The Veil Is Thinning Quotes

It has always seemed to me. ever since early childhood, amid all the commonplaces of life, i was very near to a kingdom of ideal beauty. Between it and me hung only a thin veil. I could never draw it quite aside, but sometimes a wind fluttered it and I caught a glimpse of the enchanting realms beyond-only a glimpse-but those glimpses have always made life worthwhile.

Veil after veil of thin dusky gauze is lifted, and by degrees the forms and colours of things are restored to them, and we watch the dawn remaking the world in its antique pattern.

What, to the American slave, is your Fourth of July? I answer: a day that reveals to him, more than all other days in the year, the gross injustice and cruelty to which he is the constant victim. To him, your celebration is a sham; your boasted liberty, an unholy license; your national greatness, swelling vanity; your sounds of rejoicing are empty and heartless; your denunciation of tyrants, brass-fronted impudence; your shouts of liberty and equality, hollow mockery; your prayers and hymns, your sermons and thanksgivings, with all your religious parade and solemnity, mere bombast, fraud, deception, impiety, and hypocrisy-a thin veil to cover up crimes which would disgrace a nation of savages.

I feel it, I feel my thin morals dissolving. I feel my flimsy, moth-eaten skin of humanity begin to come apart, and with it, the veil keeping me from complete darkness. There are no lines I won't cross. No illusions of mercy. I wanted to be better for her. For her happiness. For her future. But if she's gone, what good is goodness? - Warner

There is a difference between what is wrong and what is evil. Evil is committed when clarity is taken away from what is clearly wrong, allowing wrong to be seen as less wrong, excusable, right, or an obligatory commandment of the Lord God Almighty. Evil is bad sold as good, wrong sold as right, injustice sold as justice. Like the coat of a virus, a thin veil of right can disguise enormous wrong and confer an ability to infect others.

I'd always thought that my awkwardness was a thin veil disguising the real me. The me that was funny and could write songs that touched people. The me that would one day find some beautiful, intelligent boy who'd recognize me as his soul mate. The me who was secretly pretty and stylish if only someone would lift the veil and see. But I was beginning to suspect that underneath the awkwardness there was just more awkwardness and not much else. And that would explain why I stood in a room full of people and felt like the loneliest girl in the world.

Her hands brushed Shane's, and he let go of the cards and took hold. And then somehow she was in his lap, and he was kissing her. Hadn't meant to do that but...well. She couldn't exactly be sorry about it, because he tasted amazing, and his lips were so soft and his hands were so strong... He leaned back, eyes half shut, and he was smiling. Shane didn't smile all that much, and it always left her breathless and tingling. There was a secrecy about it like he only ever smiled at her, and it just felt... perfect. 'Claire, you're being careful right?' He smoothed hair back from her face. 'Seriously. You'd tell me if you got into trouble?' 'No trouble,' She lied, thinking about Monica's not-so veiled threats, and that glimpse of Shane's dad seated across from Oliver in the coffee shop.'No trouble at all.' 'Good.' He kissed her again, then moved down her jawline to her neck, and, wow neck nibbles took her breath away. She closed her eyes and buried her fingers in his warm hair, trying to tell him through every touch how much she liked this, like him, loved... Her eyes came open, fast. She did not just think about that. Shane’s warm hands moved up her sides, thumbs grazing the sides of her breasts again, and he traced his fingers across the thin skin of her collarbone...down to where the neck of her T-shirt stopped him. Teasing. Pulling it down an inch, then two. And then, maddeningly, he let go and leaned back, lips damp. He licked them, watching her, and then gave her that slow crazy, sexy smile again. 'Go to bed' he said. 'Before I decide to come with.

There are few of us who have not sometimes wakened before dawn, either after one of those dreamless nights that make us almost enamoured of death, or one of those nights of horror and misshapen joy, when through the chambers of the brain sweep phantoms more terrible than reality itself, and instinct with that vivid life that lurks in all grotesques, and that lends to Gothic art its enduring vitality, this art being, one might fancy, especially the art of those whose minds have been troubled with the malady of reverie. Gradually white fingers creep through the curtains, and they appear to tremble. In black fantastic shapes, dumb shadows crawl into the corners of the room and crouch there. Outside, there is the stirring of birds among the leaves, or the sound of men going forth to their work, or the sigh and sob of the wind coming down from the hills and wandering round the silent house, as though it feared to wake the sleepers and yet must needs call forth sleep from her purple cave. Veil after veil of thin dusky gauze is lifted, and by degrees the forms and colours of things are restored to them, and we watch the dawn remaking the world in its antique pattern. The wan mirrors get back their mimic life. The flameless tapers stand where we had left them, and beside them lies the half-cut book that we had been studying, or the wired flower that we had worn at the ball, or the letter that we had been afraid to read, or that we had read too often. Nothing seems to us changed. Out of the unreal shadows of the night comes back the real life that we had known. We have to resume it where we had left off, and there steals over us a terrible sense of the necessity for the continuance of energy in the same wearisome round of stereotyped habits, or a wild longing, it may be, that our eyelids might open some morning upon a world that had been refashioned anew in the darkness for our pleasure, a world in which things would have fresh shapes and colours, and be changed, or have other secrets, a world in which the past would have little or no place, or survive, at any rate, in no conscious form of obligation or regret, the remembrance even of joy having its bitterness and the memories of pleasure their pain.

SUCH A THIN VEIL separated the past from the present; they existed simultaneously in the human heart.

And if I go, while you're still here… Know that I live on, Vibrating to a different measure Behind a thin veil you cannot see through. You will not see me, So you must have faith. I wait for the time when we can soar together again, Both aware of each other. Until then, live your life to the fullest And when you need me, Just whisper my name in your heart, …I will be there

The Nightmare’s smile was a thinly veiled threat. “I know what I know. My secrets are deep. But long have I kept them. And long will they keep.

There is such a thin veil between love and hate.

. . .She turns her head away, but through the thin film of her veil he can see her skin glow. Because women will coax: tell me, just tell me something, tell me your thoughts; and this he has done.

The veil had been wisp-thin between life and death. All his strength hadn't been enough to break free, but one soft word from Christ, and he was alive again.

But at midnight — strange, mystic hour, when the veil between the frail present and the eternal future grows thin — then came the messenger.

The problem with our “change the world” rhetoric is that it is too often a thinly veiled grasp for power and a quest for dominance—things that are antithetical to the way Jesus calls his disciples to live.

Small talk. Catching up. Thinly veiled hostility.

Doubt not my love,” he repeated, with a chorus of knights to bolster him. “If men would seek to part us, death itself would be a veil too thin. For lo, though I wander the earth for my king, you remain—now and ever—queen of my heart.

Beyond a thin veil of space stretched Existence, the frailest and most imbalanced reality of the cosmos. No one was really sure why it was imbalanced, but some believed it had something to do with the general alcohol consumption per capita.

Heaven and earth, the Celtic saying goes, are only three feet apart, but in thin places that distance is even shorter. They are places that make us feel something larger than ourselves, as though we are held in a place between worlds, beyond experience.

A loosely connected group of individuals united by their opposition to progressivism, which they perceive to be a thinly veiled fundamentalist religion dedicated to egalitarian principles and intent on totalitarian world domination via globalist hegemony.

You are in the Thin Veil, the Black Sunshine.

I need to go in the other room. This is getting awkward and I left my thinly-veiled excuse to leave you two alone in there.

think about it. The idea of magic has been around forever. There are tons of legends and stories and entire religions that deal with magic as a fact of life. I just don’t think it can all be made up.

I felt like what he said was a thin cloth he held over what he meant, letting me see its shadow or its shape protruding. If I pushed at the veil, the mystery under the surface would poke out.

Places I love come back to me like music, Hush me and heal me when I am very tired; I see the oak woods at Saxton's flaming In a flare of crimson by the frost newly fired; And I am thirsty for the spring in the valley As for a kiss ungiven and long desired. I know a bright world of snowy hills at Boonton, A blue and white dazzling light on everything one sees, The ice-covered branches of the hemlocks sparkle Bending low and tinkling in the sharp thin breeze, And iridescent crystals fall and crackle on the snow-crust With the winer sun drawing cold blue shadows from the trees. Violet now, in veil on veil of evening, The hills across from Cromwell grow dreamy and far; A wood-thrush is singing soft as a viol In the heart of the hollow where the dark pools are; The primrose has opened her pale yellow flowers And heaven is lighting star after star. Places I love come back to me like music– Mid-ocean, midnight, the eaves buzz drowsily; In the ship's deep churning the eerie phosphorescence Is like the souls of people who were drowned at sea, And I can hear a man's voice, speaking, hushed , insistent, At midnight, in mid-ocean, hour on hour to me.

Innocent? Tell me human, who among you is innocent? Who among you has not destroyed without need or hurt without pity? Should a lion ponder his role in thinning the herds? Does he question whether or not he is doing the right thing as he tears into a zebra’s flesh?” he snarled. His next words were slow and measured, and more to himself than to Natalya. “No….he knows only that he has teeth and claws….and an insatiable lust for blood.

Nancy zipped across the street and into a photocopy shop. “Hi. I want you to blow something up,” she said to the clerk. “This is a copy shop, not a terrorist headquarters,” said the young man behind the counter. Then he laughed with his entire thin body. “I never get tired of that joke,” he said.

