Throwing Stone In Water Quotes

When I am with you, we stay up all night. When you're not here, I can't go to sleep. Praise God for these two insomnias! And the difference between them. The minute I heard my first love story I started looking for you, not knowing how blind that was. Lovers don't finally meet somewhere. They're in each other all along. We are the mirror as well as the face in it. We are tasting the taste this minute of eternity. We are pain and what cures pain, both. We are the sweet cold water and the jar that pours. I want to hold you close like a lute, so we can cry out with loving. You would rather throw stones at a mirror? I am your mirror, and here are the stones.

If they spit on you, collect their spittle to water your plants. If they throw stones at you, pick them up to adorn your garden. If they call you the enemy, a liar and a narcissist. Plant those very flowers: anemone, lily and narcissus. Use their crap to cultivate your mind.

Roger stooped, picked up a stone, aimed and threw it at Henry-threw it to miss. The stone, that token of preposterous time, bounced five yards to Henry's right and fell in the water. Roger gathered a handful of stones and began to throw them. Yet there was a space round Henry, perhaps six yards in diameter, into which he dare not throw. Here, invisible yet strong, was the taboo of the old life. Round the squatting child was the protection of parents and school and policemen and the law. Roger was conditioned by a civilization that knew nothing of him and was in ruins.

No matter how many stones you throw at the water's surface, no matter how much you step on a shadow, the water's surface does not disappear, the shadow does not disappear.

In Peru," said Gonzalo, "they cure madness by placing the madman next to a flowing river. The water flows, he throws stones into it, his feelings begin to flow again, and he is cured.

What I wish I had known, age twenty-one, as I cycled away from the results board towards the meadow by the river in Cambridge, where I would throw stones into the water and cry, is that nobody ever asks you what degree you got. It ceases to matter the moment you leave university. That the things in life which don’t go to plan are usually more important, more formative, in the long run, than the things that do.

We are pain and what cures pain, both. We are the sweet cold water and the jar that pours. I want to hold you close like a lute, so that we can cry out with loving. Would you rather throw stones at a mirror? I am your mirror and here are the stones.

There’s a simple joy in casting a rock into still waters and watching the ripples spread. It’s the thrill of destruction combined with the surety that all will be well again—everything as it was. A stone had fallen into my comfortable existence at court, so large that the waves washed me to the ends of the earth, but perhaps on my return I would find it as before, unchanged and waiting to receive me. Much of what men do in later life is just throwing stones, albeit bigger stones into different ponds.

In my house we were so near that we could not begin to hear -- we could not speak low enough to be heard; as when you throw two stones into calm water so near that they break each other's undulations.

You’re throwing stones across my water but my inner sea stay calm, whatever happens. The peaceful sound of the moving water makes everything fade . . . and if waves will grow it will be just to wash everything away. A clean surface will rise, sand returns white. My heart is see-through with brand new intentions. I'm floating with no reason, and I'm so fucking good baby. And he softly whispered: Too many tides will destroy your beauty but it's not your fault, it's the moon to blame.

What I wish I had known, aged twenty-one, as I cycled away from the results board towards the meadow by the river in Cambridge, where I would throw stones into the water and cry, is that nobody ever asks you what degree you got. It ceases to matter the moment you leave university. That the things in life which don't go to plan are usually more important, more formative, in the long run, than the things that do.

We dig wells that are less than a stone’s throw away from bubbling springs because we think that digging the well means that we don’t need to rely on the God Who created the spring. Either way, He created the water in both.

I heard Mansour say to Richard, ‘You transmitted to us the disease of your capitalist economy. What did you give us except for a handful of capitalist companies that drew off our blood — and still do?’ Richard said to him, ‘All this shows that you cannot manage to live without us. You used to complain about colonialism and when we left you created the legend of neo-colonialism. It seems that our presence, in an open or undercover form, is as indispensable to you as air and water.’ They were not angry: they said such things to each other as they laughed, a stone’s throw from the Equator, with a bottomless historical chasm separating the two of them.

[she] told me once that if you ask the sea for help it never fails you. I tried it a few times. It does make you feel better. You can just ask the sea for help and see what happens, or, alternatively, you can give it your problems. It's big enough to take them, after all. You could choose some large stones, make each one represent one of your problems and throw them in the water.' He shrugged. 'Probably sounds a bit hippy for you. I know you're more down to earth than we are—but sometimes you just need something to help you focus and let things go.

When the water is very calm and very beautiful, it won’t take a long time that a thick head will throw a stone in it!

Space is often compared to our oceans. Throw a stone at the water and the density smothers its propulsion. Skim the stone across the surface and the propulsion is mostly preserved with minimal drag. This kind of approach could work for NASA's mission to Mars.

They are two fish in a pool, circling each other, trapped by the same arrangement of stones. Their rhythms are identical, as they push their silver bodies through the water, in and out, like needles through black cloth. He’s the only one who may see her truly. And she does not know why, not yet, but her eyes are two mirrors, throwing his own reflection back at him.

You were willing. See here, Kamala: When you throw a stone into water, it falls quickly by the fastest route to the bottom of the pond. This is the way it is when Siddhartha has an aim, an intention. Siddhartha does nothing—he waits, he thinks, he fasts—but he passes through the things of the world like the stone through the water, without bestirring himself. He is drawn forward and he lets himself fall. His goal draws him to it, for he lets nothing enter his mind that interferes with the goal. This is what Siddhartha learned from the shramanas. This is what fools call magic, thinking that it is brought about by demons. Nothing is brought about by demons; demons do not exist. Anyone can do magic, anyone can reach his goals if he can think, wait, and fast.

Now,” said the Badger, “if only we could wake the spirits of these trees and this well, we should have done a good day’s work.” “Can’t we?” said Caspian. “No,” said Trufflehunter. “We have no power over them. Since the Humans came into the land, felling forests and defiling streams, the Dryads and Naiads have sunk into a deep sleep. Who knows if ever they will stir again? And that is a great loss to our side. The Telmarines are horribly afraid of the woods, and once the Trees moved in anger, our enemies would go mad with fright and be chased out of Narnia as quick as their legs could carry them.” “What imaginations you Animals have!” said Trumpkin, who didn’t believe in such things. “But why stop at Trees and Waters? Wouldn’t it be even nicer if the stones started throwing themselves at old Miraz?

Please Call Me By My True Names Don’t say that I will depart tomorrow— even today I am still arriving. Look deeply: every second I am arriving to be a bud on a Spring branch, to be a tiny bird, with still-fragile wings, learning to sing in my new nest, to be a caterpillar in the heart of a flower, to be a jewel hiding itself in a stone. I still arrive, in order to laugh and to cry, to fear and to hope. The rhythm of my heart is the birth and death of all that is alive. I am a mayfly metamorphosing on the surface of the river. And I am the bird that swoops down to swallow the mayfly. I am a frog swimming happily in the clear water of a pond. And I am the grass-snake that silently feeds itself on the frog. I am the child in Uganda, all skin and bones, my legs as thin as bamboo sticks. And I am the arms merchant, selling deadly weapons to Uganda. I am the twelve-year-old girl, refugee on a small boat, who throws herself into the ocean after being raped by a sea pirate. And I am also the pirate, my heart not yet capable of seeing and loving. I am a member of the politburo, with plenty of power in my hands. And I am the man who has to pay his “debt of blood” to my people dying slowly in a forced-labor camp. My joy is like Spring, so warm it makes flowers bloom all over the Earth. My pain is like a river of tears, so vast it fills the four oceans. Please call me by my true names, so I can hear all my cries and laughter at once, so I can see that my joy and pain are one. Please call me by my true names, so I can wake up and the door of my heart could be left open, the door of compassion.

