that computers will never compose a symphony, write a story, or paint a picture. But everyone may be wrong. Recent artificial intelligence systems have written credible short stories, composed convincing Mozart-like symphonies, drawn appealing pictures of people and landscapes, and conceived clever ideas for advertisements. None of this is to say that the brain works like a digital computer, that artificial intelligence will ever duplicate the human mind, or that computers are conscious in the sense of having first-person subjective experience. But it does suggest that reasoning, intelligence, imagination, and creativity are forms of information processing, a well-understood physical process. Cognitive science, with the help of the computational theory of mind, has exorcised at least one ghost from the machine.

The street sprinkler went past and, as its rasping rotary broom spread water over the tarmac, half the pavement looked as if it had been painted with a dark stain. A big yellow dog had mounted a tiny white bitch who stood quite still. In the fashion of colonials the old gentleman wore a light jacket, almost white, and a straw hat. Everything held its position in space as if prepared for an apotheosis. In the sky the towers of Notre-Dame gathered about themselves a nimbus of heat, and the sparrows – minor actors almost invisible from the street – made themselves at home high up among the gargoyles. A string of barges drawn by a tug with a white and red pennant had crossed the breadth of Paris and the tug lowered its funnel, either in salute or to pass under the Pont Saint-Louis. Sunlight poured down rich and luxuriant, fluid and gilded as oil, picking out highlights on the Seine, on the pavement dampened by the sprinkler, on a dormer window, and on a tile roof on the Île Saint-Louis. A mute, overbrimming life flowed from each inanimate thing, shadows were violet as in impressionist canvases, taxis redder on the white bridge, buses greener. A faint breeze set the leaves of a chestnut tree trembling, and all down the length of the quai there rose a palpitation which drew voluptuously nearer and nearer to become a refreshing breath fluttering the engravings pinned to the booksellers’ stalls. People had come from far away, from the four corners of the earth, to live that one moment. Sightseeing cars were lined up on the parvis of Notre-Dame, and an agitated little man was talking through a megaphone. Nearer to the old gentleman, to the bookseller dressed in black, an American student contemplated the universe through the view-finder of his Leica. Paris was immense and calm, almost silent, with her sheaves of light, her expanses of shadow in just the right places, her sounds which penetrated the silence at just the right moment. The old gentleman with the light-coloured jacket had opened a portfolio filled with coloured prints and, the better to look at them, propped up the portfolio on the stone parapet. The American student wore a red checked shirt and was coatless. The bookseller on her folding chair moved her lips without looking at her customer, to whom she was speaking in a tireless stream. That was all doubtless part of the symphony. She was knitting. Red wool slipped through her fingers. The white bitch’s spine sagged beneath the weight of the big male, whose tongue was hanging out. And then when everything was in its place, when the perfection of that particular morning reached an almost frightening point, the old gentleman died without saying a word, without a cry, without a contortion while he was looking at his coloured prints, listening to the voice of the bookseller as it ran on and on, to the cheeping of the sparrows, the occasional horns of taxis. He must have died standing up, one elbow on the stone ledge, a total lack of astonishment in his blue eyes. He swayed and fell to the pavement, dragging along with him the portfolio with all its prints scattered about him. The male dog wasn’t at all frightened, never stopped. The woman let her ball of wool fall from her lap and stood up suddenly, crying out: ‘Monsieur Bouvet!

Whenever you name something in creation as the thing that will satisfy you, you are asking that thing to be your personal savior. This means that, in a very practical, street-level way, you are looking horizontally for what will only ever be yours vertically. In other words, you are asking something in creation to do for you what only God can do. Now, the physical, created world was designed to be glorious, and it is. It is a sight-sound-touch-taste-feel symphony of multifaceted physical glories, but these glories cannot satisfy your heart. If you ask them to, your heart will be empty, and you will be frustrated and discouraged. No, the earthly glories that God created are to be like signposts that point us to the one glory that will ever satisfy our hearts. So here’s the bottom line. If you seek satisfaction, satisfaction will escape your grasp. But if you seek God, rest in his presence and grace, and put your heart in his most capable hands, he will satisfy your heart as nothing else can. You were made for him. Your heart was designed to be controlled by worship of him. Your inner security is meant to come from rest in him. Your sense of well-being is intended to come from a reliance on his wisdom, power, and love. The reality is this—God is the peace that you’re looking for. He is the satisfaction that your heart seeks. He is the rest that you crave, the joy you long for, and the comfort your heart desires. All those things that you and I say we need we don’t really need. All those things that we think will bring us contentment and joy will fail to deliver. What we need in life is him, and by grace, he is with us, in us, and for us. Our hearts can rest because, by grace, we have been given everything we could ever need, in him.

