Topography Quotes

Life is like topography, Hobbes. There are summits of happiness and success, flat stretches of boring routine and valleys of frustration and failure.

Science is the topography of ignorance.

A book reads the better which is our own, and has been so long known to us, that we know the topography of its blots, and dog's ears, and can trace the dirt in it to having read it at tea with buttered muffins.

This is what you do now to give your day topography--scan the boxes, read the news, see the chain of your friends reporting about themselves, take the 140-character expository bursts and sift through for the information you need. It's a highly deceptive world, one that constantly asks you to comment but doesn't really care what you have to say. The illusion of participation can sometimes lead to participation. But more often than not, it only leads to more illusion, dressed in the guise of reality.

The world can only appear monochromatic to those who persist in interpreting what they experience through the lens of a single cultural paradigm, their own. For those with the eyes to see and the heart to feel, it remains a rich and complex topography of the spirit.

My spiritual life is found inside the heart of the wild.

Poets make the best topographers.

The topography of literature, the fact in fiction,is one of my pleasures -- I mean, where the living road enters the pages of a book, and you are able to stroll along both the real and imagined road.

In battle, topography is fate.

i've memorized it. topography on the map of you, a world i'm still charting. i know it. i added it to the key. here: inches to miles. i can multiply it out, read your latitude and longitude. recite your coordinates like la rosaria.

Awe is the moment when ego surrenders to wonder. This is our inheritance - the beauty before us. We cry. We cry out. There is nothing sentimental about facing the desert bare. It is a terrifying beauty.

We’re not aware of the “big picture,” any more than a plankton whose universe was a liter of water would be aware of the world’s topography and biosphere.

Why do gods always like to be worshipped in high places?” Kaz muttered. “It’s men who seek grandeur,” Inej said, springing nimbly along as if her feet knew some secret topography. “The Saints hear prayers wherever they’re spoken.” “And answer them according to their moods?” “What you want and what the world needs are not always in accord, Kaz. Praying and wishing are not the same thing.” But they’re equally useless. Kaz bit back the reply. He was too focused on not plummeting to his death to properly engage in an argument.

But first of all he is a woodsman, and you aren't a woodsman unless you have such a feeling for topography that you can look at the earth and see what it would look like without any woods or covering on it. It's something like the gift all men wish for when they or young-- or old-- of being able to look through a woman's clothes and see her body, possibly even a little of her character.

For human nature is so made that only what is unusual and infrequent excites wonder or is regarded as of value. We make no wonder of the rising and the setting of the sun which we see every day; and yet there is nothing in the universe more beautiful, or worthy of wonder. When, however, an eclipse of the sun takes place, everyone is amazed - because it happens rarely.

Since much of the ocean floor remains unexplored (except perhaps for still-classified data acquired by the U.S. and Soviet navies), we may know more about the surface topography of Venus than about any other planet, Earth included.

And so I would like to thank you. You taught me, again and again again and again and again, not to dream of you. And I listened. I am silent. These words are not words of love, but of the silence that will remain when I walk away when this letter is done. I have listened and I do not continue to imagine our love, for it was not love. You were too busy walking a flowered path, and it was my misstep that I thought we had something more than an hour’s fun for you. Thank you, for clarifying for me what love is not. Love is no thing, and nothing is a gift, space is a playground, and time and distance are merely peaks and valleys in the topography of real love. And I would remind you: I am not one of your fans. For I know what I deserve, and it is one who is not afraid of fear. Love does not require this map: it makes its way across the miles. Love does not heed the time; it is not rooted in the months of one or two moons. Love is not bothered by obstacles—they form the high sides to the left and right of this rocky path. This path does not depend upon external signs: love will find its own way.

Boundaries are fears made manifest, designed to protect us. I don't want protection, I want freedom.

Our public lands - whether a national park or monument, wildlife refuge, forest or prairie - make each one of us land-rich. It is our inheritance as citizens of a country called America.

It tugs at me, filling me with the kind of seasick nostalgia that can hit you in the gut when you find an old concert ticket in your purse or an old coin machine ring you got down at the boardwalk on a day when you went searching for mermaids in the surf with your best friend. That punch of nostalgia hits me now and I start to sink down on the sky-coloured quilt, feeling the nubby fabric under my fingers, familiar as the topography of my hand.