I know you are tired. I know you are hurting. I know that even among the crowds and or with your closest loved ones, you feel terribly alone in the world. I know that in the quietness, a thousand hell hounds are barking and snarling at your heels. They tell you, "Everything is wrong with you. You are a failure. You will never live to see your dreams and visions come to pass. You know you should just throw in the towel. No one would even miss you if you were gone. Exit from this cruel insane assylum you call home. We will even tell you how to end 'it'." But don't you dare entertain those hounds of hell, no, not even for one moment. See, you not only have the elixir of Life inside of your organs and your veins; you are the Elixir of Life of a Celestial domain. For every hell hound nipping at your ears, there are eight hundred angels rushing to you with every holy breath....you take. Every step you make fuels the fire of Love in your behalf. See, nothing is wrong with you. Every thing is right with you. You are cut from iron. You have long exchanged your velveteen fabric and cotton stuffing for blazen guts and a heart of gold. You are the head and not the tail. You are the water in the desert, the ripple in the steam, the sword AND the stone and you, glorious being, are not alone! We are one and we are many. We've known lack, but we are plenty. We are not on the cusp of a break through. We are the cusp and we are the break --- through. We are the old and we are the new. Who knew? You did. You do. And don't you ever forget that.

Listen, Kamala, when you throw a stone into the water, it finds the quickest way to the bottom of the water. It is the same when Siddhartha has an aim, a goal. Siddhartha does nothing; he waits, he thinks, he fasts, but he goes through the affairs of the world like the stone through water, without doing anything, without bestirring himself; he is drawn and lets himself fall. He is drawn by his goal, for he does not allow anything to enter his mind which opposes his goal. That is what Siddhartha learned from the Samana. It is what fools call magic and what they think is caused by demons. Nothing is caused by demons; there are no demons. Everyone can perform magic, everyone can reach his goal, if he can think, wait and fast.

But you did want. Listen, Kamala, when you throw a stone into the water, it finds the quickest way to the bottom of the water. It is the same when Siddhartha has an aim, a goal. Siddhartha does nothing; he waits, he thinks, he fasts, but he goes through the affairs of the world like the stone through water, without doing anything, without bestirring himself; he is drawn and lets himself fall. He is drawn by his goal, for he does not allow anything to enter his mind which opposes his goal. That is what Siddhartha learned from the Samanas. It is what fools call magic and what they think is caused by demons. Nothing is caused by demons; there are no demons. Everyone can perform magic, everyone can reach his goal, if he can think, wait and fast.

A boy throws stones into the stream, and then looks with wonder at the circles which follow in the water, regarding them as a result in which he sees something of his own doing. This human need runs through the most varied phenomena up to that particular form of self-reproduction in the external fact which is presented us in human art. And it is not merely in relation to external objects that man acts thus. He treats himself, that is, his natural form, in similar manner: he will not permit it to remain as he finds it; he alters it deliberately. This is the rational grounds of all ornament and decoration, though it may be as barbarous, tasteless, entirely disfiguring, nay, as injurious as the crushing of the feet of Chinese ladies, or the slitting of ears and lips.

Kamala, listen: if you throw a stone into water it drops quickly to the bottom by the fastest route it can. Siddhartha does nothing, he waits, he thinks, he fasts, but he goes through the things of the world like a stone through water without doing anything, without making any effort; he is drawn, he lets himself fall. His objective pulls him to itself, for he allows nothing into his soul that might work against his objective. That, Kamala, is what Siddhartha learnt among the samanas. That, Kamala, is what fools call magic in the supposition that it is performed by demons. Nothing is ever performed by demons, there are no demons. Anyone can perform magic, anyone can attain his objectives if he is capable of thought, if he is capable of waiting, if he is capable of fasting.

Equanimity is the state when you are unmoved. When all states seem the same: Joy and sorrow, victory and defeat, success and failure, gain and loss; neither a high, nor a low – none of these states can then affect your equilibrium. There will surely be a momentary blip when any event occurs that causes an emotional response. Metaphorically, it is like what happens when you throw a stone into a placid lake. There will be ripples, a few waves may be generated, but the lake’s water will soon go back to being calm and peaceful. This unmoved state, equanimity, can be attained only through training your mind. You can and must train your mind, just as you train your body. When your mind is in your control, you are unmoved. Only when you are unmoved do you really experience true Happiness.

Have you every thrown one stone after another into a tranquil surface of water? The waves spread out in all directions. They collide with each other and all things that get in their way. In the same manner, this is the affect that thoughts have on our state of presence. The baseline (being present) is calm. ‘But, one thought after the other results in turbulence. What happens to a calm lake when you throw one stone after the other into it? The waves from each stone collide into each other without flowing their nature course. Similarly, the mind throws countless thoughts and feelings into our state of conscious living. ‘This is because we unconsciously attempt to focus on the majority of these passing thoughts. Hence, the torment of thought waves flood over the serenity of aware presence. Practice letting each thought flow without attaching anything to it. No labels, no judgement, and no anxiety.

Dear Mr. Beard, On the radio last spring, President Roosevelt said that each and every one of us here on the home front has a battle to fight; We must keep our spirits up. I am doing my best, but in my opinion Liver Gems are a lost cause, because they would take the spirit right out of anyone. So when Mother says it is wrong for us to eat better than our brave men overseas, I tell her that I don't see how eating disgusting stuff helps them in the least. But, Mr. Beard, it is very hard to cook good food when you're only a beginner! When Mother decided it was her patriotic duty to work at the airplane factory, she should have warned me about the recipes. You just can't trust them! Prudence Penny's are so revolting. I want to throw them right into the garbage. Mrs. Davis from next door lent me one of her wartime recipe pamphlets, and I read about liver salmi, which sounded so romantic. But by the time I had cooked the liver for twenty minutes in hot water, cut it into little cubes, rolled them in flour, and sautéed them in fat, I'd made flour footprints all over the kitchen floor. The consommé and cream both hissed like angry cats when I added them. Then I was supposed to add stoned olives and taste for seasoning. I spit it right into the sink.

Even though Jasmine was supposed to try Marcella's Stone Plum Soup tonight, she pulled at her baking cupboard. She wanted chocolate. She wanted oozing, rich, creamy, comforting chocolate. She would throw chops on the grill and toss a salad for dinner. Tonight, she was going to concentrate her efforts on dessert. She pulled out her big bowl and mixer. She took down blocks of chocolate, vanilla, sugar. Poked her head into the refrigerator to count the eggs. Ten. Just enough. Her mouth watered, her tongue repeatedly swallowing the swamp that had become her mouth. Cream? A pint poked from behind the mayonnaise. She smelled it. One day to spare. She padded to the liquor cabinet and examined her choices. Brandy, amaretto, Grand Marnier. Mmm, yes. Grand Marnier, a subtle orange swirl. The chocolate and butter wobbled over the heat of the double boiler. Unctuous and smooth. Jasmine beat the eggs and sugar until lemony light. She poured in the chocolate in a long professional sweep. A few deft turns of the spatula turned the mixture into what she really craved. She stood over the bowl tasting slabs of it from the spatula. A good dash of Grand Marnier. Another taste. And another. She had to discard a number of egg whites to fit with the reduced mixture. She finally tipped the glossy beaten whites into the chocolate.

when expressing her own. Despite what happened in August, there is still something in her soft brown eyes—a cheerfulness and curiosity—that reminds me of the daughters I lost so many years ago. It’s what drew me to Rebecca in the first place. Every interaction with her since has made me wonder what my daughters would be doing now had they survived that long, horrid summer. She cups her tea in both hands and holds it to her lips, letting the steam curl around her cheeks, before taking a sip. “So what is this news you have for me?” Instead of answering Rebecca’s question, I once again look to the door, listen for a beat, then ask one of my own. “Do you happen to know where Isaac was last night?” “I don’t. In his study, I suppose. But I wasn’t feeling well, and I went to bed early. Why?” I can remember a time, when my sons were younger, when they loved throwing stones over the bridge into the river. They loved the splash and the noise. Being boys, they loved the disturbance that it caused. I study Rebecca’s face and take no pleasure in upsetting the still waters of her soul. “Joshua Burgess is dead. They found his body in the river this morning.” Rebecca shakes her head, as though unable to comprehend. “Was he…? Did…?” Whatever questions she means to ask won’t form. “It was not an accident. He didn’t drown,” I tell her. “He was hanged.” Rebecca goes completely still, except for her hands, which begin a frantic