What, to the American slave, is your 4th of July? I answer; a day that reveals to him, more than all other days in the year, the gross injustice and cruelty to which he is the constant victim. To him, your celebration is a sham; your boasted liberty, an unholy license; your national greatness, swelling vanity; your sounds of rejoicing are empty and heartless; your denunciation of tyrants, brass fronted impudence; your shouts of liberty and equality, hollow mockery; your prayers and hymns, your sermons and thanksgivings, with all your religious parade and solemnity, are, to Him, mere bombast, fraud, deception, impiety, and hypocrisy-a thin veil to cover up crimes which would disgrace a nation of savages. There is not a nation on the earth guilty of practices more shocking and bloody than are the people of the United States, at this very hour. Go where you may, search where you will, roam through all the monarchies and despotisms of the Old World, travel through South America, search out every abuse, and when you have found the last, lay your facts by the side of the everyday practices of this nation, and you will say with me, that, for revolting barbarity and shameless hypocrisy, America reigns without a rival.

And what, you think you can fix me?” she asks, turning in her stool to face me, shifting her body closer, so close I can smell the liquor on her warm breath as she whispers, “Think you can make me whole again? Save me from the world? Save me from myself? Fill me up, maybe fuck the feeling back into me, like the big, strong, man you are? Make me a real woman, instead of a broken little girl?” There’s a sickening sweetness to her voice that sends a chill down my spine. If I never heard a thinly veiled ‘fuck you’ before, that was certainly one for the books. I move closer to her, uncomfortably so, cocking my head slightly as I lean in, watching as her body tenses. She thinks I’m about to kiss her, my mouth just inches from hers, before I stop, my voice gritty as I say, “On the contrary, Scarlet, I don’t think you need to be fixed at all.” “No?” “No,” I say. “I think you’re perfect the way you are.

At critical moments the veil between the little-self and the deep self thins and a meaningful self-adjustment becomes possible. If a person does not become paralyzed with fear or frozen in hatred, the wise self hidden within will rise to the occasion.

I am sure many of you know that the veil can be very thin-that there are people over there who are pulling for us-people who have faith in us and who have great hopes for us, who are hoping and praying that we will measure up-our loved ones who have passed on

In winter night Massachusetts Street is dismal, the ground's frozen cold, the ruts and pock holes have ice, thin snow slides over the jagged black cracks. The river is frozen to stolidity, waits; hung on a shore with remnant show-off boughs of June-- Ice skaters, Swedes, Irish girls, yellers and singers--they throng on the white ice beneath the crinkly stars that have no altar moon, no voice, but down heavy tragic space make halyards of Heaven on in deep, to where the figures fantastic amassed by scientists cream in a cold mass; the veil of Heaven on tiaras and diadems of a great Eternity Brunette called night.

THE VEIL OF CIVILISATION was thin indeed, so easily torn away to reveal depravity waiting beneath, waiting, as such things always did, for the first hint of turbulence.

[Jesus] is, at the moment, present with us, but hidden behind that invisible veil which keeps heaven and earth apart, and which we pierce in those moments, such as prayer, the sacraments, the reading of scripture, and our work with the poor, when the veil seems particularly thin. But one day the veil will be lifted; earth and heaven will be one; Jesus will be personally present, and every knee shall bow at his name; creation will be renewed; the dead will be raised; and God's new world will at last be in place, full of new prospects and possibilities.

This. This is exactly it. "It had always seemed to Emily, ever since she could remember, that she was very, very near to a world of wonderful beauty. Between it and herself hung only a thin curtain; she could never draw the curtain aside — but sometimes, just for a moment, a wind fluttered it and then it was as if she caught a glimpse of the enchanting realm beyond — only a glimpse — and heard a note of unearthly music. This moment came rarely — went swiftly, leaving her breathless with the inexpressible delight of it. She could never recall it — never summon it — never pretend it; but the wonder of it stayed with her for days. It never came twice with the same thing. Tonight the dark boughs against that far-off sky had given it. It had come with a high, wild note of wind in the night, with a shadow wave over a ripe field, with a grey bird lighting on her windowsill in a storm, with the singing of “Holy, holy, holy” in church, with a glimpse of the kitchen fire when she had come home on a dark autumn night, with the spirit-like blue of ice palms on a twilit pane, with a felicitous new word when she writing down a ‘description’ of something. And always when the flash came to her Emily felt that life was a wonderful, mysterious thing of persistent beauty.

The whole of human history is nothing new, the whole of your personal story is nothing true, you can do with it whatever you want to do—flick a switch, scratch the record off, look behind the veil. Anything you don’t want, discard; anything that hurts, let go. None of it’s real, you know—all that pain, all that regret, all that doubt, not thin enough, not a good enough mum, not a good enough son, not a good enough bum. You are enough; you’re enough; there’s nothing you can buy or try on that’s going to make you any better, because you couldn’t be any better than you are. Drag your past around if you like, an old dead decaying ox of what you think they might’ve thought or what might’ve been if you’d done what you ought. That which needs to burn, let it burn. If the idea doesn’t serve you, let it go. If it separates you from the moment, from others, from yourself, let it go.

I was struck by the ancient, pagan feel of the place. New Orleans doesn't feel like any other American city I've been to. It has an atmosphere like Rome or Istanbul, a sense of the veil being very thin between this world and the world of the fictional and the dead. It is an eerie, haunted, and beautiful place - as any port should be.

When the beaded curtain parts with a sound like rain, it is Marco who enters the fortune-teller’s chamber, and Isobel immediately flips her veil from her face, the impossibly thin black silk floating back over her head like mist.

If we’re being honest, we don’t call ourselves royalty. If we’re being honest, we call ourselves timid, confused, and insecure. All our self-loathing and self-promoting is a thin veil covering over our frightening conviction that we are nobodies.

to Vaneigem and the Situationists who by shrewd use of collage and juxtaposition exposed both the poverty and richness of slogans, and the thinly veiled hypocrisy of a "spectacular" society which by not respecting words abuses people, and by insulting the intelligence creates a state of political cretinisation in which the many and various forms of authoritarian control dominate.

Now, instead of being just attracted, I was really in love, and it seemed that a thin, grey veil had fallen from my eyes and that the world lay before me in its original divine light as it does to children, and as it appears to us in our dreams of Paradise.

I actually thought there were only two kinds of love before. That it was just love like your family or romantic love. But I think there may be hundreds of kinds. Love like a new lease on life. Love like a place to exist freely. Love like being understood. Love like the contented quiet. Love like freshly baked cookies. Love like a thin veil between wishing it’d started earlier and loving the way it began.

A silky rustling sound came from behind him. He turned, and saw Helen standing there in a white dress made of thin, glimmering layers of silk trimmed with lace. The dress clung to her slender form, the skirts pulled back to outline her hips and cascading gently behind her. She pulled back a filmy white veil sewn with lace and seed pearls, and smiled at him. She was unearthly in her beauty, as light and delicate as a wash of rainbow through morning mist. He held a hand over his hammering heart, as if to keep it from leaping out of his chest.

Global women's issues like forced female circumcision, sex clubs in Thailand, the veiling of women in Africa, India, the Middle East, and Europe, the killing of female children in China, remain important concerns. However feminist women in the West are still struggling to decolonize feminist thinking and practice so that these issues can be addressed in a manner that does not reinscribe Western imperialism... A decolonized feminist perspective would first and foremost examine how sexist practices in relation to women's bodies globally are linked. For example: linking circumcision with life-threatening eating disorders (which are the direct consequence of a culture imposing thinness as a beauty ideal)...

The berth belongs to you too. It will always be there when—if you want to come back.” Inej could not speak. Her heart felt too full, a dry creek bed ill-prepared for such rain. “I don’t know what to say.” His bare hand flexed on the crow’s head of his cane. The sight was so strange Inej had trouble tearing her eyes from it. “Say you’ll return.” “I’m not done with Ketterdam.” She hadn’t known she meant it until she said the words. Kaz cast her a swift glance. “I thought you wanted to hunt slavers.” “I do. And I want your help.” Inej licked her lips, tasted the ocean on them. Her life had been a series of impossible moments, so why not ask for something impossible now? “It’s not just the slavers. It’s the procurers, the customers, the Barrel bosses, the politicians. It’s everyone who turns a blind eye to suffering when there’s money to be made.” “I’m a Barrel boss.” “You would never sell someone, Kaz. You know better than anyone that you’re not just one more boss scraping for the best margin.” “The bosses, the customers, the politicians,” he mused. “That could be half the people in Ketterdam—and you want to fight them all.” “Why not?” Inej asked. “One the seas and in the city. One by one.” “Brick by brick,” he said. Then he gave a single shake of his head, as if shrugging off the notion. “I wasn’t made to be a hero, Wraith. You should have learned that by now. You want me to be a better man, a good man. I—“ “This city doesn’t need a good man. It needs you.” “Inej—“ “How many times have you told me you’re a monster? So be a monster. Be the thing they all fear when they close their eyes at night. We don’t go after all the gangs. We don’t shut down the houses that treat fairly with their employees. We go after women like Tante Heleen, men like Pekka Rollins.” She paused. “And think about it this way…you’ll be thinning the competition.” He made a sound that might almost have been a laugh. One of his hands balanced on his cane. The other rested at his side next to her. She’d need only move the smallest amount and they’d be touching. He was that close. He was that far from reach. Cautiously, she let her knuckles brush against his, a slight weight, a bird’s feather. He stiffened, but he didn’t pull away. “I’m not ready to give up on this city, Kaz. I think it’s worth saving.” I think you’re worth saving. Once they’d stood on the deck of a ship and she’d waited just like this. He had not spoken then and he did not speak now. Inej felt him slipping away, dragged under, caught in an undertow that would take him farther and farther from shore. She understood suffering and knew it was a place she could not follow, not unless she wanted to drown too. Back on Black Veil, he’d told her they would fight their way out. Knives drawn, pistols blazing. Because that’s what we do. She would fight for him, but she could not heal him. She would not waste her life trying. She felt his knuckles slide again hers. Then his hand was in her hand, his palm pressed against her own. A tremor moved through him. Slowly, he let their fingers entwine.