Wilderness is not a place of isolation but contemplation. Refuge. Refugees.....Wilderness is a knife that cuts through pretense and exposes fear. Even in remote country, you cannot escape your mind.

Relationship is ugly, relating is beautiful. In relationship both persons become blind to each other. Just think, how long has it been since you saw your wife eye to eye? How long has it been since you looked at your husband? Maybe years. Who looks at one’s own wife? You have already taken it for granted that you know her; what more is there to look at? You are more interested in strangers than in the people you know—you know the whole topography of their bodies, you know how they respond, you know everything that has happened is going to happen again and again. It is a repetitive circle. It is not so, it is not really so. Nothing ever repeats; everything is new every day. Just your eyes become old, your assumptions become old, your mirror gathers dust and you become incapable of reflecting the other. Hence

She has no interest in the composition from ten or twenty feet—that will come later. What she wants is topography, the impasto, the furrows where sable hairs were dragged into tiny painted crests to catch the light. Or the stray line of charcoal or chalk, glimpsed beneath a glaze that’s three hundred years old. She’s been known to take a safety pin and test the porosity of the paint and then bring the point to her tongue. Since old-world grounds contain gesso, glue, and something edible—honey, milk, cheese—the Golden Age has a distinctively sweet or curdled taste. She is always careful to avoid the leads and the cobalts. What

Our ability to travel is a privilege. But it is also a choice. Money is time. Where do we spend out time? Wilderness is not my leisure or my recreation. It is my sanity.

Wilderness is the source of what we can imagine and what we cannot - the taproot of consciousness. It will survive us.

The most important causes of change are not to be found in political manifestos or in the pronouncements of dead economists, but in the hidden factors that alter the boundaries where power is exercised. Often, subtle changes in climate, topography, microbes, and technology alter the logic of violence.

Here is the topography of false starts. Here a whole constellation is lousy with desire. Here what passes for love is the same as anywhere. Here no one has said a prayer for the stars, and here no one comes, except to leave, except to stay long enough to bruise.

An eruption of microparasites, such as a viral pandemic, rather than drastic changes in climate or topography, would more likely disrupt the megapolitical predominance of technology.

This is what we can promise the future: a legacy of care. That we will be good stewards and not take too much or give back too little, that we will recognize wild nature for what it is, in all its magnificent and complex history - an unfathomable wealth that should be consciously saved, not ruthlessly spent. Privilege is what we inherit by our status as Homo sapiens living on this planet. This is the privilege of imagination. What we choose to do with our privilege as a species is up to each of us. Humility is born in wildness. We are not protecting grizzlies from extinction; they are protecting us from the extinction of experience as we engage with a world beyond ourselves. The very presence of a grizzly returns us to an ecology of awe. We tremble at what appears to be a dream yet stands before us on two legs and roars.

It is, of course, true that discrimination in trusting others is necessary if we are to have quality relationships. Selectivity is important for our safety and security, because it means trusting only those who have proven their dependability. This makes sense but only in how we love, not that we love. Thus, our ways of showing love differ according to the commitment we have to various individuals in our lives. But our scope of love does not have to set or be set by limitations. We can be careful about our boundaries when others come close but free of boundaries in how far our love extends. There are boundaries in the topography of love but no barriers.

I return to the wilderness to remember what I have forgotten, that the world can be wholesome and beautiful, that the harmony and integrity of ecosystems at peace is a mirror to what we have lost.

there's a corner of your mouth, and a place that it goes. pinched and worried like you're afraid you're forgetting something. i used to hate it. used to think it was your little tic of disapproval. but i've kissed your mouth, that corner, that place it goes, so many times now. i've memorized it. topography on the map of you, a world i'm still charting. i know it. i added it to the key. here: inches to miles. i can multiply it out, read your latitude and longitude. recite your coordinates like la rosaria. this thing, your mouth, its place. it's what you do when you're trying not to give yourself away. not in the way that you do all the time, those empty, greedy grabs for you. i mean the truth of you. the weird, perfect shape of your heart. the one on the outside of your chest.

It’s about a crucial era during which old regimes fell, new leaders emerged, new social contracts were forged between strangers, the topography of cities changed, and the upstarts roamed the earth.