Thich Nhat Hanh shares this Mahayana philosophy of non-dualism. This is clearly demonstrated in one of his most famous poems, “Call Me By My True Names:”1 Don’t say that I will depart tomorrow– even today I am still arriving. Look deeply: every second I am arriving to be a bud on a spring branch, to be a tiny bird, with still fragile wings, learning to sing in my new nest, to be a caterpillar in the heart of flower, to be a jewel hiding itself in a stone. I am still arriving, in order to laugh and to cry, in order to fear and to hope, the rhythm of my heart is the birth and death of every living creature. I am the mayfly metamorphosing on the surface of the river. And I am the bird, that swoops down to swallow the mayfly. I am the frog swimming happily in the clear water of a pond, and I am the grass-snake that silently feeds itself on the frog. I am the child in Uganda, all skin and bones, my legs as thin as bamboo sticks. And I am the arms merchant, selling deadly weapons to Uganda. I am the twelve-year-old girl, refugee on a small boat, who throws herself into the ocean after being raped by a sea pirate. And I am the pirate, my heart not yet capable of seeing and loving. I am a member of the politburo, with plenty of power in my hands, and I am the man who has to pay his “debt of blood” to my people, dying slowly in a forced-labor camp. My joy is like spring, so warm that it makes flowers bloom all over the Earth. My pain is like a river of tears, so vast that it fills up all four oceans. Please call me by my true names, so I can hear all my cries and laughter at once, so I can see that my joy and pain are one. Please call me by my true names, so I can wake up and open the door of my heart, the door of compassion. (Nhat Hanh, [1993] 1999, pp. 72–3) We

Quality is the response of an organism to its environment’ [he used this example because his chief questioners seemed to see things in terms of stimulus-response behavior theory]. An amoeba, placed on a plate of water with a drip of dilute sulfuric acid placed nearby, will pull away from the acid (I think). If it could speak the amoeba, without knowing anything about sulfuric acid, could say, ‘This environment has poor quality.’ If it had a nervous system it would act in a much more complex way to overcome the poor quality of the environment. It would seek analogues, that is, images and symbols from its previous experience, to define the unpleasant nature of its new environment and thus ‘understand’ it. “In our highly complex organic state we advanced organisms respond to our environment with an invention of many marvelous analogues. We invent earth and heavens, trees, stones and oceans, gods, music, arts, language, philosophy, engineering, civilization and science. We call these analogues reality. And they are reality. We mesmerize our children in the name of truth into knowing that they are reality. We throw anyone who does not accept these analogues into an insane asylum. But that which causes us to invent the analogues is Quality. Quality is the continuing stimulus which our environment puts upon us to create the world in which we live. All of it. Every last bit of it. “Now, to take that which has caused us to create the world, and include it within the world we have created, is clearly impossible. That is why Quality cannot be defined. If we do define it we are defining something less than Quality itself.” I remember this fragment more vividly than any of the others, possibly because it is the most important of all. When he wrote it he felt momentary fright and was about to strike out the words “All of it.

Outside the snapdragons, cords of light. Today is easy as weeds & winds & early. Green hills shift green. Cardinals peck at feeders—an air seed salted. A power line across the road blows blue bolts. Crickets make crickets in the grass. We are made & remade together. An ant circles the sugar cube. Our shadow’s a blown sail running blue over cracked tiles. Cool glistening pours from the tap, even on the edges. A red wire, a live red wire, a temperature. Time, in balanced soil, grows inside the snapdragons. In the sizzling cast iron, a cut skin, a sunny side runs yellow across the pan. Silver pots throw a blue shadow across the range. We must carry this the length of our lives. Tall stones lining the garden flower at once. Tin stars burst bold & celestial from the fridge; blue applause. Morning winds crash the columbines; the turf nods. Two reeling petal-whorls gleam & break. Cartoon sheep are wool & want. Happy birthday oak; perfect in another ring. Branch shadows fall across the window in perfect accident without weight. Orange sponge a thousand suds to a squeeze, know your water. School bus, may you never rust, always catching scraps of children’s laughter. Add a few phrases to the sunrise, and the pinks pop. Garlic, ginger, and mangoes hang in tiers in a cradle of red wire. That paw at the door is a soft complaint. Corolla of petals, lean a little toward the light. Everything the worms do for the hills is a secret & enough. Floating sheep turn to wonder. Cracking typewriter, send forth your fire. Watched too long, tin stars throw a tantrum. In the closet in the dust the untouched accordion grows unclean along the white bone of keys. Wrapped in a branch, a canvas balloon, a piece of punctuation signaling the end. Holy honeysuckle, stand in your favorite position, beside the sandbox. The stripes on the couch are running out of color. Perfect in their polished silver, knives in the drawer are still asleep. A May of buzz, a stinger of hot honey, a drip of candy building inside a hive & picking up the pace. Sweetness completes each cell. In the fridge, the juice of a plucked pear. In another month, another set of moths. A mosquito is a moment. Sketched sheep are rather invincible, a destiny trimmed with flouncy ribbon. A basset hound, a paw flick bitching at black fleas. Tonight, maybe we could circle the floodwaters, find some perfect stones to skip across the light or we can float in the swimming pool on our backs—the stars shooting cells of light at each other (cosmic tag)—and watch this little opera, faults & all.

Desire is… " Desire is the glow of bathing lunatics. Starlight is the liquid used to power a whispering machine. Humming is the music of a forest moving in unison with your eyes. * A slip of the tongue and the hummingbird’s empty throne make the acquaintance of the word frenzy, which in turn adopts the phrase: “I am closest to you when we are furthest apart,” and together they follow the anxious doorway that leads far out of the city, where travelers always meet, alone and abandoned with only their mysteries to guide them… and when the sun bleeds out of the dampness of the earth, like pale limbs entwined and exhausted, they all pause in their own fashion to reflect not upon themselves but on the white wolves in the garden shivering like mist, in the mirror hiding your face. * The nature of movement is an image lost between the objects of an eclipse fervently scratched into the face of a sleeping woman when she approaches the liquid state of a circle, wandering aimlessly in search of lucidity and those moments of inarticulate suspicion… when the riddle is only half solved and the alphabet is still adding letters according to the human motors that have not yet arrived, as a species, scintillating in the grass, burning time. Not far from your name there is always a question mark, followed by silent paws… * It is not without the mask of the Enchanter’s dance of unreason, that joy follows the torment of seductive shapes, and sudden appearances in the whisper of long corridors. Tribal veils rising out of fingerprints on invisible entrances in the middle of the landscape, assume the form of her shoulders and the intimacy of her bones making dust, taking flight. * The axis of revolt and the nobility of a springtime stripped of its flowers, expertly balanced with a murmur of the heart on the anvil of chance. Your voice arcing between the two points of day and night, where the oracle of water spinning rapidly above, that is your city of numerology, mixes with the flux of a long voyage more stone-like and absurdly graceful then either milkweed or deadly nightshade, when it acclimatizes the elements of transparency in the host of purity. * The dream birds of a lost language are growing underground in the bed of sorcery. It is all revealed in the arms of your obsession, Arachne, (crawling to kiss) pale Ariadne, (kneeling to feed) in a pool of light that exceeds the dimensions of the loveliest crime. She turns into your evidence, gaining speed and recognition, becoming a brightness never solved, and a clarity that makes crystals. * The early morning hours share their nakedness with those who bare fruit and corset fireflies in long slender bath-like caresses. “Your serum, Sir Moor’s Head, follows the grand figures of the sea, ignites them, throws them like vessels out of fire, raising the sand upwards into oddly repetitive enchantments. Drown me in flight, daughter of wonder…