I’ve only had a handful of moments like that in my life—where I could see how thin the veil was between my happy, intact world and its complete destruction. How few steps there were between the mundane and the unthinkable. You can see why people stay quiet. Can you see, yet, why I speak up? Wouldn’t

The carpet is a thin veil meant to make the harsh metal look like something soft and welcoming, rather than the monstrosity it would be in its natural state. It takes so little to trick the eyes, but I am lying on the thin deception, and the cold, unmalleable frame is bleeding into me until I start to shiver.

For thin is the veil betwixt man and the godless deep. The skies are haunted by that which it were madness to know; and strange abominations pass evermore between earth and moon and athwart the galaxies. Unnameable things have come to us in alien horror and will come again. And the evil of the stars is not as the evil of earth.

The man then walked directly over to me and with a showy exhale of his cigarette, looked at me with intense dark eyes and stated, “The veil is so thin in Egypt.” “The veil? The veil between us and them, you mean?” This pleased him. “The same!” Then, noting the lack of introduction, he said, “Aleister Crowley–a pleasure to make your acquaintance.

The doppelganger nature of the country’s identity is embedded in the dualistic language used to describe it, in which everything is double and never singular: Israel-Palestine, Arab and Jew, Two States, The Conflict. Based on a fantasy of symmetrical power, this suturing together of two peoples implies conjoined twins in a state of unending struggle, an irresolvable sibling rivalry between the two peoples, both descended from Abraham. For Rooney, Israel as doppelganger exists on two levels. First, it is a doppelganger of the forms of chauvinistic European nationalisms that turned Jews into pariahs on the continent since well before the Inquisition. That was Zionism’s win-win pitch to anti-Semitic European powers: you get rid of your “Jewish problem” (i.e., Jews, who will leave your countries and migrate to Palestine), and Jews get a state of their own to mimic/twin the very forms of militant nationalism that had oppressed them for centuries. (This is why Zionism was so fiercely opposed by the members of the Bund, who believed that nationalism itself was their enemy and the wellspring of race hatred.) Israel also became a doppelganger of the colonial project, specifically settler colonialism. Many of Zionism’s basic rationales were thinly veiled Judaizations of core Christian colonial conceptions: Terra Nullius, the claim that continents like Australia were effectively empty because their Indigenous inhabitants were categorized as less than fully human, became “A land without a people for a people without a land”—a phrase adopted by many Zionists and that originated with nineteenth-century Christians. Manifest Destiny became “land bequeathed to the Jews by divine right.” “Taming the wild frontier” became “making the desert bloom.

[Bus ride through The Strand]: A puff of wind (in spite of the heat, there was quite a wind) blew a thin black veil over the sun and over the Strand. The faces faded; the omnibuses suddenly lost their glow. For although the clouds were of mountainous white so that one could fancy hacking hard chips off with a hatchet, with broad golden slopes, lawns of celestial pleasure gardens, on their flanks, and had all the appearance of settled habitations assembled for the conference of gods above the world, there was a perpetual movement among them. Signs were interchanged, when, as if to fulfil some scheme arranged already, now a summit dwindled, now a whole block of pyramidal size which had kept its station inalterably advanced into the midst or gravely led the procession to fresh anchorage. Fixed though they seemed at their posts, at rest in perfect unanimity, nothing could be fresher, freer, more sensitive superficially than the snow-white or gold-kindled surface; to change, to go, to dismantle the solemn assemblage was immediately possible; and in spite of the grave fixity, the accumulated robustness and solidity, now they struck light to the earth, now darkness. Calmly and competently, Elizabeth Dalloway mounted the Westminster omnibus.

Civilization is a thin veil over our savage selves, easily lifted by some for personal glorification.

He likes to recycle, doesn’t he?’ It takes me a beat to identify this as a thinly veiled dig at his and Emma’s reconciliation.

Selena feels the hidden things thinning away to black veils you could pop with a fingertip, puddling into harmless sleep on the ground.

They appeared to me like a thin veil of mist, translucent, almost- not quite there. But for all their misty peculiarity, they were as clear to me as the minnows in the shallows and the foxgloves on the riverbank and the butterflies fanning their wings. They flitted from flower to flower, as swift as dragonflies, sometimes glowing brightly like a candle flame suddenly catching, sometimes fading like a breath of warm air on glass, so that you would never know they had been there at all. Yet there they were. And there I was, watching them.

Few Americans today recognize mass incarceration for what it is: a new caste system thinly veiled by the cloak of colorblindness. Hundreds of thousands of people of color are swept into this system and released every year, yet we rationalize the systematic discrimination and exclusion and turn a blind eye to the suffering. Our collective denial is not merely an inconvenient fact; it is a major stumbling block to public understanding of the role of race in our society, and it sharply limits the opportunities for truly transformative collective action.

Underneath the glossy, self-congratulatory histories that white Christian churches have written about themselves—which typically depict white Christians as exemplars of democratic principles and pillars of the community—is a thinly veiled, deeply troubling past. White Christian churches have not just been complacent or complicit in failing to address racism; rather, as the dominant cultural power in the U.S., they have been responsible for constructing and sustaining a project to protect white supremacy. This project has framed the entire American story.

Gradually, as the steam heat in the bathroom dissipated, a fine veil of goosebumps rose up over my skin, and in the mirror my reflection clarified and thinned until I could see my own pores.

Lovely and unremarkable, the clutter of mugs and books, the almost-empty Fig Newtons box, thick dishes in a big tin tray, the knife still standing in the butter, change like the color of river water in the delicate shift to day. Thin fog veils the hedges, where a neighbor dog makes rounds. 'Go to bed. It doesn't matter about the washing-up. Take this book along.' Whatever it was we said that night is gone, framed like a photograph nobody took. Stretched out on a camp cot with the book, I think that we will talk all night again, there, or another where, but I am wrong.

To pursue truth with such astonishing lack of consideration for other people’s feelings, to rend the thin veils of civilisation so wantonly, so brutally, was to her so horrible an outrage of human decency that, without replying, dazed and blinded, she bent her head as if to let the pelt of jagged hail, the drench of dirty water, bespatter her unrebuked. There was nothing to be said.

I don't want her to know the truth about us." "I'm merely going to explain to explain that I'm not Nathaniel's mistress." "You can't talk about mistresses to a well-bred Englishwoman. It violates every propriety." "To speak in a forthright manner violates propriety?" She rose to stare at him with thinly veiled amusements. "No wonder you English lost the colonies. What with all the lying and the 'propriety' and the evasions, how do you ever get anything done?" As she crossed the box to sit down beside Evelina, he stared after her in fascinated amazement. Americans were mad—that’s all there was to it.

We had “strayed,” as the Swede put it, into some region or some set of conditions where the risks were great, yet unintelligible to us; where the frontiers of some unknown world lay close about us. It was a spot held by the dwellers in some outer space, a sort of peep-hole whence they could spy upon the earth, themselves unseen, a point where the veil between had worn a little thin. As the final result of too long a sojourn here, we should be carried over the border and deprived of what we called “our lives,” yet by mental, not physical, processes. In that sense, as he said, we should be the victims of our adventure—a sacrifice.