He became, in that instant, pure topography: his belly a highland, tapering down to a head-hamlet, with two hard-blinking eye-ponds. Four servants rushed to his aid. He waved them off with a smile. Made

But the Count hadn’t the temperament for revenge; he hadn’t the imagination for epics; and he certainly hadn’t the fanciful ego to dram of empires restored. No. His model for mastering his circumstances would be a different sort of captive altogether: an Anglican washed ashore. Like Robinson Crusoe stranded on the Isle of Despair, the count would maintain his resolve by committing to the business of practicalities. Having dispensed with dreams of quick discovery, the world’s Crusoes seek shelter and a source of fresh water; they teach themselves to make fire from flint; they study their island’s topography, it’s climate, its flora and fauna, all the while keeping their eyes trained for sails on the horizon and footprints in the sand.

Why do gods always like to be worshipped in high places?” Kaz muttered. “It’s men who seek grandeur,” Inej said, springing nimbly along as if her feet knew some secret topography. “The Saints hear prayers wherever they’re spoken.

This is wilderness, to walk in silence. This is wilderness, to calm the mind. This is wilderness, my return to composure.

We spoke of death, not in a morbid way, but in a pragmatic one. "It will come," Dad said. "But for now, heaven is here.

And when I say “exploded” I mean “interacted catastrophically with the topography of space/time in ways we’re not entirely able to explain,” but “explode” gets the gist of it, particularly with regard to what would happen to a human caught in it.

After a time, though, Inman found that he had left the book and was simply forming the topography of home in his head. Cold Mountain, all its ridges and coves and watercourses. Pigeon River, Little East Fork, Sorrell Cove, Deep Gap, Fire Scald Ridge. He knew their names and said them to himself like the words of spells and incantations to ward off the things one fears most.

À ceux-là, en général, j'explique que la vraisemblance importe plus que la vérité, que la justesse compte davantage que l'exactitude et surtout qu'un lieu, ce n'est pas une topographie mais la manière dont on le raconte, pas une photographie mais une sensation, une impression.

For bighorns, topography is memory, enhanced by acute vision. They can anticipate the land's every contour--when to leap, where to climb, when to turn, which footholds will support their muscular bodies. To survive, this is what the band would have to do: make this perfect match of flesh to earth.

I maintain, then, that scientific psychology (and, it may be added, the psychology of the same kind that we all unconsciously practise when we try to "figure to ourselves" the stirrings of our own or others' souls) has, in its inability to discover or even to approach the essence of the soul, simply added one more to the symbols that collectively make up the Macrocosm of the culture-man. Like everything else that is no longer becoming but become, it has put a mechanism in place of an organism. We miss in its picture that which fills our feeling of life (and should surely be " soul " if anything is) the Destiny-quality, the necessary directedness of existence, the possibility that life in its course actualizes. I do not believe that the word "Destiny" figures in any psychological system whatsoever — and we know that nothing in the world could be more remote from actual life-experience and knowledge of men than a system without such elements. Associations, apperceptions, affections, motives, thought, feeling, will — all are dead mechanisms, the mere topography of which constitutes the insignificant total of our "soul-science." One looked for Life and one found an ornamental pattern of notions. And the soul remained what it was, something that could neither be thought nor represented, the secret, the ever-becoming, the pure experience.

This is what you do now to give your day topography—scan the boxes, read the news, see the chain of your friends reporting about themselves, take the 140-character expository bursts and sift through for the information you need. It’s a highly deceptive world, one that constantly asks you to comment but doesn’t really care what you have to say. The illusion of participation can sometimes lead to participation. But more often than not, it only leads to more illusion, dressed in the guise of reality.

Whenever I think of these writers together, I am reminded that what gives a city its special character is not just its topography or its buildings but rather the sum total of every chance encounter, every memory, letter, color, and image jostling in its inhabitants’ crowded memories after they have been living, like me, on the same streets for fifty years.

This was the very role of the bicycles that wheeled over this same topography Just as seawater defined the tidal lands, the bicycles revealed America's economic and social systems by floating though its bloodstream and coloring-with sparkling chrome, metallic paints, a whir of spokes and flicker of handlebar ribbons-the murkiest corners and furthest reaches.

The difference between fear and awe is a matter of our eyes adjusting.

Wilderness is an antidote to the war within ourselves.

These valleys, these rivers- creased, folded, and pushed. What wisdom mountains house. My God- they are Gods. My God has feet of Earth. We are flickering moths in migration.