According to folk belief that is reflected in the stories and poems, a being who is petrified man and he can revive. In fairy tales, the blind destructiveness of demonic beings can, through humanization psychological demons, transformed into affection and love of the water and freeing petrified beings. In the fairy tale " The Three Sisters " Mezei de-stone petrified people when the hero , which she liked it , obtain them free . In the second story , the hero finding fairy , be petrified to the knee , but since Fairy wish to marry him , she kissed him and freed . When entering a demonic time and space hero can be saved if it behaves in a manner that protects it from the effects of demonic forces . And the tales of fortune Council hero to not turn around and near the terrifying challenges that will find him in the demon area . These recommendations can be tracked ancient prohibited acts in magical behavior . In one short story Penina ( evil mother in law ) , an old man , with demonic qualities , sheds , first of two brothers and their sister who then asks them , iron Balot the place where it should be zero as chorus, which sings wood and green water . When the ball hits the ground resulting clamor and tumult of a thousand voices, but no one sees - the brothers turned , despite warnings that it should not , and was petrified . The old man has contradictory properties assistants and demons . Warning of an old man in a related one variant is more developed - the old man tells the hero to be the place where the ball falls to the reputation of stones and hear thousands of voices around him to cry Get him, go kill him, swang with his sword , stick go ! . The young man did not listen to warnings that reveals the danger : the body does not stones , during the site heroes - like you, and was petrified . The initiation rite in which the suffering of a binding part of the ritual of testing allows the understanding of the magical essence of the prohibition looking back . MAGICAL logic respectful direction of movement is particularly strong in relation to the conduct of the world of demons and the dead . From hero - boys are required to be deaf to the daunting threats of death and temporarily overcome evil by not allowing him to touch his terrible content . The temptation in the case of the two brothers shows failed , while the third attempt brothers usually releases the youngest brother or sister . In fairy tales elements of a rite of passage blended with elements of Remembrance lapot . Silence is one way of preventing the evil demon in a series of ritual acts , thoughts Penina Mezei . Violation of the prohibition of speech allows the communication of man with a demon , and abolishes protection from him . In fairy tales , this ritual obligations lost connection with specific rituals and turned into a motive of testing . The duration of the ban is extended in the spirit of poetic genre in years . Dvanadestorica brothers , to twelve for saving haunted girls , silent for almost seven years, but eleven does not take an oath and petrified ; twelfth brother died three times , defeat the dragon , throw an egg at a crystal mountain , and save the brothers ( Penina Mezei : 115 ) . Petrify in fairy tales is not necessarily caused by fear , or impatience uneducated hero . Self-sacrificing hero resolves accident of his friend's seemingly irrational moves, but he knows that he will be petrified if it is to warn them in advance , he avoids talking . As his friend persuaded him to explain his actions , he is petrified ( Penina Mezei : 129 ) . Petrified friends can save only the blood of a child , and his " borrower " Strikes sacrifice their own child and revives his rescuers . A child is a sacrificial object that provides its innocence and purity of the sacrificial gift of power that allows the return of the forces of life.

Pulling off my cover-up, chucking it on the stone flags, I dive in, the shock of the cool water on my overheated skin exactly what I need to stop me thinking. I do a length underwater as fast as I can, and when I come up, gasping and shaking my head, I realize that everyone’s staring at me. “Wow,” Evan says, looking over his guitar, which is propped on his lap as he sits cross-legged on a towel. “You in a race with the Invisible Man?” I giggle at this image. “Violet,” he sings, strumming a chord. “Running a race with a serious face--so did you win? Or was it him? Don’t forget, Vio-let--Dive in!” He ends on a high falsetto note, grinning at me. “That doesn’t make much sense,” he adds. “But hey, at least I rhymed your name.” “Violet’s pretty easy,” I say, propping my arms on the edge of the pool and smiling back at him. “Regret, forget, net, jet, yet, set, bet--” “Try Evan,” he suggests. “Apart from numbers and heaven, which gets old very quickly, there’s practically nothing.” “Numbers? Oh! Eleven…seven…” I furrow my brow. “Devon,” Kelly calls over. “That’s a county in England.” “Leaven,” I add. “You do it to bread.” Evan’s expression is comical, his blue eyes stretched as wide as they’ll go as he plucks a string and, in a singsong nursery-rhyme voice, intones: “From the age of seven to eleven Before he tragically went to heaven Evan leavened bread in Devon.” He throws his hands wide. “See? Not much to work with.

Cass?” The word came from behind her. She spun around. The cell was dark, quiet. A roman numeral fifteen was painted upside down over the door. Had someone just said her name? Or had she imagined it? A shadow stirred from inside the cell. There was a liquid sound in the dark, water being disturbed. A man’s face appeared at the tiny grate. Siena covered her mouth with one hand. Cass swallowed back a gasp. He had a thick beard covering his cheeks and chin, but his brown eyes shined golden in the darkness. It was Luca. “Am I--am I seeing things?” Luca’s voice was dry, cracked. “Is that you, Cass?” His eyes were wide and staring, as though he had woken in the middle of a dream. Cass felt like weeping. He was here. She had found him. She wanted to throw herself through the stone and press her face to his chest. Instead, she leaned close to the grate. “We’re going to get you out of here,” she mouthed. Luca rubbed his eyes, like he still thought Cass was just a dream. He shook his head. “Impossible,” he whispered. Cass reached for his face, barely managing to squeeze her fingers through the grate and touch his cheek. “I’ll be back. I promise.

Listen, Kamala, when you throw a stone into the water, it finds the quickest way to the bottom of the water. It is the same when Siddhartha has an aim, a goal. Siddhartha does nothing; he waits, he thinks, he fasts, but he goes through the affairs of the world like the stone through water, without doing anything, without bestirring himself; he is drawn and lets himself fall. He is drawn by his goal, for he does not allow anything to enter his mindwhich opposes his goal. That is what Siddhartha learned from the Samana. It is what fools call magic and what they think is caused by demons. Nothing is caused by demons; there are no demons. Everyone can perform magic, everyone can reach his goal, if he can think, wait and fast.

question it is to question a fact as established as the tide. How easily and quickly we slide into our race-pattern unless we keep intact the stiff-necked and blinded pattern of the recent intellectual training. We threw it over, and there wasn’t much to throw over, and we felt good about it. This Lady, of plaster and wood and paint, is one of the strong ecological factors of the town of Loreto, and not to know her and her strength is to fail to know Loreto. One could not ignore a granite monolith in the path of the waves. Such a rock, breaking the rushing waters, would have an effect on animal distribution radiating in circles like a dropped stone in a pool. So has this plaster Lady a powerful effect on the deep black water of the human spirit. She may disappear and her name be lost, as the Magna Mater, as Isis, have disappeared. But something very like her will take her place, and the longings which created her will find somewhere in the world a similar altar on which to pour their force. No matter what her name is, Artemis, or Venus, or a girl behind a Woolworth counter vaguely remembered, she is as eternal as our species, and we will continue to manufacture her as long as we survive.

I prefer to think of standing before a vast lake on a windless day: the surface smooth until one of us—say, you, Sal—picks up a stone and tosses it into the water. What happens then?” “It causes ripples,” Phee said. “Yes,” Arthur said. “And what if you, Phee, picked up your own stone and threw it in along with Sal? And the rest of you did the same? The ripples would bounce off each other, spreading in new directions, growing as more people toss their stones in. And if we keep on doing it, who knows how far the ripples could reach in the end?” Sal nodded. “We keep on throwing stones until someone listens.” “I don’t know why we just don’t throw stones at them,” Talia muttered. “Seems to be a waste of a good rock if you ask me.” “Because violence is never the answer,” Arthur said. Talia smiled sweetly. “But it can be the question.” “It can,” Arthur allowed. “But I believe the greatest weapon we have at our disposal is our voices. And I am going to use my voice for you, and for me. Hate is loud. We are louder.” “What if they don’t listen?” Phee asked. “What if they don’t care what you have to say? What if they come here and try and take us away again?” “They wouldn’t get very far,” Zoe said, the flowers in her hair opening and closing.