Ascension And if I go, while you’re still here . . . Know that I live on, vibrating to a different measure, —behind a thin veil you cannot see through. You will not see me, so you must have faith. I wait for the time when we can soar together again, —both aware of each other. Until then, live your life to its fullest. And when you need me, Just whisper my name in your heart, . . . I will be there. © 1987 Colleen Corah Hitchcock

And it was in that moment of distress and confusion that the whip of terror laid its most nicely calculated lash about his heart. It dropped with deadly effect upon the sorest spot of all, completely unnerving him. He had been secretly dreading all the time that it would come - and come it did. Far overhead, muted by great height and distance, strangely thinned and wailing, he heard the crying voice of Defago, the guide. The sound dropped upon him out of that still, wintry sky with an effect of dismay and terror unsurpassed. The rifle fell to his feet. He stood motionless an instant, listening as it were with his whole body, then staggered back against the nearest tree for support, disorganized hopelessly in mind and spirit. To him, in that moment, it seemed the most shattering and dislocating experience he had ever known, so that his heart emptied itself of all feeling whatsoever as by a sudden draught. 'Oh! oh! This fiery height! Oh, my feet of fire! My burning feet of fire...' ran in far, beseeching accents of indescribable appeal this voice of anguish down the sky. Once it called - then silence through all the listening wilderness of trees. And Simpson, scarcely knowing what he did, presently found himself running wildly to and fro, searching, calling, tripping over roots and boulders, and flinging himself in a frenzy of undirected pursuit after the Caller. Behind the screen of memory and emotion with which experience veils events, he plunged, distracted and half-deranged, picking up false lights like a ship at sea, terror in his eyes and heart and soul. For the Panic of the Wilderness had called to him in that far voice - the Power of untamed Distance - the Enticement of the Desolation that destroys. He knew in that moment all the pains of someone hopelessly and irretrievably lost, suffering the lust and travail of a soul in the final Loneliness. A vision of Defago, eternally hunted, driven and pursued across the skyey vastness of those ancient forests fled like a flame across the dark ruin of his thoughts... It seemed ages before he could find anything in the chaos of his disorganized sensations to which he could anchor himself steady for a moment, and think... The cry was not repeated; his own hoarse calling brought no response; the inscrutable forces of the Wild had summoned their victim beyond recall - and held him fast. ("The Wendigo")

There are certain places, girl, that are better suited to hold power than others. Places where the veil between worlds is thin, and magic naturally abounds. Our light thrives in such environments, sustained by the regenerative magic of the land.

Jim Crow and mass incarceration have similar political origins...both caste systems were born in part, due to desire among white elites to exploit the resentments, vulnerabilities and racial biases of poor and working-class whites for political or economic gain. Segregation laws were proposed as part of a deliberate and strategic effort to deflect anger and hostility that have been brewing against the white elite away from them and toward African Americans. The birth of mass incarceration can be traced to a similar political dynamic. Conservatives in the 1960s and 1970s sought to appeal to the racial biases and economic vulnerabilities of poor and working-class whites through racially coded rhetoric on crime and welfare. In both cases, the racial opportunists offered few, if any, economic reforms to address the legitimate economic anxieties of poor and working-class whites, proposing instead a crackdown on the racially defined "others." In the early years of Jim Crow, conservative white elites competed with each other by passing ever more stringent and oppressive Jim Crow legislation. A century later, politicians in the early years of the drug war competed with each other to prove who could be tougher on crime by passing ever harsher drug laws- a thinly veiled effort to appeal to poor and working-class whites who, once again, proved they were willing to forego economic and structural reform in exchange for an apparent effort to put blacks back "in their place.

She wanted to slap herself for showing weakness around him. “Why?” he prodded. “Why what?” she snapped. “Why me?” “I was asking myself the same question.” “The wide-eyed act won’t work with me, cara.” “I am not—” “I won’t marry you. If that’s what you’re after, forget it. Not happening.” “I’m after what?!” she spluttered. She was at a loss for words. “It takes more than a cherry to make me cough up a wedding ring, “ he said with thinly veiled derision. “You should’ve done your homework. Marriage? Not in my cards.

Damn you," he said. But what had she said? Simply that it might be fine tomorrow. So it might. Not with the barometer falling and the wind due west. To pursue truth with such astonishing lack of consideration for other people's feelings, to rend the thin veils of civilisation so wantonly, so brutally, was to her so horrible an outrage of human decency that, without replying, dazed and blinded, he bent her head as if to let the pelt of jagged hail, the drench of dirty water, bespatter her unrebuked. There was nothing to be said.

I still stared at Daemon, completely aware that everyone else except him was watching me. Closely. But why wouldn’t he look at me? A razor-sharp panic clawed at my insides. No. This couldn’t be happening. No way.
 My body was moving before I even knew what I was doing. From the corner of my eye, I saw Dee shake her head and one of the Luxen males step forward, but I was propelled by an inherent need to prove that my worst fears were not coming true. After all, he’d healed me, but then I thought of what Dee had said, of how Dee had behaved with me. What if Daemon was like her? Turned into something so foreign and cold? He would’ve healed me just to make sure he was okay. I still didn’t stop.
 Please, I thought over and over again. Please. Please. Please. On shaky legs, I crossed the long room, and even though Daemon hadn’t seemed to even acknowledge my existence, I walked right up to him, my hands trembling as I placed them on his chest. “Daemon?” I whispered, voice thick. His head whipped around, and he was suddenly staring down at me. Our gazes collided once more, and for a second I saw something so raw, so painful in those beautiful eyes. And then his large hands wrapped around my upper arms. The contact seared through the shirt I wore, branding my skin, and I thought—I expected—that he would pull me against him, that he would embrace me, and even though nothing would be all right, it would be better. Daemon’s hands spasmed around my arms, and I sucked in an unsteady breath. His eyes flashed an intense green as he physically lifted me away from him, setting me back down a good foot back. I stared at him, something deep in my chest cracking. “Daemon?” He said nothing as he let go, one finger at a time, it seemed, and his hands slid off my arms. He stepped back, returning his attention to the man behind the desk. “So . . . awkward,” murmured the redhead, smirking. I was rooted to the spot in which I stood, the sting of rejection burning through my skin, shredding my insides like I was nothing more than papier-mâché. “I think someone was expecting more of a reunion,” the Luxen male behind the desk said, his voice ringing with amusement. “What do you think, Daemon?” One shoulder rose in a negligent shrug. “I don’t think anything.” My mouth opened, but there were no words. His voice, his tone, wasn’t like his sister’s, but like it had been when we first met. He used to speak to me with barely leashed annoyance, where a thin veil of tolerance dripped from every word. The rift in my chest deepened.
For the hundredth time since the Luxen arrived, Sergeant Dasher’s warning came back to me. What side would Daemon and his family stand on? A shudder worked its way down my spine. I wrapped my arms around myself, unable to truly process what had just happened. “And you?" the man asked. When no one answered, he tried again. “Katy?” I was forced to look at him, and I wanted to shrink back from his stare. “What?” I was beyond caring that my voice broke on that one word. The man smiled as he walked around the desk. My gaze flickered over to Daemon as he shifted, drawing the attention of the beautiful redhead. “Were you expecting a more personal greeting?” he asked. “Perhaps something more intimate?” I had no idea how to answer. I felt like I’d fallen into the rabbit hole, and warnings were firing off left and right. Something primal inside me recognized that I was surrounded by predators. Completely.

Life was what happened when all the what-if’s didn’t, when what you dreamed or hoped or—in this case—feared might come to pass passed by instead. Alex had spent enough nights thinking of good fortune, of how it was thin as a veil, how seamlessly you might stream from one side to the other.

I say is someone in there?’ The voice is the young post-New formalist from Pittsburgh who affects Continental and wears an ascot that won’t stay tight, with that hesitant knocking of when you know perfectly well someone’s in there, the bathroom door composed of thirty-six that’s three times a lengthwise twelve recessed two-bevelled squares in a warped rectangle of steam-softened wood, not quite white, the bottom outside corner right here raw wood and mangled from hitting the cabinets’ bottom drawer’s wicked metal knob, through the door and offset ‘Red’ and glowering actors and calendar and very crowded scene and pubic spirals of pale blue smoke from the elephant-colored rubble of ash and little blackened chunks in the foil funnel’s cone, the smoke’s baby-blanket blue that’s sent her sliding down along the wall past knotted washcloth, towel rack, blood-flower wallpaper and intricately grimed electrical outlet, the light sharp bitter tint of a heated sky’s blue that’s left her uprightly fetal with chin on knees in yet another North American bathroom, deveiled, too pretty for words, maybe the Prettiest Girl Of All Time (Prettiest G.O.A.T.), knees to chest, slew-footed by the radiant chill of the claw-footed tub’s porcelain, Molly’s had somebody lacquer the tub in blue, lacquer, she’s holding the bottle, recalling vividly its slogan for the past generation was The Choice of a Nude Generation, when she was of back-pocket height and prettier by far than any of the peach-colored titans they’d gazed up at, his hand in her lap her hand in the box and rooting down past candy for the Prize, more fun way too much fun inside her veil on the counter above her, the stuff in the funnel exhausted though it’s still smoking thinly, its graph reaching its highest spiked prick, peak, the arrow’s best descent, so good she can’t stand it and reaches out for the cold tub’s rim’s cold edge to pull herself up as the white- party-noise reaches, for her, the sort of stereophonic precipice of volume to teeter on just before the speaker’s blow, people barely twitching and conversations strettoing against a ghastly old pre-Carter thing saying ‘We’ve Only Just Begun,’ Joelle’s limbs have been removed to a distance where their acknowledgement of her commands seems like magic, both clogs simply gone, nowhere in sight, and socks oddly wet, pulls her face up to face the unclean medicine-cabinet mirror, twin roses of flame still hanging in the glass’s corner, hair of the flame she’s eaten now trailing like the legs of wasps through the air of the glass she uses to locate the de-faced veil and what’s inside it, loading up the cone again, the ashes from the last load make the world's best filter: this is a fact. Breathes in and out like a savvy diver… –and is knelt vomiting over the lip of the cool blue tub, gouges on the tub’s lip revealing sandy white gritty stuff below the lacquer and porcelain, vomiting muddy juice and blue smoke and dots of mercuric red into the claw-footed trough, and can hear again and seems to see, against the fire of her closed lids’ blood, bladed vessels aloft in the night to monitor flow, searchlit helicopters, fat fingers of blue light from one sky, searching.