He leaned back on his hands. And then idly turned to her. She inhaled, and exhaled an almost long-suffering sigh. And he began in a patient, almost leisurely fashion, in a voice fashioned from dark velvet, a voice that stroked over her senses until they were lulled, to lecture directly to her as if she was a girl in the schoolroom. "A proper kiss, Miss Eversea, should turn you inside out. It should... touch places in you that you didn't know existed, set them ablaze, until your entire being is hungry and wild. It should... hold a moment, I want to explain this as clearly as possible..." He tipped his head back and paused to consider, as though he were envisioning this and wanted to relate every detail correctly. "It should slice right down through you like a cutlass with a pleasure so devastating it's very nearly pain." He waited, watching her face, allowing her to accommodate the potent words. Her mouth was parted. Her breathing short. She couldn't look away. His eyes and voice held her as fast as if he'd cradled her face with his hands. And as he said them, an echo of sensation sounded in her, like a remembered dream, an instinct awakened. She thought about Mars getting ready to give Venus a good pleasuring. Stop, she should say. "And...?" she whispered. "It should make you do battle for control of your senses and your will. It should make you want to do things you'd never dreamed you'd want to do, and in that moment all of those things will make perfect sense. And it should herald, or at least promise, the most intense physical pleasure you've ever known, regardless of whether that promise is ever, ever fulfilled. It should, in fact..." he paused for effect "haunt you for the rest of your life." She sat wordlessly when he was done. As though waiting for the last notes of a stormy, discordant symphony to echo into silence. 'The most intense physical pleasure.' His words reverberated in her. As if her body contained the ancient wisdom of what that meant, and now, having been reminded, craved it.

Lights like stars whirled past me from out of the darkness, and when I opened my eyes, I was lying on a bed covered in rich tapestry and piled high with pillows. The room was lit by candles in colossal iron holders that flickered on the walls. A great fire was ablaze in the hearth. I recognized the triptych of slender, arched windows, though I was seeing them for the first time from the inside. No longer empty, they were fitted with glass through which I could make out some of the stars that hovered over Whitby on a clear night. We were inside the abbey, though apparently outside time. The room was warm and the roof intact, and he was lying beside me. 'Every moment that has ever existed in time is still here, Mina- every thought, every memory, and every experience.' Now that I saw him in the candlelight, he was more beautiful than I had imagined. Skin marble white, paler than mine and glowing, and hair like the night sea's glossy waves. His face was long and angular with a strong brow, like the artist's renderings I had of the Arthurian knights. With his midnight blue wolf eyes, he stared at me, taking me in. "Who are you?" I asked, my voice timid and feeble. 'You and I have gone by many names. It does not matter what we call each other. What matters is that you remember. Do you remember, Mina?' His lips did not move, and yet I heard every word that he said, I wanted to ask a thousand questions, but one long and slender finger reached out and touched my lips. Locking eyes with me, he slid my nightdress from my shoulder. Shock waves rippled through my body as his finger followed the curve under my neck, dusting my chin, and slowly sliding to the other ear. Surely just one finger could not create this bedlam inside me. 'Ah, so you do remember.' My heart palpitated wildly, but I was not afraid. Something familiar about him prevented me from fearing him, though I had witnessed how dangerous he could be on the banks of the Thames when he had thrashed my attacker. "Yes, yes, I remember," I said. I would have said anything to keep his hand on me, to wallow in the wild energy he brought to my body, and to stare into the infinite violet blue of his eyes. Though I said nothing else, every nerve in my body begged him to keep touching me. 'What is your desire?' I did not have the audacity to say the words aloud, but this being knew me and knew my thoughts. Our eyes were locked, and our minds were linked. I felt connected to him in a way that I had not known with another person. We were not one, but we were in harmony, as if we were both parts of the same symphony.