Jeanne continued to drive until she reached a small state park. She parked her car and walked over to a bench parallel to the lake. Jeanne stared out at the lake and thought about carving all of her ex-lovers names onto the large stones that sat in the grass and spending her entire life waiting for them to be eroded by the wind and the rain. In the park there were also children dropping medium sized rocks with both hands into a stream. They fell heavily into the water and sunk down with the sound of small giggles. The children shouted something to their mothers. Something like, “Look mom we’re skip- ping rocks!” The mothers didn’t look but they shouted something back like, “Wow good job honey!” The “wow” was drawn out long and slow, more pronounced than any of the other words in the sentence. The children seemed pleased with this response and continued to laugh and throw stones into the river. A woman sat on a bench across from Jeanne for an extended period of time, folding leaves in her hands like a nervous tick. The woman looked up from her hands and laughed. She looked back down at her hands and looked sad again. Jeanne felt the urge to ask the woman why she looked down at the leaves and felt sad. Maybe, Jeanne speculated, she felt sad for the leaves that were in pieces all around her. Maybe the woman felt sad for herself because she was sitting on a bench alone and feeling ner- vous. Perhaps the woman felt guilty because she was laughing while killing something. Jeanne watched the woman as she looked up at middle space and alternated her expression from smiling to sad. Jeanne thought about wanting to kiss the woman’s face when it looked sad. Jeanne wanted to catch her mouth right in the in-be- tween before she smiled. Jeanne wanted the kiss to be sad and slow but hopeful as children laughed and threw rocks with her ex-lovers names into the river. Jeanne sat on the bench in the park and did nothing. She could feel her heart beating inside of her left shoulder blade. Jeanne wanted to throw rocks into the river like a child and kiss. Jeanne thought, “Kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss kiss,” but she continued to sit. She didn’t throw rocks. She didn’t kiss anyone.

The graces of a healthy prayer life will reverberate in the actions of my everyday life. I throw a stone into a quiet pond. The stone is small and the spot it touches on the surface of the water is, too. And yet its ripples expand to every corner of the lake. From that tiny spot where the rock first made contact, waves are born and are carried to the very edges. In the same way, the effects of my short period of intimate contact with God will ripple through to the very edges of my day. Many people do not understand this basic connection between their prayer lives and their everyday lives.

I rolled away from him with a gasp of laughter and hopped out of bed. “I need a shower.” Jack followed readily. I stopped short as I flipped on the switch in his bathroom, an immaculate well-lit space with contemporary cabinetry and modern stone vessel sinks. But it was the shower that left me speechless, a room made of glass and slate and granite, with rows of dials and knobs and thermostats. “Why is there a car wash in your bathroom?” Jack went past me, opened the glass door, and went inside. As he turned knobs and adjusted the temperature on digital screens, jets sprouted from every conceivable place, and steam collected in white drifts. Three rainfall streams came directly from the ceiling. “Aren’t you going to come in?” Jack’s voice filtered through the sound of abundant falling water. I went to the glass doorway and peeked inside. Jack was a magnificent sight, all bronzy and lean, a sheet of water glimmering over his skin. His stomach was drum-tight, his back gorgeous and sleekly muscled. “I hate to be the one to tell you this,” I said, “but you need to start exercising. A man your age shouldn’t let himself go.” He grinned and gestured for me to come to him. I ventured into the maelstrom of competing sprays, battered with heat from all directions. “I’m drowning,” I said, spluttering, and he pulled me out of the direct downpour of an overhead spray. “I wonder how much water we’re wasting.” “You know, Ella, you’re not the first woman who’s ever been in this shower with me—” “I’m shocked.” I leaned against him as he soaped my back. “— but you’re for damn sure the first one who’s ever worried about wasting water.” “How much, would you say?” “Ten gallons per minute, give or take.” “Oh my God. Hurry. We can’t stay in here long. We’ll throw the entire ecological system out of balance.” “This is Houston, Ella. The ecological system won’t notice.

I used to have a cat, an old fighting tom, who sprang through the open window by my bed and pummeled my chest, barely sheathing his claws. I’ve been bloodied and mauled, wrung, dazzled, drawn. I taste salt on my lips in the early morning; I surprise my eyes in the mirror and they are ashes, or fiery sprouts, and I gape appalled or full of breath. The planet whirls along and dreaming. Power broods, spins, and lurches down. The planet and the power meet with a shock. They fuse and tumble, lightning, ground fire; they part, mute, submitting, and touch again with hiss and cry. The tree with the lights in it buzzes into flame and the cast-rock mountains ring. Emerson saw it. “I dreamed that I floated at will in the great Ether, and I saw this world floating also not far off, but diminished to the size of an apple. Then an angel took it in his hand and brought it to me and said, ‘This must thou eat.’ And I ate the world.” All of it. All of it intricate, speckled, gnawed, fringed, and free. Israel’s priests offered the wave breast and the heave shoulder together, freely, in full knowledge, for thanksgiving. They waved, they heaved, and neither gesture was whole without the other, and both meant a wide-eyed and keen-eyed thanks. Go your way, eat the fat, and drink the sweet, said the bell. A sixteenth-century alchemist wrote of the philosopher’s stone, “One finds it in the open country, in the village and in the town. It is in everything which God created. Maids throw it on the street. Children play with it.” The giant water bug ate the world. And like Billy Bray, I go my way, and my left foot says “Glory,” and my right foot says “Amen”: in and out of Shadow Creek, upstream and down, exultant, in a daze, dancing, to the twin silver trumpets of praise.

He didn't shout, "I love you!" for example, because self-conscious people don't shout that sort of thing. At that time, however, the Norwegian had other opportunities of expressing himself. He could express irritation or anger by going outside and chopping down a tree, or throwing big stones in the water.* *As is known, the Norwegian coast is surrounded by thousands of larger and smaller stones (The Skerries). This is very likely a sign that there was considerable irritation during the Norwegian Stone Age.

Stones   I dream of gathering stones when I am empty of the virtues, when I cannot bear a voice that speaks in words. Silence is the boundless realm of unknowing, rendering me to all that is, to everything other, within the steady solitude of a wild faith, a great sea, not of what the eye sees, not of what the mind thinks, but the frightening depths of presence. My only praise: to gather stones along the shore and throw them back into the unity.

You throw a sponge into a sink full of dirty water and it'll soak up several times its weight and hold onto it. Throw something less porous, like a stone, into a sink full of dirty water, and it'll still get wet. Pull it out and it feels about the same, weighs about the same, but there's a slight change in texture, a film over it, and droplets of water are still settled into the minuscule pits and crevices of the stone. Even as a child, I recognized hypocrisy and prejudice at play, but I was also at my most impressionable and, inevitably, whether I liked it or not, I retained bits of it.

mother was under virtual sentence of death, and Vicky flew to the bedside and knelt beside her. ‘Oh, Mama,’ she whispered, stricken with guilt. ‘I should have been here.’ Juba heated rounded river stones in the open fire and wrapped them in blankets. They packed them around Robyn’s body, and then covered her with four karosses of wild fur. She fought weakly to throw off the covers, but Mungo held her down. Despite the internal heat of the fever and the external temperature of the hot stones trapped under the furs, her skin was burning dry and her eyes had the flat blind glitter of water-worn rock crystal. Then as the sun touched the tree-tops and the light in the room turned to sombre orange, the fever broke and oozed from the pores of her marble pale skin like the juice of crushed sugar cane from the press. The sweat came up in fat shining beads across her forehead and chin, each drop joining with the others until they ran in thick oily snakes back into her hair, soaking it as though she had been held under water. It ran into her eyes, faster than Mungo could wipe it away. It poured down her neck and wetted and matted the fur of the kaross. It soaked through the thin mattress and pattered like rain on the hard dry floor below. The temperature of her body plunged dramatically, and when the sweat had passed, Juba and the twins sponged her naked body. She had dehydrated and wasted, so that the rack of her ribs stood out starkly, and her pelvis formed a bony hollowed basin. They handled her with exaggerated care, for any rough movement might rupture the delicate damaged walls of the renal blood vessels and bring on the torrential haemorrhage which so often ended this disease. When

Stones and Shadows" - Modern Country Remix (Verse 1) In this fast-paced world, where rumors fly on screens, Hurtful words can hide, but they're not what they seem. I walk with confidence, with every step, every stride, 'Cause I've got God beside me, and there's no need to hide. (Chorus) Yeah, there'll be those who'll hurt you, with stones they'll try to throw, But I'm standing unshaken, in the light I know. With faith as my compass, I'm never alone, God's standing with me, that's the truth I own. (Verse 2) They'll try to put you down, make you feel so small, But I've got a power, that'll outlast it all. In the rhythm of life, in the beat of my heart, I find strength in His presence, right from the start. (Bridge) So let the gossip roll off, like water on a duck's back, I've got better things to do, than to keep track. For every harsh word, for every low blow, I've got a higher calling, that's where I'll go. (Chorus) Yeah, there'll be those who'll hurt you, with stones they'll try to throw, But I'm standing unshaken, in the light I know. With faith as my compass, I'm never alone, God's standing with me, that's the truth I own. (Outro) So here's to the strong ones, who know where they stand, With God as their partner, they'll walk this land. No fear, no feeling worthless, they're in the zone, 'Cause when God's on your side, you're never alone.