The scales of equilibrium can be found in wilderness/

Wilderness is the source of what we can imagine and what we cannot- the taproot of consciousness. It will survive us.

It is a day of angled light and flat-bottomed clouds floating in a turquoise sky.

Our national parks are memory palaces where our personal histories reside.

How we treat our land, how we build upon it, how we act toward our air and water, in the long run, will tell what kind of people we really are. -Laurance S. Rockefeller

Embossed letters represent the topography of typography.

True, some people have astonishing memories, and in ancient times there were memory professionals who could store in their heads the topographies of whole provinces and the law codes of entire states.

The shock and fragrance of life, steaming red life, given off by the trail of the German's blood in the snow was a reproach to Joe, the reproach of something beautiful and inestimable, like innocence, which he had been lured by the Ice into betraying. In seeking revenge, he had allied himself with the Ice, with the interminable white topography, with the sawteeth and crevasses of death. Nothing that had ever happened to him, not the shooting of Oyster, or the piteous muttering expiration of John Wesley Shannenhouse, or the death of his father, or internment of his mother and grandfather, not even the drowning of his beloved brother, had ever broken his heart quite as terribly as the realization, when he was halfway to the rimed zinc hatch of the German station, that he was hauling a corpse behind him

This is what we can promise the future: a legacy of care. That we will be good stewards and not take too much or give back too little, that we will recognize wild nature for what it is, in all its magnificent and complex history - an unfathomable wealth that should be consciously saved, not ruthlessly spent.

We get to know our cities on hoot, and when we leave, the topography shifts. We're no longer as surefooted. But maybe that's a good thing. It's just a question of looking, and of not hoping to see something else when we do. Maybe it's good to keep some distance from the things we know well, to always be slightly out of sync with them, not to pretend mastery. Beneath the cities we don't recognize are stacked all the cities we do.

My places were emotional, primarily. I wrote of locales in which I had lived, or in which I imagined I could live, but the topography was primal and sexual and terminal. It bore no distinct architecture or design or dialect. It was merely human and in peril, which is to say universal. But on Royal and Coliseum and Vista--streets I cannot relinquish--I found my places and I dreamed a narrative. Can I go there and find it again?"--Tennessee Williams

I once told a friend that my life was just a succession of obsessing over the wrong things. “What would your life look like if you ever obsessed over the right thing?” she asked. It would look like this. Like a book, being finished

It was magic to be above [the clouds], to see their uppermost contours, the way they caught the light and held it, their vast shadows moving upon the face of the earth. I wished I could open the window and know what the world sounded like at that altitude. I thought about the solitude of that world, how it must be inhabited by the voice of the wind, only. ... I thought about what my crows saw as they flew above canyons and treetops, the birds-eye view of life. They would recognize specific trees, perches, and nesting sites from a completely different perspective than I could. Their maps differed from mine; they knew the topography, the contours of the landscape, on a much grander scale.

Though advances in imaging technology have allowed neuroscientists to grasp much of the basic topography of the brain, and studies of neurons have given us a clear picture of what happens inside and between individual brain cells, science is still relatively clueless about what transpires in the circuitry of the cortex, the wrinkled outer layer of the brain that allows us to plan into the future, do long division, and write poetry, and which holds most of our memories.

Noah held his hand out. She accepted it - it was bone-cold, as always - and together they turned to face the huge room. Noah took a deep breath as if they were preparing to explore the jungle instead of stepping deeper into Monmouth Manufacturing. It seemed bigger with just the two of them there. The cobwebbed ceiling soared, dust motes making mobiles overhead. They turned their heads sideways and read the titles of the books aloud. Blue peered at Henrietta through the telescope. Noah daringly reattached one of the broken miniature roofs on Gansey's scale town. They went through the fridge tucked in the bathroom. Blue selected a soda. Noah took a plastic spoon. He chewed on it as Blue fed Chainsaw a leftover hamburger. They closed Ronan's door - if Gansey still managed to inhabit the rest of the apartment, Ronan's presence was still decidedly pervasive in his room. Noah showed Blue his room. They jumped on his perfectly made bed and then they played a bad game of pool. Noah lounged on the new sofa while Blue persuaded the old record player to play an LP too clever to interest either of them. They opened all the drawers on the desk in the main room. One of Gansey's EpiPens bounced against the interior of the topmost drawer as Blue withdrew a fancy pen. She copied Gansey's blocky handwriting onto a Nino's receipt as Noah put on a preppy sweater he'd found balled under the desk. She ate a mint leaf and breathed on Noah's face. Crouching, they crab-walked along the aerial printout Gansey had spread the length of the room. He'd jotted enigmatic notes to himself all along the margin of it. Some of them were coordinates. Some of them were explanations of topography. Some of them were Beatles lyrics.