There was no reason why he should not lift the veil aside. Well, there was Lily. He could imagine his mother’s face if he told her he was giving up meat and alcohol and going to live off the land and make sandals. Not to mention homogenic love. The veil might be thin, but in some cases it was insurmountable.

Gradually white fingers creep through the curtains, and they appear to tremble. In black fantastic shapes, dumb shadows crawl into the corners of the room and crouch there. Outside, there is the stirring of birds among the leaves, or the sound of men going forth to their work, or the sigh and sob of the wind coming down from the hills and wandering round the silent house, as though it feared to wake the sleepers and yet must needs call forth sleep from her purple cave. Veil after veil of thin dusky gauze is lifted, and by degrees the forms and colours of things are restored to them, and we watch the dawn remaking the world in its antique pattern.

Socrates tried to soothe us, true enough. He said there were only two possibilities. Either the soul is immortal or, after death, things would be again as blank as they were before we were born. This is not absolutely comforting either. Anyway it was natural that theology and philosophy should take the deepest interest in this. They owe it to us not to be boring themselves. On this obligation they don’t always make good. However, Kierkegaard was not a bore. I planned to examine his contribution in my master essay. In his view the primacy of the ethical over the esthetic mode was necessary to restore the balance. But enough of that. In myself I could observe the following sources of tedium: 1) The lack of a personal connection with the external world. Earlier I noted that when I was riding through France in a train last spring I looked out of the window and thought that the veil of Maya was wearing thin. And why was this? I wasn’t seeing what was there but only what everyone sees under a common directive. By this is implied that our worldview has used up nature. The rule of this view is that I, a subject, see the phenomena, the world of objects. They, however, are not necessarily in themselves objects as modern rationality defines objects. For in spirit, says Steiner, a man can step out of himself and let things speak to him about themselves, to speak about what has meaning not for him alone but also for them. Thus the sun the moon the stars will speak to nonastronomers in spite of their ignorance of science. In fact it’s high time that this happened. Ignorance of science should not keep one imprisoned in the lowest and weariest sector of being, prohibited from entering into independent relations with the creation as a whole. The educated speak of the disenchanted (a boring) world. But it is not the world, it is my own head that is disenchanted. The world cannot be disenchanted. 2) For me the self-conscious ego is the seat of boredom. This increasing, swelling, domineering, painful self-consciousness is the only rival of the political and social powers that run my life (business, technological-bureaucratic powers, the state). You have a great organized movement of life, and you have the single self, independently conscious, proud of its detachment and its absolute immunity, its stability and its power to remain unaffected by anything whatsoever — by the sufferings of others or by society or by politics or by external chaos. In a way it doesn’t give a damn. It is asked to give a damn, and we often urge it to give a damn but the curse of noncaring lies upon this painfully free consciousness. It is free from attachment to beliefs and to other souls. Cosmologies, ethical systems? It can run through them by the dozens. For to be fully conscious of oneself as an individual is also to be separated from all else. This is Hamlet’s kingdom of infinite space in a nutshell, of “words, words, words,” of “Denmark’s a prison.

Wedding Superstitions The Bridal Gown White - You have chosen right. Grey - You'll go far away. Black - You'll wish yourself back. Red - You'll wish yourself dead. Green - Ashamed to be seen. Blue - You'll always be true. Pearl - You'll live in a whirl. Peach - A love out of reach. Yellow - Ashamed of your fellow. Pink - Your Spirits will sink. The Wedding Day Monday for health, Tuesday for wealth, Wednesday best of all, Thursday for losses, Friday for crosses, Saturday for no luck at all. The Wedding Month Marry in May, and you'll rue the day, Marry in Lent, you'll live to repent. Married when the year is new, He'll be loving, kind and true. When February birds do mate, You wed nor dread your fate. If you wed when March winds blow, Joy and sorrow both you'll know. Marry in April when you can, Joy for maiden and the man. Marry in the month of May, And you'll surely rue the day. Marry when the June roses grow, Over land and sea you'll go. Those who in July do wed, Must labour for their daily bread. Whoever wed in August be, Many a change is sure to see. Marry in September's shine, Your living will be rich and fine. If in October you do marry, Love will come, but riches tarry. If you wed in bleak November, Only joys will come, remember, When December's snows fall fast, Marry and true love will last. Married in January's roar and rime, Widowed you'll be before your prime. Married in February's sleepy weather, Life you'll tread in time together. Married when March winds shrill and roar, Your home will lie on a distant shore. Married 'neath April's changeful skies, A checkered path before you lies. Married when bees o'er May blossoms flit, Strangers around your board will sit. Married in month of roses June, Life will be one long honeymoon. Married in July with flowers ablaze, Bitter-sweet memories in after days. Married in August's heat and drowse, Lover and friend in your chosen spouse. Married in September's golden glow, Smooth and serene your life will go. Married when leaves in October thin, Toil and hardships for you begin. Married in veils of November mist, Fortune your wedding ring has kissed. Married in days of December's cheer, Love's star shines brighter from year to year

Fellow-citizens, pardon me, allow me to ask, why am I called upon to speak here to-day? What have I, or those I represent, to do with your national independence? Are the great principles of political freedom and of natural justice, embodied in that Declaration of Independence, extended to us? And am I, therefore, called upon to bring our humble offering to the national altar, and to confess the benefits and express devout gratitude for the blessings resulting from your independence to us? I am not included within the pale of this glorious anniversary! Your high independence only reveals the immeasurable distance between us. The blessings in which you this day rejoice are not enjoyed in common. The rich inheritance of justice, liberty, prosperity, and independence bequeathed by your fathers is shared by you, not by me. The sunlight that brought life and healing to you has brought stripes and death to me. This Fourth of July is yours, not mine. You may rejoice, I must mourn. To drag a man in fetters into the grand illuminated temple of liberty, and call upon him to join you in joyous anthems, were inhuman mockery and sacrilegious irony. Do you mean, citizens, to mock me, by asking me to speak today? What, to the American slave, is your Fourth of July? I answer: a day that reveals to him, more than all other days of the year, the gross injustice and cruelty to which he is a constant victim. To him, your celebration is a sham; your boasted liberty, an unholy license; your national greatness, swelling vanity; your sounds of rejoicing are empty and heartless; your denunciation of tyrants, brass fronted impudence; your shouts of liberty and equality, hollow mockery; your prayers and hymns, your sermons and thanksgivings, with all your religious parade and solemnity, are, to Him, mere bombast, fraud, deception, impiety, and hypocrisy—a thin veil to cover up crimes that would disgrace a nation of savages. There is not a nation of the earth guilty of practices more shocking and bloody than are the people of these United States at this very hour. At a time like this, scorching irony, not convincing argument, is needed. O! had I the ability, and could reach the nation’s ear, I would, to-day, pour forth a stream, a fiery stream of biting ridicule, blasting reproach, withering sarcasm, and stern rebuke. For it is not light that is needed, but fire; it is not the gentle shower, but thunder. We need the storm, the whirlwind, the earthquake. The feeling of the nation must be quickened; the conscience of the nation must be roused; the propriety of the nation must be startled; the hypocrisy of the nation must be exposed; and the crimes against God and man must be proclaimed and denounced.

She’s my mom and she’s never seen me this happy before. Of course, she thinks I love you.” I braved a look at him. “And do you?” “If I deny it, will you be able to get through dinner?” I nodded, ignoring the thin veil of his words over the truth I didn’t want to accept. “Then I don’t love you. You’re the most aggravating woman I’ve ever met. I can barely tolerate you.” “And my kids?” “Oh, no,” he chuckled. “I definitely love them.” “You do?” An aching affection flooded my body, filling in all of the cracks that fear and uncertainty had left me with. An emotional heat bubbled in my chest and wrapped my stiff limbs with something like hope. “Yes, I do. But they agree with me about you. You aggravate us all.

There are few of us who have not sometimes wakened before dawn, either after one of those dreamless nights that make one almost enamoured of death, or one of those nights of horror and misshapen joy, when through the chambers of the brain sweep phantoms more terrible than reality itself, and instinct with that vivid life that lurks in all grotesques, and that lends to Gothic art its enduring vitality, this art being, one might fancy, especially the art of those whose minds have been troubled with the malady of revery. Gradually white fingers creep through the curtains, and they appear to tremble. Black fantastic shadows crawl into the corners of the room, and crouch there. Outside, there is the stirring of birds among the leaves, or the sound of men going forth to their work, or the sigh and sob of the wind coming down from the hills, and wandering round the silent house, as though it feared to wake the sleepers. Veil after veil of thin dusky gauze is lifted, and by degrees the forms and colors of things are restored to them, and we watch the dawn remaking the world in its antique pattern.

There was a waning moon in the sky, and her radiance was not brilliant, but she was veiled in a thin cloud-curtain which seemed to diffuse and equalize it. When, on his return from the villa (it was eleven o'clock), Winterbourne approached the dusky circle of the Colosseum, it occurred to him, as a lover of the picturesque, that the interior, in the pale moonshine, would be well worth a glance.