Memory is like throwing a stone into water. There are ripples.

His voice reminds me of the freezing water I splash over myself when I come home drenched in the martyrs’ blood. It’s stones weighing on my chest, sinking me to the earth below. It’s heavy as a humid day and deafening as the bombs the military throws on us. It’s what our hospital is built on, and the wordless sounds we make.

It was not like her to lose her senses. The ability to drift was beaten from her long ago. But Sorasa drifted now, pacing the beach. She did not hear the shift of sand, or the heavy scuff of boots over the loose stones. There was only the wind. Until a strand of gold blew across her vision, joined by a warm unyielding palm against her shoulder. Her body jolted as she turned, nose to nose with Domacridhan of Iona. His green eyes glittered, his mouth open as he shouted something again, his voice swallowed up by the droning in her own head. “Sorasa.” It came to her slowly, as if through deep water. Her own name, over and over again. She could only stare back into the verdant green, lost in the fields of his eyes. In her chest, her heart stumbled. She expected her body to follow. Instead, her fist closed and her knuckles met cheekbone. Dom was good enough to turn his head, letting the blow glance off. Begrudgingly, Sorasa knew he had spared her a broken hand on top of everything else. “How dare you,” she forced out, trembling. Whatever concern he wore burned away in an instant. “How dare I what? Save your life?” he snarled, letting her go Sorasa swayed without his support. She clenched her own jaw, fighting to maintain her balance lest she fall to pieces entirely. “Is that another Amhara lesson?” he raged on, throwing up both arms. “When given the choice between death or indignity, choose death?!” Hissing, Sorasa looked back to the spot where she woke up. Heat crept up her face as she realized her body left a trail through the sand when he dragged her up from the tide line. A blind man would have noticed it. But not Sorasa in her fury and grief. “Oh,” was all she could manage. Her mouth flapped open, her mind spinning. Only the truth came, and that was far too embarrassing. “I did not see. I—” Her head throbbed again and she pressed a hand to her temple, wincing away from his stern glare. “I will feel better if you sit,” Dom said stiffly. Despite the pain, Sorasa loosed a growl. She wanted to stand just to spite him, but thought better of it. With a huff, she sank, cross-legged on the cool sand. Dom was quick to follow, almost blurring. It made her head spin again. “So you saved me from the shipwreck just to abandon me here?” Sorasa muttered as Dom opened his mouth to protest. “I don’t blame you. Time is of the essence now. A wounded mortal will only slow you down.” She expected him to bluster and lie. Instead, his brow furrowed, lines creasing between his still vivid eyes. The light off the ocean suited him. “Are you? Wounded?” he asked gently, his gaze raking over her. His focus snagged on her temple, and the gash there. “Anywhere else, I mean?” For the first time since she woke, Sorasa tried to still herself. Her breath slowed as she assessed herself, feeling her own body from toes to scalp. As her awareness traveled, she noted every blooming bruise and cut, every dull ache and shooting pain. Bruises ribs. A sprained wrist. Her tongue flicked in her mouth. Scowling, she spit out a broken tooth. “No, I’m not wounded,” she said aloud. Dom’s desperate smile broke wide. He went slack against the sand for an instant, falling back on his elbows to tip his face to the sky. His eyes fluttered shut only for a moment. Sorasa knew his gods were too far. He had said so himself. The gods of Glorian could not hear their children in this realm. Even so, Sorasa saw it on his face. Dom prayed anyway. In his gratitude or anger, she did not know. “Good,” he finally said, sitting back up.

Botticelli’s St. Sebastian" I have seen a robin cock his head so, Listening for the change in weather, Feeling in the field’s pale grass turning paler The moment of his own departure. I have seen the bird throw his whole body In the air, and go, the small bird go. And the bared ground at once lose heart, As if taken by a sudden grippe. And I have seen blood wood, fire-grained As the stripped flesh, seen the long Boards of strong wood—when seen bound And bitten by the drill—spew up phases As curled and as extravagant as Sebastian’s gaze, The way the lover does at consummation, Lost to himself and the world, but still Safley shaded by the tree he rose from. I have seen, I have seen the lake’s heart When the rain comes through, when the water’s Dark flesh is driven, I have seen the heart Move like a doe through the woods, move Like a stunned doe, deeper and deeper, Through trees that turn and close behind her, The way water closes over a dropped stone, Or a torn limb, or a lasting wound … Oh, the forgotten traveler! Brigit Pegeen Kelly, Song. (BOA Editions; 1st edition 1995)

Heavy-laden is my soul with her own ripe fruit; Heavy-laden is my soul with her fruit. Who now will come and eat and be fulfilled? My soul is overflowing with her wine. Who now will pour and drink and be cooled of the desert heat? Would that I were a tree flowerless and fruitless, For the pain of abundance is more bitter than barrenness, And the sorrow of the rich from whom no one will take Is greater than the grief of the beggar to whom none would give. Would that I were a well, dry and parched , and men throwing stones into me; For this were better and easier to be borne than to be a source of living water When men pass by and will not drink. Would that I were a reed trodden under foot, For that were better than to be a lyre of silvery strings In a house whose lord has no fingers And whose children are deaf.

Heavy-laden is my soul with her own ripe fruit; Heavy-laden is my soul with her fruit. Who now will come and eat and be fulfilled? My soul is overflowing with her wine. Who now will pour and drink and be cooled of the desert heat? Would that I were a tree flowerless and fruitless, For the pain of abundance is more bitter than barrenness, And the sorrow of the rich from whom no one will take Is greater than the grief of the beggar to whom none would give. Would that I were a well, dry and parched , and men throwing stones into me; For this were better and easier to be borne than to be a source of living water When men pass by and will not drink. Would that I were a reed trodden under foot, For that were better than to be a lyre of silvery strings In a house whose lord has no fingers And whose children are deaf.

Her stern manner and her humorless regime mask bitterness far deeper than any of her children or her husband imagine. She has never recovered from the shock of becoming a wife and then a mother. She is still dismayed every morning when she first sees her children, peaceful, sleeping, in their beds when she goes to wake them, that as often as not the feeling she has is one of resentment, of loss. These feelings frighten her so much that she has buried them under layer upon layer of domestic strictness. She has managed, in the dozen years since becoming a wife and mother, to half-convince herself that this nearly martial ordering of her household is, in fact, the love that she is so terrified that she does not have. When one of her children wakes with a fever and a painful cough early one freezing January morning, instead of kissing the child’s forehead and tucking him or her in more snugly and boiling water for a mug of honey and lemon water, she says that it is not man’s lot to be at ease in this world and that if she took a day off every time she had a sniffle or a stiff neck, the house would unravel around them all and they would be like birds with no nest, so get up and get dressed and help your brother with the wood, your sister with the water, and yanks the covers off the shivering child and throws its cold clothes at it and says, Go get dressed, unless you want a good dousing. She has convinced herself, at least in the light of day, that this is love, that this is the best way she can raise her children to be strong. She could not live with herself if she allowed herself to believe that she treated her own this way because she felt no more connected to them than she would to a collection of stones.

I watched a rich dam throw a flower into the water, mutter a prayer, and go her way, seeming inconvenienced by the mendicants. And there's humanity in a glimpse- we've always got a copper for a stone idol, but none for the beggar in its shadow.