Build peaks, and former highlands become flatlands--ordinary topography loses its allure. The attempt to make our lives not a waste, by seeking a few most remarkable incidents, will make the rest of our lives a waste. The concept of experience turns us into dwellers in a plateau village who hold on to a myth of the happier race of people who live on the peaks. We climb up occasionally, but only with preparation, for short expeditions. We can't stay there, and everyone is restless and unsatisfied at home.

At their father’s wake, a young paper-factory worker had said, It’s impossible he’s gone. And that man had been right—that had been an impossible loss. Sylvie was an impossible loss too. But perhaps what felt impossible was leaving that person behind. When your love for a person is so profound that it’s part of who you are, then the absence of the person becomes part of your DNA, your bones, and your skin. Charlie’s and Sylvie’s deaths were now part of Julia’s topography; the losses ran like a river inside her.

As my own neurosis became more subdued I found myself unconsciously drawn to female characters who exhibited signs of behaviors I had recognized in myself: repression, delusion, jealousy, paranoia, hysteria. But these issues didn’t magically disappear; they just became buried beneath business and activity, and came back to sideswipe me at inopportune moments. We have more patience, or perhaps more empathy, for fictional characters than we do their real-life counterparts. Faced with neurosis in film and literature, we want to investigate rather than avoid. If watching horror films is cathartic because it provides a temporary feeling of control over the one unknown factor that can’t be controlled (death), then wouldn’t it make sense that a crazy person would find relief in onscreen histrionics?

I could walk forever with beauty. Our steps are not measured in miles but in the amount of time we are pulled forward by awe. This is another gift from our national parks, to be led by the vistas, to forget what nags us at home and remember what sustains us, the horizon.

By definition, our national parks in all their particularity and peculiarity show us as much about ourselves as the landscapes they honor and protect. They can be seen as holograms of an America born of shadow and light; dimensional; full of contradictions and complexities. Our dreams, our generosities, our cruelties and crimes are absorbed into these parks like water. The poet Rumi says, “Water, stories, the

No one has ever charted the topography of a July night. It remains unrecorded in the geography of one's inner cosmos. A night in July! What can be likened to it? How can one describe it? Shall I compare it to the core of an enormous black rose, covering us with the dreams of hundreds of velvety petals? The night winds blow open its fluffy center, and in its scented depth we can see the stars looking down on us. Shall I compare it to the black firmament under our half-closed eyelids, full of scattered speckles, white poppy seeds, stars, rockets, and meteors? Or perhaps to a night train, long as the world, driving through an endless black tunnel; walking through a July night is like passing precariously from one coach to another, between sleeping passengers, along narrow drafty corridors, past stuffy compartments.

I don’t know if any of you know Wilfred Owen. He was a soldier who died in the First World War, a war that killed soldiers by the hundreds of thousands. Owen was a strange sort. A poet. A warrior. A homosexual. And as tough a man as any Marine I’ve ever met. In World War One, Owen was gassed. He was blown in the air by a mortar and lived. He spent days in one position, under fire, next to the scattered remains of a fellow officer. He received the Military Cross for killing enemy soldiers with a captured enemy machine gun and rallying his company after the death of his commander. And this is what he wrote about training soldiers for the trenches. These are, by the way, new soldiers. They hadn’t seen combat yet. Not like he had. “Owen writes: ‘For 14 hours yesterday I was at work—teaching Christ to lift his cross by numbers, and how to adjust his crown; and not to imagine he thirsts until after the last halt. I attended his Supper to see that there were no complaints; and inspected his feet that they should be worthy of the nails. I see to it that he is dumb, and stands at attention before his accusers. With a piece of silver I buy him every day, and with maps I make him familiar with the topography of Golgotha.