Did you need Jordan for something, Cookie?" Gavin asked with thinly veiled impatience. Hands back in his pockets, he took a step away from Jordan. "Or do you merely excel at crappy timing?" "Sorry, Chief." Cookie's short purple-and-blue hair stuck out in a hundred different directions, and she winked when she peeked out from behind the swinging door.... "It's a gift." "That's not what I would call it," he grumbled.

Hurrying on, Barbee nodded to the workman as casually as he could. His skin felt goose-pimpled under the thin red robe, and he couldn't help shivering to a colder chill than he felt in the frosty air. For the quiet city, it seemed to him, was only a veil of painted illusion. Its air of sleepy peace concealed brooding horror, too frightful for sane minds to dwell upon. Even the cheery bricklayer with the lunch pail might - just might - be the monstrous Child of Night.

So, Cheers! Cheers to you, my friend! Here’s to the girl who can proudly cherish her ethnicity and traditions, while simultaneously embracing the great American spirit of independence and strength. Here’s to you, the girl who can navigate through sheer madness, and in the end appreciate her blessings. And here’s to you, the girl who can dance in that ancient land with as much grace as she can glide on that thin piece of ice called America. You are truly amazing!" -From Veils to Thongs

The Woman Poet // Die Dichterin You hold me now completely in your hands. My heart beats like a frightened little bird's Against your palm. Take heed! You do not think A person lives within the page you thumb. To you this book is paper, cloth, and ink, Some binding thread and glue, and thus is dumb, And cannot touch you (though the gaze be great That seeks you from the printed marks inside), And is an object with an object's fate. And yet it has been veiled like a bride, Adorned with gems, made ready to be loved, Who asks you bashfully to change your mind, To wake yourself, and feel, and to be moved. But still she trembles, whispering to the wind: "This shall not be." And smiles as if she knew. Yet she must hope. A woman always tries, Her very life is but a single "You . . ." With her black flowers and her painted eyes, With silver chains and silks of spangled blue. She knew more beauty when a child and free, But now forgets the better words she knew. A man is so much cleverer than we, Conversing with himself of truth and lie, Of death and spring and iron-work and time. But I say "you" and always "you and I." This book is but a girl's dress in rhyme, Which can be rich and red, or poor and pale, Which may be wrinkled, but with gentle hands, And only may be torn by loving nails. So then, to tell my story, here I stand. The dress's tint, though bleached in bitter lye, Has not all washed away. It still is real. I call then with a thin, ethereal cry. You hear me speak. But do you hear me feel?

Though I'm not sure, I thought I saw women dressed in black, with her head and face covered by a black veil, duck behind a tree as we approached the road and parked car. Hiding so we wouldn't see her. But I caught a glimpse, enough to reveal the rope of lustrous pearls she wore. Pearls that were there for a thin white hand to lift and nervously, out of long habit, twist and untwist into a knot. Only one women I knew did that--and she was the perfect one to wear black, and should run to hide! Forever hide! Color all her days black! Every last one!

Harriet turned round, and we both saw a girl walking towards us. She was dark-skinned and thin, not veiled but dressed in a sitara, a brightly coloured robe of greens and pinks, and she wore a headscarf of a deep rose colour. In that barren place the vividness of her dress was all the more striking. On her head she balanced a pitcher and in her hand she carried something. As we watched her approach, I saw that she had come from a small house, not much more than a cave, which had been built into the side of the mountain wall that formed the far boundary of the gravel plateau we were standing on. I now saw that the side of the mountain had been terraced in places and that there were a few rows of crops growing on the terraces. Small black and brown goats stepped up and down amongst the rocks with acrobatic grace, chewing the tops of the thorn bushes. As the girl approached she gave a shy smile and said, ‘Salaam alaikum, ’ and we replied, ‘Wa alaikum as salaam, ’ as the sheikh had taught us. She took the pitcher from where it was balanced on her head, kneeled on the ground, and gestured to us to sit. She poured water from the pitcher into two small tin cups, and handed them to us. Then she reached into her robe and drew out a flat package of greaseproof paper from which she withdrew a thin, round piece of bread, almost like a large flat biscuit. She broke off two pieces, and handed one to each of us, and gestured to us to eat and drink. The water and the bread were both delicious. We smiled and mimed our thanks until I remembered the Arabic word, ‘Shukran.’ So we sat together for a while, strangers who could speak no word of each other’s languages, and I marvelled at her simple act. She had seen two people walking in the heat, and so she laid down whatever she had been doing and came to render us a service. Because it was the custom, because her faith told her it was right to do so, because her action was as natural to her as the water that she poured for us. When we declined any further refreshment after a second cup of water she rose to her feet, murmured some word of farewell, and turned and went back to the house she had come from. Harriet and I looked at each other as the girl walked back to her house. ‘That was so…biblical,’ said Harriet. ‘Can you imagine that ever happening at home?’ I asked. She shook her head. ‘That was charity. Giving water to strangers in the desert, where water is so scarce. That was true charity, the charity of poor people giving to the rich.’ In Britain a stranger offering a drink to a thirsty man in a lonely place would be regarded with suspicion. If someone had approached us like that at home, we would probably have assumed they were a little touched or we were going to be asked for money. We might have protected ourselves by being stiff and unfriendly, evasive or even rude.

Dealing with this system on its own terms is complicated by the problem of denial. Few Americans today recognize mass incarceration for what it is: a new caste system thinly veiled by the cloak of colorblindness. Hundreds of thousands of people of color are swept into this system and released every year, yet we rationalize the systematic discrimination and exclusion and turn a blind eye to the suffering. Our collective denial is not merely an inconvenient fact; it is a major stumbling block to public understanding of the role of race in our society, and it sharply limits the opportunities for truly transformative collective action.

I went up the stairs of the little hotel, that time in Bystřice by Benešov, and at the turn of the stairs there was a bricklayer at work, in white clothes; he was chiselling channels in the wall to cement in two hooks, on which in a little while he was going to hang a Minimax fire-extinguisher; and this bricklayer was already and old man, but he had such an enormous back that he had to turn round to let me pass by, and then I heard him whistling the waltz from The Count of Luxembourg as I went into my little room. It was afternoon. I took out two razors, and one of them I scored blade-up into the top of the bathroom stool, and the other I laid beside it, and I, too, began to whistle the waltz from The Count of Luxembourg while I undressed and turned on the hot-water tap, and then I reflected, and very quietly I opened the door a crack. And the bricklayer was standing there in the corridor on the other side of the door, and it was as if he also had opened the door a crack to have a look at me and see what I was doing, just as I had wanted to have a look at him. And I slammed the door shut and crept into the bath, I had to let myself down into it gradually, the water was so hot; I gasped with the sting of it as carefully and painfully I sat down. And then I stretched out my wrist, and with my right hand I slashed my left wrist ... and then with all my strength I brought down the wrist of my right hand on the upturned blade I'd grooved into the stool for that purpose. And I plunged both hands into the hot water, and watched the blood flow slowly ouf of me, and the water grew rosy, and yet al the time the pattern of the red blood flowing remained so clearly perceptible, as though someone was drawing out from my wrists a long, feathery red bandage, a film, dancing veil ... and presently I thickened there in the bath, as that red paint thickened when we were painting the fence all round the state workshops, until we had to thin it with turpentine - and my head sagged, and into my mouth flowed pink raspberryade, except that it tasted slightly salty .. and then those concentric circles in blue and violet, trailing feathery fronds like coloured spirals in motion ... and then there was a shadow stooping over me, and my face was brushed lightly by a chin overgrown with stubble. It was that bricklayer in the white clothes. He hoisted me out and landed me like a red fish with delicate red fins sprouting from its wrists. I laid my head on his smock, and I heard the hissing of lime as my wet face slaked it, and that smell was the last thing of which I was conscious.

Lady Isabeau was tall for a woman, nearly as tall as Molly, but slender where Molly was stout, with a smooth immobile face that looked as if it had been carved from ivory, pale and serene. Hob stared at her: glossy black hair bound about the brows with a broad white linen fillet and partly concealed by a veil that draped down her neck; dark eyes beneath dark brows plucked thin; unsmiling lips, full and well-shaped. There was so little expression on her face, and its beauty was so unworldly, that Hob had a moment when he thought her an apparition, or a graven figure. “Blanche comme la neige,” came to his mind, a song Molly had taught him, “belle comme le jour.” The thinnest of scars ran from her hairline down her forehead, divided her left eyebrow, and curved along her cheek to the corner of her mouth, and seemed at once to augment her beauty and to reinforce its carven stillness, as if some wright's chisel had slipped in the course of fashioning her visage. A linen band of the sort known as a barbette ran down from the fillet at her temples and passed under her chin, framing her face, and rendering her features all the more austere. Her gown was a muted purple; heavy embroidery of red and blue circled its neckline, and it was gathered by a zone of gray silk, sewn with pearls, that circled her hips. From this belt depended a silver ring, as wide around as a big man's fist. On the ring was a bunch of black iron keys, of varying sizes: the symbol and reality of her standing as administrator of the household. As she spoke, she fiddled with the keys as though they were prayer beads; they gave off a continual muted clink, just barely audible to Hob above the rumble of voices, the thuds and thumps of plank tabletops settling onto their trestles.