I rail a lot against passion, because I feel like passion can be very exclusionary, and very elitist, and it can leave a lot of people feeling like they don't belong... I'm much more interested in allowing people to follow curiosity, which is a much more gentle impulse that doesn't require that you sacrifice your entire life for something. It's more of kind of a scavenger hunt, where you're allowed to pick up these tiny beautiful little clues along the pathway. It's more of a tap on the shoulder that asks you to turn your attention one inch to the left. Oh that's a little bit mildly interesting - what is that? Okay now I'm going to take that clue... I'm going to take it another inch, and I'm going to take it another inch. Rather than this idea that the symphony is born whole, because you sit down and you're struck by lightening and then you start to create. Curiosity I think, is a far more friendly way to do creativity than passion." ...this is why I say the path of curiosity is the scavenger hunt, because it took my probably three years between "gee it would be nice to put some plants in my backyard" to here I am in the South Pacific exploring the history of moss and inventing this giant novel. You know I think everybody thinks that creativity comes in lightening strikes, but I think it comes with whispers. And then the whispers can grow thunderous over time if you are patient enough to explore it, almost in the way that a scientist would. Be open to - you don't need to know why you are interested in this, it will be revealed if you continue to investigate. That's all that curiosity asks of you. Passion asks you to throw it all in the bonfire. And curiosity is way more generous in that it just says - give me a little bit of your time and let's see what we can do. Fear is part of our make-up, it's something that's inherent in us, it's a protective device. My experience with fear is to permit it to exist and then to figure out how to work with it. And to me working with fear is what courage is. I've never started any project that I wasn't afraid... during the entire thing.And the conversation that I have with fear is not to say you are the death of creativity and I can't be creative because you exist, but rather to say: "You are part of the family of my consciousness. You are one of the emotions that I possess and I hear your complaint. I see your anxiety and I see everything you are putting before me about how this is going to be a disaster, and how I'm going to die and how everyone's going to mock me and how I'm going to fail... and I thank you so much for your contribution, but your sister creativity and I are going to go off on this journey now and do this thing but you are allowed to be in the car. We're going on a road trip, but I don't expect you to not come." And once you allow fear to just be present it seems to quiet down and go to sleep and then you can go about your work. But it's never out of the picture and I don't waste my energy trying to kick it out of the picture because that feels to me just like a colossal exhausting waste of energy. Whereas a radical kind of inclusive self acceptance seems to be a way to create a lot more.

Dr. Sherman VanMeter has made a career of unpacking the densest areas of scientific endeavor in accessible—if not polite—terms. You’ve written books on everything from astrophysics to zoology. How are you able to achieve expertise in so many disparate fields? There’s a perception that scientific disciplines are separate countries, when in fact science is a universal passport. It’s about exploring and thinking critically, not memorization. A question mark, not a period. Can you give me an example? Sure. Kids learn about the solar system by memorizing the names of planets. That’s a period. It’s also scientifically useless, because names have no value. The question mark would be to say instead, “There are hundreds of thousands of sizable bodies orbiting the sun. Which ones are exceptional? What makes them so? Are there similarities? What do they reveal?” But how do you teach a child to grasp that complexity? You teach them to grasp the style of thinking. There are no answers, only questions that shape your understanding, and which in turn reveal more questions. Sounds more like mysticism than science. How do you draw the line? That’s where the critical thinking comes in. I can see how that applies to the categorization of solar objects. But what about more abstract questions? It works there too. Take love, for example. Artists would tell you that love is a mysterious force. Priests claim it’s a manifestation of the divine. Biochemists, on the other hand, will tell you that love is a feedback loop of dopamine, testosterone, phenylethylamine, norepinephrine, and feel-my-pee-pee. The difference is, we can show our work. So you’re not a romantic, then? We’re who we are as a species because of evolution. And at the essence, evolution is the steady production of increasingly efficient killing machines. Isn’t it more accurate to say “surviving machines”? The two go hand in hand. But the killing is the prime mover; without that, the surviving doesn’t come into play. Kind of a cold way to look at the world, isn’t it? No, it’s actually an optimistic one. There’s a quote I love from the anthropologist Robert Ardrey: “We were born of risen apes, not fallen angels, and the apes were armed killers besides. And so what shall we wonder at? Our murders and massacres and missiles, and our irreconcilable regiments? Or our treaties whatever they may be worth; our symphonies however seldom they may be played; our peaceful acres, however frequently they may be converted to battlefields; our dreams however rarely they may be accomplished. The miracle of man is not how far he has sunk but how magnificently he has risen.” You used that as the epigraph to your new book, God Is an Abnorm. But I noticed you left out the last line, “We are known among the stars by our poems, not our corpses.” Why? That’s where Ardrey’s poetic license gets the better of his science, which is a perilous mistake. We aren’t “known among the stars” at all. The sun isn’t pondering human nature, the galaxy isn’t sitting in judgment. The universe doesn’t care about us. We’ve evolved into what we are because humanity’s current model survived and previous iterations didn’t. Simple as that. Why is a little artistic enthusiasm a perilous mistake? Because artists are more dangerous than murderers. The most prolific serial killer might have dozens of victims, but poets can lay low entire generations.