But I’ve kissed your mouth, that corner, that place it goes, so many times now. I’ve memorised it. Topography on the map of you, a world I’m still charting. I know it. I added it to the key. Here: inches to miles. I can multiply it out, read your latitude and longitude. Recite your coordinates like la rosaria.

Buy the lie that your life is supposed to be heaven on earth, and suffering can be a torturous hell. But life is suffering, and suffering is but the cross we bear, part of earth’s topography to cross on our way to heaven. I wouldn’t know it for years: Screens sell pipe dreams. Every screen is trying to sell the lie to you—from Hollywood

The eye in this city acquires an autonomy similar to that of a tear. The only difference is that it doesn't sever itself from the body but subordinates it totally. After a while - on the third or fourth day here- the body starts to regard itself as merely the eye's carrier, as a kind of submarine to its now dilating, now squinting periscope. Of course, for all its targets, its explosions are invariably self-inflicted: it's own heart, or else your mind, that sinks; the eye pops up to the surface. This, of course, owes to local topography, to the streets - narrow, meandering like eels - that finally bring you to a flounder of a campo with a cathedral in the middle of it, barnacled with saints and flaunting its Medusa-like cupolas. No matter what you set out for as you leave the house here, you are bound to get lost in these long, coiling lanes and passageways that beguile you to see them through to follow them to their elusive end, which usually hits water, so that you can't even call it a cul-de-sac. On the map this city looks like two grilled fish sharing a plate, or perhaps like two nearly overlapping lobster claws ( Pasternak compared it to a swollen croissant); but it has no north, south, east, or west; the only direction it has is sideways. It surrounds you like frozen seaweed, and the more you dart and dash about trying to get your bearings, the more you get lost. The yellow arrow signs at intersections are not much help either, for they, too, curve. In fact, they don't so much help you as kelp you. And in the fluently flapping hand of the native whom you stop to ask for directions, the eye, oblivious to his sputtering, A destra, a sinistra, dritto, dritto, readily discerns a fish.

I was chauffeured into this dark terrain by my parents, but I stayed there because of something in myself.

Wilderness is not a place of privilege, but rather a place of probity, where the evolutionary processes of life are free to continue.

This is a landscape that should not be sold.

The time has come for acts of reverence and restraint on behalf of the Earth. We have arrived at the Hour of Land.

Today majesty is the length from where I stand to the summit of the mountain we are climbing. This mountain has majesty and hold its own authority above all others.

Our fate like the fate of all species, is determined by chance, by circumstance, and by grace.

For all the tantalizing and provocative character of the Viking results, I know a hundred places on Mars which are far more interesting than our landing sites. The ideal tool is a roving vehicle carrying on advanced experiments, particularly in imaging, chemistry and biology. Prototypes of such rovers are under development by NASA. They know on their own how to go over rocks, how not to fall down ravines, how to get out of tight spots. It is within our capability to land a rover on Mars that could scan its surroundings, see the most interesting place in its field of view and, by the same time tomorrow, be there. Every day a new place, a complex, winding traverse over the varied topography of this appealing planet.

The truth, and the threat it poses, can be too overwhelming to bear, and for many women in the aftermath of the sexual revolution, the truth was that their experiences were being dismissed by the men in their lives. Although many of the women in the films of this period are clearly meant to be schizophrenic, sociopathic or downright psychotic, the underlying implication (and there always is one in horror films) is that these ‘illnesses’ come in at the break between the woman’s experience and the man’s experience of the same situation- and what is ‘true’ or ‘right’ is often whatever the man says it is.

These are difficult time, transformative times- times of extreme actions especially within our national parks. Extreme drought. Extreme fires. Extreme development with extreme policy shifts needed in the name of global warming. The world is changing dramatically, both ecologically as well as politically. But I believe our greatest transformation as a species will be spiritual. The word "we" must include all species.

We are leading as thorough a study of 'alienation's positive pole' as of its negative pole. As a consequence of our diagnosis of the poverty of wealth, we are able to establish the world map of the extreme wealth of poverty. These speaking maps of a new topography will be in fact the first realization of 'human geography.' On them we will replace oil-deposits with the contours of layers of untapped pedestrian consciousness.