It is a huge slab of dark stone, square and rough, like the rocks at the bottom of the chasm. A large crack runs through the middle of it, and there are streaks of lighter rock near the edges. Suspended above the slab is a glass tank of the same dimensions, full of water. A light placed above the center of the tank shines through the water, refracting as it ripples. I hear a faint noise, a drop of water hitting the stone. It comes from a small tube running through the center of the tank. At first I think the tank is just leaking, but another drop falls, then a third, and a fourth, at the same interval. A few drops collect, and then disappear down a narrow channel in the stone. They must be intentional. “Hello.” Zoe stands on the other side of the sculpture. “I’m sorry, I was about to go to the dormitory for you, then saw you heading this way and wondered if you were lost.” “No, I’m not lost,” I say. “This is where I meant to go.” “Ah.” She stands beside me and crosses her arms. She is about as tall as I am, but she stands straighter, so she seems taller. “Yeah, it’s pretty weird, right?” As she talks I watch the freckles on her cheeks, dappled like sunlight through dense leaves. “Does it mean something?” “It’s the symbol of the Bureau of Genetic Welfare,” she says. “The slab of stone is the problem we’re facing. The tank of water is our potential for changing that problem. And the drop of water is what we’re actually able to do, at any given time.” I can’t help it—I laugh. “Not very encouraging, is it?” She smiles. “That’s one way of looking at it. I prefer to look at it another way—which is that if they are persistent enough, even tiny drops of water, over time, can change the rock forever. And it will never change back.” She points to the center of the slab, where there is a small impression, like a shallow bowl carved into the stone. “That, for example, wasn’t there when they installed this thing.” I nod, and watch the next drop fall. Even though I’m wary of the Bureau and everyone in it, I can feel the quiet hope of the sculpture working its way through me. It’s a practical symbol, communicating the patient attitude that has allowed the people here to stay for so long, watching and waiting. But I have to ask. “Wouldn’t it be more effective to unleash the whole tank at once?” I imagine the wave of water colliding with the rock and spilling over the tile floor, collecting around my shoes. Doing a little at once can fix something, eventually, but I feel like when you believe that something is truly a problem, you throw everything you have at it, because you just can’t help yourself.

I like to sit up on my balcony and throw water balloons at people down on the street. When they look up, outraged, I duck behind the stone railing, but in those five seconds, I feel acknowledged. They knew someone was up there, throwing things at them. I like that.

In my youth . . . my sacred youth . . . in eaves sole sparowe sat not more alone than I . . . in my youth, my saucer-deep youth, when I possessed a mirror and both a morning and an evening comb . . . in my youth, my pimpled, shame-faced, sugared youth, when I dreamed myself a fornicator and a poet; when life seemed to be ahead somewhere like a land o’ lakes vacation cottage, and I was pure tumescence, all seed, afloat like fuzz among the butterflies and bees; when I was the bursting pod of a fall weed; when I was the hum of sperm in the autumn air, the blue of it like watered silk, vellum to which I came in a soft cloud; O minstrel galleons of Carib fire, I sang then, knowing naught, clinging to the tall slim wheatweed which lay in a purple haze along the highway like a cotton star . . . in my fumbling, lubricious, my uticated youth, when a full bosom and a fine round line of Keats, Hart Crane, or Yeats produced in me the same effect—a moan throughout my molecules—in my limeade time, my uncorked innocence, my jellybelly days, when I repeated Olio de Oliva like a tenor; then I would touch the page in wonder as though it were a woman, as though I were blind in my bed, in the black backseat, behind the dark barn, the dim weekend tent, last dance, date's door, reaching the knee by the second feature, possibly the thigh, my finger an urgent emissary from my penis, alas as far away as Peking or Bangkok, so I took my heart in my hand, O my love, O my love, I sighed, O Christina, Italian rose; my inflated flesh yearning to press against that flesh becoming Word—a word—words which were wet and warm and responsive as a roaming tongue; and her hair was red, long, in ringlets, kiss me, love me up, she said in my anxious oral ear; I read: Milton! thou shouldst be living at this hour; for I had oodles of needs, if England didn't; I was nothing but skin, pulp, and pit, in my grapevine time, during the hard-on priesthood of the poet; because then—in my unclean, foreskinned, and prurient youth—I devoutly believed in Later Life, in Passion, in Poetry, the way I thought only fools felt about God, prayer, heaven, foreknowledge, sin; for what was a poem if not a divine petition, a holy plea, a prophecy: [...] a stranger among strangers, myself the strangest because I could never bring myself to enter adolescence, but kept it about like a bit of lunch you think you may eat later, and later come upon at the bottom of a bag, dry as dust, at the back of the refrigerator, bearded with mold, or caked like sperm in the sock you've fucked, so that gingerly, then, you throw the mess out, averting your eyes, just as Rainer complained he never had a childhood—what luck!—never to have suffered birthpang, nightfear, cradlecap, lake in your lung; never to have practiced scales or sat numb before the dentist's hum or picked your mother up from the floor she's bled and wept and puked on; never to have been invaded by a tick, sucked by a leech, bitten by a spider, stung by a bee, slimed on by a slug, seared by a hot pan, or by paper or acquaintance cut, by father cuffed; never to have been lost in a crowd or store or parking lot or left by a lover without a word or arrogantly lied to or outrageously betrayed—really what luck!—never to have had a nickel roll with slow deliberation down a grate, a balloon burst, toy break; never to have skinned a knee, bruised a friendship, broken trust; never to have had to conjugate, keep quiet, tidy, bathe; to have lost the chance to be hollered at, bullied, beat up (being nothing, indeed, to have no death), and not to have had an earache, life's lessons to learn, or sums to add reluctantly right up to their bitter miscalculated end—what sublime good fortune, the Greek poet suggested—because Nature is not accustomed to life yet; it is too new, too incidental, this shiver in the stone, never altogether, and would just as soon (as Culp prefers to say) cancer it; erase, strike, stamp it out— [...]

Ba, you throw stones at the bud instead of watering it and wonder why it isn't growing Ma, you flood it with water and wonder why it is drowning

Like a shepherd and sheep, its principle is simple, redirection towards the obligatory path, and speaking of Ozcan, he is the most proficient in this game. Watch the professionals do it in the reorientation of functional organizations. There is no need to recruit them all, it is enough for them to do what a shepherd does with a flock of sheep; blocking the roads in front of them, putting a dog in one place, standing and waving his stick in another place, to force them to take the path he wants, towards the barn. And if you spoke to one of them, it would swear to you that it is going the way it wants, which it chose with its full will, or chosen for them by their leader at the forefront of the herd, who knows the secrets of the ways, believing that they go the way they want. He decided that he should play the game according to its laws since they are sheep, so do not try to address them or convince them, but rather direct them to where you want. He did not know anything about deterministic algorithms at the time, his decision was based on his innate, something inside him. He succeeded, however, by making a butterfly flutter, far away. Some straying out of the Shepherd’s path, then another artificial flutter associated with the first to accelerate the process, and then a third, and a fourth, then the chaos ensued, and the hurricanes blew up all the inevitable of Alpha Headquarters. A butterfly fluttered where no one was watching, he studied and planned it carefully. Words by a revolutionary Palestinian poet, Mahmoud Darwish, summarized the whole story… Throw a stone into the stagnant water, rivers will break out Ring your bells in the kingdom of silence and sing your anthem And let the wall of fear break into dust like pottery

Before I could say anything the other gagged my mouth with a stone ball. I wanted to say what fools they were, but not the first fool in Dolingo. How could I confess anything with my mouth gagged? And the boy’s smell came to my nose again, so strong, almost as if he was right outside this cell, but now moving away. The one-eyed scientist pulled a knot at his neck and removed his hood. Bad Ibeji. I heard of one found at the foot of the Hills of Enchantment, which the Sangoma burned, even though it was already dead. Even in death it shook the unshakable woman, for it was the one mingi she would kill on sight. Bad Ibeji was never to be born but is not the unborn Douada, who roams the spirit world, wiggling on air like a tadpole and sometimes slipping into this world through a newborn. Bad Ibeji was the twin that the womb squeezed and crushed, tried to melt, but could not melt away. Bad Ibeji grows on its malcontent like that devil of the body’s own flesh, that bursts through the breasts of woman, killing her by poisoning her blood and bone. Bad Ibeji knows it will never be the favored one, so it attacks the other twin in the womb. Bad Ibeji sometimes dies at birth when the mind did not grow. When the mind did grow, all it knows to do is survive. It burrows into the twin’s skin, sucking food and water from his flesh. It leaves the womb with the twin, and sticks so tight to his skin that the mother thinks this too is the baby’s flesh, unformed, ugly like a burn and not handsome, and sometimes throws away them both to the open lands to die. It is wrinkled and puffy flesh, and skin and hair, and one eye big and a mouth that drools without stop, and one hand with claws and another stuck on the belly as if sewn, and useless legs that flap like fins, a thin penis, stiff like a finger, and hole that bursts shit like lava. It hates the twin for it will never be the twin, but it needs the twin for it cannot eat food, or drink water as it has no throat, and teeth grow anywhere, even above the eye. Parasite. Fat, and lumpy, like cow entrails tied together, and leaving slime where it crawls.