The Coach’s head was oblong with tiny slits that served as eyes, which drifted in tides slowly inward, as though the face itself were the sea or, in fact, a soup of macromolecules through which objects might drift, leaving in their wake, ripples of nothingness. The eyes—they floated adrift like land masses before locking in symmetrically at seemingly prescribed positions off-center, while managing to be so closely drawn into the very middle of the face section that it might have seemed unnecessary for there to have been two eyes when, quite likely, one would easily have sufficed. These aimless, floating eyes were not the Coach’s only distinctive feature—for, in fact, connected to the interior of each eyelid by a web-like layer of rubbery pink tissue was a kind of snout which, unlike the eyes, remained fixed in its position among the tides of the face, arcing narrowly inward at the edges of its sharp extremities into a serrated beak-like projection that hooked downward at its tip, in a fashion similar to that of a falcon’s beak. This snout—or beak, rather—was, in fact, so long and came to such a fine point that as the eyes swirled through the soup of macromolecules that comprised the man’s face, it almost appeared—due to the seeming thinness of the pink tissue—that the eyes functioned as kinds of optical tether balls that moved synchronously across the face like mirror images of one another. 'I wore my lizard mask as I entered the tram, last evening, and people found me fearless,' the Coach remarked, enunciating each word carefully through the hollow clack-clacking sound of his beak, as its edges clapped together. 'I might have exchanged it for that of an ox and then thought better. A lizard goes best with scales, don’t you think?' Bunnu nodded as he quietly wondered how the Coach could manage to fit that phallic monstrosity of a beak into any kind of mask, unless, in fact, this disguise of which he spoke, had been specially designed for his face and divided into sections in such a way that they could be readily attached to different areas—as though one were assembling a new face—in overlapping layers, so as to veil, or perhaps even amplify certain distinguishable features. All the same, in doing so, one could only imagine this lizard mask to be enormous to the extent that it would be disproportionate with the rest of the Coach’s body. But then, there were ways to mask space, as well—to bend light, perhaps, to create the illusion that something was perceptibly larger or smaller, wider or narrower, rounder or more linear than it was in actuality. That is to say, any form of prosthesis designed for the purposes of affecting remedial space might, for example, have had the capability of creating the appearance of a gap of void in occupied space. An ornament hangs from the chin, let’s say, as an accessory meant to contour smoothly inward what might otherwise appear to be hanging jowls. This surely wouldn’t be the exact use that the Coach would have for such a device—as he had no jowls to speak of—though he could certainly see the benefit of the accessory’s ingenuity. This being said, the lizard mask might have appeared natural rather than disproportionate given the right set of circumstances. Whatever the case, there was no way of even knowing if the Coach wasn’t, in fact, already wearing a mask, at this very moment, rendering Bunnu’s initial appraisal of his character—as determined by a rudimentary physiognomic analysis of his features—a matter now subject to doubt. And thus, any conjecture that could be made with respect to the dimensions or components of a lizard mask—not to speak of the motives of its wearer—seemed not only impractical, but also irrelevant at this point in time.

THE sun had not yet risen. The sea was indistinguishable from the sky, except that the sea was slightly creased as if a cloth had wrinkles in it. Gradually as the sky whitened a dark line lay on the horizon dividing the sea from the sky and the grey cloth became barred with thick strokes moving, one after another, beneath the surface, following each other, pursuing each other, perpetually. As they neared the shore each bar rose, heaped itself, broke and swept a thin veil of white water across the sand. The wave paused, and then drew out again, sighing like a sleeper whose breath comes and goes unconsciously. Gradually the dark bar on the horizon became clear as if the sediment in an old wine-bottle had sunk and left the glass green. Behind it, too, the sky cleared as if the white sediment there had sunk, or as if the arm of a woman couched beneath the horizon had raised a lamp and flat bars of white, green and yellow, spread across the sky like the blades of a fan. Then she raised her lamp higher and the air seemed to become fibrous and to tear away from the green surface flickering and flaming in red and yellow fibres like the smoky fire that roars from a bonfire. Gradually the fibres of the burning bonfire were fused into one haze, one incandescence which lifted the weight of the woollen grey sky on top of it and turned it to a million atoms of soft blue. The surface of the sea slowly became transparent and lay rippling and sparkling until the dark stripes were almost rubbed out. Slowly the arm that held the lamp reused it higher and then higher until a broad flame became visible; an arc of fire burnt on the rim of the horizon, and all round it the sea blazed gold. The light struck upon the trees in the garden, making one leaf transparent and then another. One bird chirped high up; there was a pause; another chirped lower down. The sun sharpened the walls of the house, and rested like the tip of a fan upon a white blind and made a blue fingerprint of shadow under the leaf by the bedroom window. The blind stirred slightly, but all within was dim and unsubstantial. The birds sang their blank melody outside.

There are few of us who have not sometimes wakened before dawn, either after one of those dreamless nights that make us almost enamored of death, or one of those nights of horror and misshapen joy, when through the chambers of the brain sweep phantoms more terrible than reality itself, and instinct with that vivid life that lurks in all grotesques, and that lends to Gothic art its enduring vitality, this art being, one might fancy, especially the art of those who minds have been troubled with the malady of reverie. Gradually white fingers creep through the curtains, and they appear to tremble. In black, fantastic shapes, dumb shadows crawl into the corners of the room, and crouch there. Outside, there is the stirring of the birds among the leaves, or the sound of men going forth to their work, or the sigh and sob of the wind coming down from the hills and wandering round the silent house, as though it feared to wake the sleeper, and yet must needs call forth Sleep from her purple cave. Veil after veil of thin, dusky gauze is lifted, and by degrees the forms and colors of things are restored to them, and we watch the dawn remaking the world in its antique pattern. The wan mirrors get back their mimic life. The flameless tapers stand where we had left them, and beside them lies the half-cut book that we had been studying, or the wired flower that we had worn at the ball, or the letter we had been afraid to read, or that we had read too often. Nothing seems to us changed. Out of the unreal shadows of the night comes back the real life that we had known. We have to resume it where we had left off, and there steals over us a terrible sense of the necessity for the continuance of energy in the same wearisome round of stereotyped habits, or a wild longing, it may be, that our eyelids might open some morning upon a world that had been refashioned anew in the darkness for our pleasure, a world in which things would have fresh shapes and colors, and be changed, or have other secrets, a world in which the past would have little or no place, or survive, at any rate, in no conscious form of obligation or regret, the remembrance even of joy having its bitterness, and the memories of pleasure their pain.

Veil after veil of thin dusky gauze is lifted, and by degrees the forms and colours of things are restored to them, and we watch the dawn remaking the world in its antique pattern. The wan mirrors get back their mimic life. The flameless tapers stand where we had left them, and beside them lies the half-cut book that we had been studying, or the wired flower that we had worn at the ball, or the letter that we had been afraid to read, or that we had read too often. Nothing seems to us changed. Out of the unreal shadows of the night comes back the real life that we had known. We have to resume it where we had left off, and there steals over us a terrible sense of the necessity for the continuance of energy in the same wearisome round of stereotyped habits, or a wild longing, it may be, that our eyelids might open some morning upon a world that had been refashioned anew in the darkness for our pleasure, a world in which things would have fresh shapes and colours, and be changed, or have other secrets, a world in which the past would have little or no place, or survive, at any rate, in no conscious form of obligation or regret,

My dad gets mad pissed at us for lighting fireworks on the Fourth. Not ’cause they can turn our fingers into knobs but because he doesn’t fuck with July 4th or Christmas or Easter or Presidents’ Day or any other holiday. Too white for Pops—white Christmas, all white on Easter, dead white presidents. He comes outside. “Whose independence are you celebrating?” He pulls out a book and reads while the M-80 smoke swirls over our heads: “ ‘What, to the American slave, is your Fourth of July? I answer: a day that reveals to him, more than all other days in the year, the gross injustice and cruelty to which he is the constant victim. To him, your celebration is a sham; your boasted liberty, an unholy license; your national greatness, swelling vanity; your sounds of rejoicing are empty and heartless; your denunciation of tyrants, brass-fronted impudence; your shouts of liberty and equality, hollow mockery; your prayers and hymns, your sermons and thanksgivings, with all your religious parade and solemnity, are, to him, mere bombast, fraud, deception, impiety, and hypocrisy—a thin veil to cover up crimes which would disgrace a nation of savages.’ ” Roach

It seems that in the kingdom of Heaven, the cosmic lottery works in reverse; in the kingdom of Heaven, all of our notions of the lucky and the unlucky, the blessed and the cursed, the haves and the have-nots, are turned upside down. In the kingdom of Heaven, the last will be first and the first will be last. In India, I realised that while the poor and oppressed certainly deserve my compassion and help, they do not need my pity. Widows and orphans and lepers and untouchables enjoy special access to the Gospel that I do not have. They benefit immediately from the Good News that freedom is found not in retribution but in forgiveness, that real power belongs not to the strong but to the merciful, that joy comes not from wealth but from generosity. The rest of us have to get used to the idea that we cannot purchase love or fight for peace or find happiness in high positions. Those of us who have never suffered are at a disadvantage because Jesus invites His followers to fellowship in His suffering. In fact, the first thing Jesus did in His sermon on the mount was to mess with our assumptions about the cosmic lottery. In Luke’s account, Jesus says, "Blessed are you who are poor for yours is the Kingdom of God. Blessed are you who hunger now, for you will be satisfied. Blessed are you who weep now, for you will laugh. But woe to you who are rich, for you have already received your comfort. Woe to you who are well-fed now, for you will go hungry. Woe to you who laugh now, for you will mourn and weep.” (Luke 6:20-21; 24-25) It seems that the kingdom of God is made up of the least of these. To be present among them is to encounter what the Celtic saints called “thin spaces”, places or moments in time in which the veil separating heaven and earth, the spiritual and the material, becomes almost transparent. I’d like to think that I’m a part of this kingdom, even though my stuff and my comforts sometimes thicken the veil. Love, joy, peace, patience, kindness, goodness, faithfulness, gentleness and self-control – these are God things, and they are available to all, regardless of status or standing. Everything else is just extra, and extra can be a distraction. Extra lulls us into the complacency and tricks us into believing that we need more than we need. Extra makes it harder to distinguish between God things and just things.