All the various time travel devices used by Verne and Bert were stored in the repository, Poe explained, including the ones that had never quite worked as they were meant to. There was one that resembled a blue police box from London—“Stolen by a doctor with delusions of grandeur,” said Poe—one that was simply a large, transparent sphere—“Created by a scientist with green skin and too much ego,” said Verne—and one that was rather ordinary by comparison. “This one looks like an automobile,” John said admiringly, “with wings.” “The doors open that way for a reason,” Verne explained, “we just never figured out what it was. The inventor of this particular model tried integrating his designs into a car, an airplane, and even a steam engine train. He was running a crackpot laboratory in the Arizona desert, and he never realized that it was not his inventions themselves, but his proximity to some sort of temporal fluctuation in the local topography, that allowed them to work.” “What happened to him?” asked Jack. “He’d get the machines up to one hundred and six miles per hour,” said Bert, “and then he’d run out of fuel and promptly get arrested by whatever constabulary had been chasing him. The sad part was that Jules figured out if he’d just gone two miles an hour faster, he’d likely have been successful in his attempt.

Mostly, though, he made people laugh, with wicked impersonations of everyone around him: clients, lawyers, clerks, even the cleaning woman. When Pickwick Papers came out, his former colleagues realized that half of them had turned up in its pages. His eyes - eyes that everyone who ever met him, to the day he died, remarked on - beautiful, animated, warm, dreamy, flashing, sparkling - though no two people ever agreed on their colour - were they grey, green, blue, brown? - those eyes missed nothing, any more than did his ears. He could imitate anyone. Brimming over with an all but uncontainable energy, which the twenty-first century might suspiciously describe as manic, he discharged his superplus of vitality by incessantly walking the streets, learning London as he went, mastering it, memorizing the names of the roads, the local accents, noting the characteristic topographies of the many villages of which the city still consisted.

Prague is far more than the sum of its physical parts or its history. It is a city of the mind and the imagination, a city that exists as vividly in poetry and painting and music and legend as it does in brick and stone... Just as the physical city of Prague would be unimaginable without its unique topography, without its palaces, its churches, its parks, its streets, and its hostelries, so the Prague of the mind would be unimaginable without its storytellers and the tales they weave.

I find philosophy—philosophy in the largest sense—a profoundly concrete, sensual activity. I know others who feel the same. The world of ideas seems as solid as the world of seas and mountains—or more so. One can no more change its topography than one can move Samarqand closer to Bukhara, although one can discover new views or discover that one has gotten the topography wrong, or that many people have for many years. Ideas seem as embodied, in the world of ideas, with its views and obstructions and vastness, as we do in our material world. They seem tangible, with specific savors, aesthetic properties, emotional tones, curves, surfaces, insides, hidden places, structure, geometry, dark passages, shining corners, auras, force fields, and combinatorial chemistry. This is one great reason why “travelling, whether in the mental or the physical world, is a joy,” as Bertrand Russell said, and why “it is good to know that, in the mental world at least, there are vast countries still very imperfectly explored.

Back at the cottage we explored the topography of my body; twigs in my hair, calves striped red and my skirt smudged in meadowtones. The forest underlined me, accentuated me, illustrated me. I felt alive in that midnight village whose dark places left their signatures on my skin, whose bites still hummed around my wrists. I didn’t notice till then the thousand nettle stings rising like pearls; burning bracelets that my love kissed and rubbed with dock leaves; a folk remedy painting my pulse points green; honorary stalks.

Our rivers are shrinking. Our lands are blowing away. And our lawmakers from our president to our legislators, both federal and state, are in denial of the one hard fact: We must change our lives, our politics, our beliefs, our actions, if we are going to survive.

The abused woman has certainly been around as long as human beings have been capable of psychological manipulation and interpersonal violence, but as a generally understood concept it - and she - did not exist until about fifty years ago. The conversation about domestic abuse within queer communities is even newer, and even more shadowed. As we consider the forms intimate violence takes today, each new concept - the male victim, the female perpetrator, queer abusers, and the queer abused - reveals itself as another ghost that has always been here, haunting the ruler's house. Modern academics, writers, and thinkers have new tools to delve back into the archives in the same way that historians and scholars have made their understanding of contemporary queer sexuality reverberate through the past. Consider: What is the topography of these holes? Where do the lacunae live? How do we move toward wholeness? How do we do right by the wronged people of the past without physical evidence of their suffering? How do we direct our record keeping toward justice?