And if you wish to receive of the ancient city an impression with which the modern one can no longer furnish you, climb—on the morning of some grand festival, beneath the rising sun of Easter or of Pentecost—climb upon some elevated point, whence you command the entire capital; and be present at the wakening of the chimes. Behold, at a signal given from heaven, for it is the sun which gives it, all those churches quiver simultaneously. First come scattered strokes, running from one church to another, as when musicians give warning that they are about to begin. Then, all at once, behold!—for it seems at times, as though the ear also possessed a sight of its own,—behold, rising from each bell tower, something like a column of sound, a cloud of harmony. First, the vibration of each bell mounts straight upwards, pure and, so to speak, isolated from the others, into the splendid morning sky; then, little by little, as they swell they melt together, mingle, are lost in each other, and amalgamate in a magnificent concert. It is no longer anything but a mass of sonorous vibrations incessantly sent forth from the numerous belfries; floats, undulates, bounds, whirls over the city, and prolongs far beyond the horizon the deafening circle of its oscillations. Nevertheless, this sea of harmony is not a chaos; great and profound as it is, it has not lost its transparency; you behold the windings of each group of notes which escapes from the belfries. You can follow the dialogue, by turns grave and shrill, of the treble and the bass; you can see the octaves leap from one tower to another; you watch them spring forth, winged, light, and whistling, from the silver bell, to fall, broken and limping from the bell of wood; you admire in their midst the rich gamut which incessantly ascends and re-ascends the seven bells of Saint-Eustache; you see light and rapid notes running across it, executing three or four luminous zigzags, and vanishing like flashes of lightning. Yonder is the Abbey of Saint-Martin, a shrill, cracked singer; here the gruff and gloomy voice of the Bastille; at the other end, the great tower of the Louvre, with its bass. The royal chime of the palace scatters on all sides, and without relaxation, resplendent trills, upon which fall, at regular intervals, the heavy strokes from the belfry of Notre-Dame, which makes them sparkle like the anvil under the hammer. At intervals you behold the passage of sounds of all forms which come from the triple peal of Saint-Germain-des-Prés. Then, again, from time to time, this mass of sublime noises opens and gives passage to the beats of the Ave Maria, which bursts forth and sparkles like an aigrette of stars. Below, in the very depths of the concert, you confusedly distinguish the interior chanting of the churches, which exhales through the vibrating pores of their vaulted roofs. Assuredly, this is an opera which it is worth the trouble of listening to. Ordinarily, the noise which escapes from Paris by day is the city speaking; by night, it is the city breathing; in this case, it is the city singing. Lend an ear, then, to this concert of bell towers; spread over all the murmur of half a million men, the eternal plaint of the river, the infinite breathings of the wind, the grave and distant quartette of the four forests arranged upon the hills, on the horizon, like immense stacks of organ pipes; extinguish, as in a half shade, all that is too hoarse and too shrill about the central chime, and say whether you know anything in the world more rich and joyful, more golden, more dazzling, than this tumult of bells and chimes;—than this furnace of music,—than these ten thousand brazen voices chanting simultaneously in the flutes of stone, three hundred feet high,—than this city which is no longer anything but an orchestra,—than this symphony which produces the noise of a tempest.