She’s the daughter of Lord Asriel,” said Farder Coram. “And her mother is Mrs. Coulter, of the Oblation Board.” “And apart from that?” The old gyptian had to shake his head. “No,” he said, “I don’t know any more. But she’s a strange innocent creature, and I wouldn’t have her harmed for the world. How she comes to read that instrument I couldn’t guess, but I believe her when she talks of it. Why, Dr. Lanselius? What do you know about her?” “The witches have talked about this child for centuries past,” said the consul. “Because they live so close to the place where the veil between the worlds is thin, they hear immortal whispers from time to time, in the voices of those beings who pass between the worlds. And they have spoken of a child such as this, who has a great destiny that can only be fulfilled elsewhere—not in this world, but far beyond. Without this child, we shall all die. So the witches say. But she must fulfill this destiny in ignorance of what she is doing, because only in her ignorance can we be saved. Do you understand that, Farder Coram?” “No,” said Farder Coram, “I’m unable to say that I do.” “What it means is that she must be free to make mistakes. We must hope that she does not, but we can’t guide her. I am glad to have seen this child before I die.

THROUGH THE BREADTH and scope of existence, the essence of your being has traveled, gathering experiences of every human emotion, situation, nationality, race, gender, and type of death and birth. This indefinable essence, which has traveled across time, is a vast storehouse of unlimited knowledge and possibilities contained in a collection of memories that are locked deep inside you. What exactly is this pearl of great price? It is your soul. Over the years, I have received many messages from Spirit describing the nature of the soul. Descriptions range from it being the nucleus of our being, to the power within, to the core of freedom. Scientists, metaphysicians, and psychologists have referred to the soul as the “super conscious.” I know it as the source of all intelligent energy wherein our true selves reside. Only a thin veil of human amnesia hides our own truth from us. The soul exists on many different levels of consciousness. It can be present on the physical plane and coexist on another dimension simultaneously. The soul is not human; therefore it does not possess human chemistry. However, it is colored by an accumulation of human lifetimes. The soul is always evolving, growing, and expanding based on the choices we make during the situations that come upon us.

Now there is this song on the saxophone. And I am ashamed. A glorious little suffering has just been born, an exemplary suffering. Four notes on the saxophone. They come and go, they seem to say: You must be like us, suffer in rhythm. All right! Naturally, I’d like to suffer that way, in rhythm, without complacence, without self-pity, with an arid purity. But is it my fault if the beer at the bottom of my glass is warm, if there are brown stains on the mirror, if I am not wanted, if the sincerest of my sufferings drags and weighs, with too much flesh and the skin too wide at the same time, like a sea-elephant, with bulging eyes, damp and touching and yet so ugly? No, they certainly can’t tell me it’s compassionate—this little jewelled pain which spins around above the record and dazzles me. Not even ironic: it spins gaily, completely self-absorbed; like a scythe it has cut through the drab intimacy of the world and now it spins and all of us, Madeleine, the thick-set man, the patronne, myself, the tables, benches, the stained mirror, the glasses, all of us abandon ourselves to existence, because we were among ourselves, only among ourselves, it has taken us unawares, in the disorder, the day to day drift: I am ashamed for myself and for what exists in front of it. It does not exist. It is even an annoyance; if I were to get up and rip this record from the table which holds it, if I were to break it in two, I wouldn’t reach it. It is beyond—always beyond something, a voice, a violin note. Through layers and layers of existence, it veils itself, thin and firm, and when you want to seize it, you find only existants, you butt against existants devoid of sense. It is behind them: I don’t even hear it, I hear sounds, vibrations in the air which unveil it. It does not exist because it has nothing superfluous: it is all the rest which in relation to it is superfluous. It is. And I, too, wanted to be. That is all I wanted; this is the last word. At the bottom of all these attempts which seemed without bonds, I find the same desire again: to drive existence out of me, to rid the passing moments of their fat, to twist them, dry them, purify myself, harden myself, to give back at last the sharp, precise sound of a saxophone note. That could even make an apologue: there was a poor man who got in the wrong world. He existed, like other people, in a world of public parks, bistros, commercial cities and he wanted to persuade himself that he was living somewhere else, behind the canvas of paintings, with the doges of Tintoretto, with Gozzoli’s Florentines, behind the pages of books, with Fabrizio del Dongo and Julien Sorel, behind the phonograph records, with the long dry laments of jazz. And then, after making a complete fool of himself, he understood, he opened his eyes, he saw that it was a misdeal: he was in a bistro, just in front of a glass of warm beer. He stayed overwhelmed on the bench; he thought: I am a fool. And at that very moment, on the other side of existence, in this other world which you can see in the distance, but without ever approaching it, a little melody began to sing and dance: “You must be like me; you must suffer in rhythm.

Mondays are for baklava, which she learned to make by watching her parents. Her mother said that a baklava-maker should have sensitive, supple hands, so she was in charge of opening and unpeeling the paper-thin layers of dough and placing them in a stack in the tray. Her father was in charge of pastry-brushing each layer of dough with a coat of drawn butter. It was systematic yet graceful: her mother carefully unpeeling each layer and placing them in the tray where Sirine's father painted them. It was important to move quickly so that the unbuttered layers didn't dry out and start to fall apart. This was one of the ways that Sirine learned how her parents loved each other- their concerted movements like a dance; they swam together through the round arcs of her mother's arms and her father's tender strokes. Sirine was proud when they let her paint a layer, prouder when she was able to pick up one of the translucent sheets and transport it to the tray- light as raw silk, fragile as a veil. On Tuesday morning, however, Sirine has overslept. She's late to work and won't have enough time to finish preparing the baklava before starting breakfast. She could skip a day of the desserts and serve the customers ice cream and figs or coconut cookies and butter cake from the Iranian Shusha Bakery two doors down. But the baklava is important- it cheers the students up. They close their eyes when they bite into its crackling layers, all lightness and scent of orange blossoms. And Sirine feels unsettled when she tries to begin breakfast without preparing the baklava first; she can't find her place in things. So finally she shoves the breakfast ingredients aside and pulls out the baklava tray with no idea of how she'll find the time to finish it, just thinking: sugar, cinnamon, chopped walnuts, clarified butter, filo dough....

There are few of us who have not sometimes wakened before dawn, either after one of those dreamless nights that make us almost enamoured of death, or one of those nights of horror and misshapen joy, when through the chambers of the brain sweep phantoms more terrible than reality itself, and instinct with that vivid life that lurks in all grotesques, and that lends to Gothic art its enduring vitality, this art being, one might fancy, especially the art of those whose minds have been troubled with the malady of reverie. Gradually white fingers creep through the curtains, and they appear to tremble. In black fantastic shapes, dumb shadows crawl into the corners of the room, and crouch there. Outside, there is the stirring of birds among the leaves, or the sound of men going forth to their work, or the sigh and sob of the wind coming down from the hills, and wandering round the silent house, as though it feared to wake the sleepers, and yet must needs call forth sleep from her purple cave. Veil after veil of thin dusky gauze is lifted, and by degrees the forms and colours of things are restored to them, and we watch the dawn remaking the world in its antique pattern. The wan mirrors get back their mimic life. The flameless tapers stand where we had left them, and beside them lies the half-cut book that we had been studying, or the wired flower that we had worn at the ball, or the letter that we had been afraid to read, or that we had read too often. Nothing seems to us changed. Out of the unreal shadows of the night comes back the real life that we had known. We have to resume it where we had left off, and there steals over us a terrible sense of the necessity for the continuance of energy in the same wearisome round of stereotyped habits, or a wild longing, it may be, that our eyelids might open some morning upon a world that had been refashioned anew in the darkness for our pleasure, a world in which things would have fresh shapes and colours, and be changed, or have other secrets, a world in which the past would have little or no place, or survive, at any rate, in no conscious form of obligation or regret, the remembrance even of joy having its bitterness, and the memories of pleasure their pain.