Before I could say anything the other gagged my mouth with a stone ball. I wanted to say what fools they were, but not the first fool in Dolingo. How could I confess anything with my mouth gagged? And the boy’s smell came to my nose again, so strong, almost as if he was right outside this cell, but now moving away. The one-eyed scientist pulled a knot at his neck and removed his hood. Bad Ibeji. I heard of one found at the foot of the Hills of Enchantment, which the Sangoma burned, even though it was already dead. Even in death it shook the unshakable woman, for it was the one mingi she would kill on sight. Bad Ibeji was never to be born but is not the unborn Douada, who roams the spirit world, wiggling on air like a tadpole and sometimes slipping into this world through a newborn. Bad Ibeji was the twin that the womb squeezed and crushed, tried to melt, but could not melt away. Bad Ibeji grows on its malcontent like that devil of the body’s own flesh, that bursts through the breasts of woman, killing her by poisoning her blood and bone. Bad Ibeji knows it will never be the favored one, so it attacks the other twin in the womb. Bad Ibeji sometimes dies at birth when the mind did not grow. When the mind did grow, all it knows to do is survive. It burrows into the twin’s skin, sucking food and water from his flesh. It leaves the womb with the twin, and sticks so tight to his skin that the mother thinks this too is the baby’s flesh, unformed, ugly like a burn and not handsome, and sometimes throws away them both to the open lands to die. It is wrinkled and puffy flesh, and skin and hair, and one eye big and a mouth that drools without stop, and one hand with claws and another stuck on the belly as if sewn, and useless legs that flap like fins, a thin penis, stiff like a finger, and hole that bursts shit like lava. It hates the twin for it will never be the twin, but it needs the twin for it cannot eat food, or drink water as it has no throat, and teeth grow anywhere, even above the eye. Parasite. Fat, and lumpy, like cow entrails tied together, and leaving slime where it crawls. The Bad Ibeji’s one hand splayed itself on the one-eyed scientist’s neck and chest. He unhooked each claw and a little blood ran out of each hole. The second hand unwrapped itself from the scientist’s waist, leaving a welt. I shook and screamed into the gag and kicked against the shackles but the only thing free was my nose to huff. The Bad Ibeji pulled his head off the twin’s shoulder and one eye popped open. The head, a lump upon a lump, upon a lump, with warts, and veins, and huge swellings on the right cheek with a little thing flapping like a finger. His mouth, squeezed at the corners, flopped open, and his body jerked and sagged like kneaded flour being slapped. From the mouth came a gurgle like from a baby. The Bad Ibeji left the scientist’s shoulder and slithered on my belly and up to my chest, smelling of arm funk and shit of the sick. The other scientist grabbed my head with both sides and held it stiff. I struggled and struggled, shaking, trying to nod, trying to kick, trying to scream, but all I could do was blink and breathe.

Ciao, Violetta.” The sound of his voice, low and almost caressing, is such a shock that for a moment I think I’ve hallucinated hearing it. But as I jerk my head back, I see his shoes, his jeans, and swiftly I swing my legs under me, scrabbling for a foothold in the squishy mud of the riverbank, digging in my toes, and stand up waist-high in the water. Luca has bent his long legs now, and is sitting down in front of me, halfway down the bank on a stone outcropping, so we’re almost level. I stare at him, still disbelieving. “It was you!” I blurt out, and then feel stupid. “Cosa?” He lifts his dark brows. I can see his face clearly in the moonlight, the pale skin, the perfect bone structure, the black lock of hair that falls over his forehead, inky-dark. “Before,” I say. “Up by the club. You were smoking.” He nods. “Which you think is a disgusting habit,” he observes, amusement in his voice. “Yes, I do,” I say firmly, glad of the way the conversation is going; ticking him off is much easier than…anything else. “It’s revolting. Schifoso,” I add, having learned the word in Italian. “Bene.” He pulls the packet from his jeans pocket, raises it to show me, and then, quite unexpectedly, releases it, his long fingers empty, the packet falling into the river beside me. “No more cigarettes,” he says. “Since you say they are schifoso.” “You’re stopping? Just like that?” I fish out the packet before it becomes so waterlogged it sinks, and put it on the grass. He shrugs. “Perchè no?” I swallow. “You shouldn’t just throw things in the water like that. It’s bad for the environment,” I say, sticking with the severe, ticked-off voice, as it makes me feel safe. If I lose this voice with him, I’m in much deeper, more dangerous waters than this pretty little river. “Mi scusi,” he says lightly, an apology with not a flicker of contrition in his voice. “You are good for me, Violetta. The only one who tells me when I do wrong.” When he calls me by the Italian version of my name, I can’t help it: I feel like I’m melting. Dissolving, helpless, gone.

More than loving themselves, Narcissists are absorbed with themselves. They feel their own desires so acutely that they can’t pay attention to anything else. Imagine their disorder as a pair of binoculars. Narcissists look at their own needs through the magnifying side, and the rest of the cosmos through the side that makes things small to the point of insignificance. It’s not so much that these vampires think they’re better than other people as that they hardly think of other people at all. Unless they need something. Narcissistic need is tremendous. Just as sharks must continually swim to keep from drowning, Narcissists must constantly demonstrate that they are special, or they will sink like stones to the depths of depression. It may look as if they are trying to demonstrate their worth to other people, but their real audience is themselves. Narcissists are experts at showing off. Everything they do is calculated to make the right impression. Conspicuous consumption is for them what religion is for other people. Narcissists pursue the symbols of wealth, status, and power with a fervor that is almost spiritual. They can talk for hours about objects they own, the great things they’ve done or are going to do, and the famous people they hang out with. Often, they exaggerate shamelessly, even when they have plenty of real achievements they could brag about. Nothing is ever enough for them. That’s why Narcissists want you, or at least your adulation. They’ll try so hard to impress you that it’s easy to believe that you’re actually important to them. This can be a fatal mistake; it’s not you they want, only your worship. They’ll suck that out and throw the rest away. To Narcissistic vampires, the objects, the achievements, and the high regard of other people mean nothing in themselves. They are fuel, like water forced across gills so that oxygen can be extracted. The technical term is Narcissistic supplies. If Narcissists don’t constantly demonstrate their specialness to themselves, they drown.

The sea dragons. Far below, the dragons danced on the surface of the ocean, tiny, glimmering worms on a gray floor. Their voices rang through the air, across the great distance and over the roar of Fingap Falls. The dragon song mingled with Leeli’s, and the music pulsed with joy and then sadness. Janner blinked with wonder when he focused again on the images swirling before him. He no longer saw Nugget but a spray of giant waves, then something red and gold—the dragons. He had only ever seen the creatures from the heights of the cliff, but now he could see them as if he floated just above the surface of the sea, a stone’s throw away. They were as beautiful as they were fearsome. Their bodies shimmered with metallic scales that swirled with color. The dragon closest to him glittered orange and gold, like the strikes of a thousand matchsticks, but its winglike fins cycled between shades of blue. Its head was sleek and graceful, perfect for slicing through the water, and its eyes—big and deep and serene—sent a chill down to Janner’s toes, because it was suddenly clear the dragon knew it was being watched. The eyes rolled back, and translucent lids slid over them as the dragon opened its mouth and sang. Teeth lined its mouth, but not in the crooked, yellow way of the Fangs or the toothy cows; these were straight and bright and sharp as needles. Janner pushed his mind through the image and looked again at his brother and sister. Leeli’s eyes were closed, and though she smiled, tears wet her cheeks while she played. Wind stirred Tink’s hair, and he stared at the empty air before him; his eyes flicked back and forth as if studying a drawing that hung a few feet before his face. The song changed to a gentle hum, and Janner turned his mind again to the floating image. A dragon rose from the waves bearing something

...maybe they found the right creature by accident. If you throw enough stones, occasionally you hit somebody deserving.