Desert strategies are useful: In times of drought, pull your resources inward; when water is scarce, find moisture in seeds; to stay strong and supple, send a taproot down deep; run when required, hide when necessary; when hot go underground; do not fear darkness, it's where one comes alive.

Perhaps this is what our national parks hold for us: stories, of who we have been and who we might become- a reminder that as human beings our histories harbor both darkness and light. To live in the United States of America and tell only one story, from one point of view, diminishes us all.

she approached the town of Pampa. This part of the Panhandle was so flat that it was paradoxically vertiginous, a two-dimensional planetary surface off which, having no trace of topography to hold on to, you felt you could fall or be swept. No relief in any sense of the word. The land so commercially and agriculturally marginal that Pampans thought nothing of wasting it by the half acre, so that each low and ugly building sat by itself. Dusty dead or dying halfheartedly planted trees floated by in Leila’s headlights. To her they were Texan and therefore lovely in their way. The Sonic parking

The irony of our existence is this: We are infinitesimal in the grand scheme of evolution, a tiny organism on Earth. And yet, personally, collectively, we are changing the planet through our voracity, the velocity of our reach, our desires, our ambitions, and our appetites. We multiply, our hunger multiplies, and our insatiable craving accelerates. Consumption is a progressive disease. We believe in more, more possessions, more power, more war. Anywhere, everywhere our advance of aggression continues. My aggression toward myself is the first war. Wilderness is an antidote to the war within ourselves.

These bears were reimagined in place through a collective belief and need. I do not know why they were sculpted into being, but their power is palpable. I may be blind to what has been buried here or held inside these effigy mounds for thousands of years, but I can read the landscape like Braille through the tips of my fingers translating the script of grasses into a narrative I can understand. The bears and birds and snakes written on the body of the Earth through the hands of humans who dwelled here in the Upper Mississippi River Valley are a reminder that we form the future by being caretakers of our past.

Among those ways and thoughts of God, then, is the principle of accommodation. God works within human limitations - both individual and corporate - to transform the world according to his good purposes. To be blunt, God works with what he's got and with what we've got. He does not create a whole new situation but instead graciously pursues shalom in the glory and the mess we have made. The living water of the Holy Spirit pours over the extant topography of the social landscape and rarely sweeps all before it. The Spirit usually conforms himself to the contours he encounters. But as he does so, like an irresistible flow of water, he shapes them by and by, eventually making the crooked ways straight and the rough places a plain (Isa. 40:3-4).

The legacy of the Wilderness Act is a legacy of care. It is the act of loving beyond ourselves, beyond our own species, beyond our own time. To honor wildlands and wild lives that we may never see, much less understand, is to acknowledge the world does not revolve around us. The Wilderness Act is an act of respect that protects the land and ourselves from our own annihilation.

I'm to have dinner with some people from the bookshop, which is as posh as the motel, at six, then read at seven-thirty. I will have to watch my mouth. Some sarcastic remark about gentrification is almost bound to slip out. Even though the topography is right, this doesn't even look like Vermont. Not a cow in sight, not a single shack held together with staples and Masonite. Where are my people? The ones who used to go to Canada automatically at age 18 and get all their teeth pulled out, a standard right of passage. The ones who believe you can't be an alcoholic if you drink nothing but beer. The ones who know how to roast a haunch of venison with onions and garlic and sage and mustard (and where to find the haunch in July). The ones who buy their clothes at rummage and their cars at the junkyard. The ones who used to be me. Here I am on my balcony with a finger or two of cognac, a cigar, and a laptop computer, wearing my black jeans and my Reeboks. God, it's awful.

The river twists and turns to face the city. It looms suddenly, massive, stamped on the landscape. Its light wells up around the surrounds, the rock hills, like bruise-blood. Its dirty towers glow. I am debased. I am compelled to worship this extraordinary presence that has silted into existence at the conjunction of two rivers. It is a vast pollutant, a stench, a klaxon sounding. Fat chimneys retch dirt into the sky even now in the deep night. It is not the current which pulls us but the city itself, its weight sucks us in. Faint shouts, here and there the calls of beasts, the obscene clash and pounding from the factories as huge machines rut. Railways trace urban anatomy like protruding veins. Red brick and dark walls, squat churches like troglodytic things, ragged awnings flickering, cobbled mazes in the old town, culs-de-sac, sewers riddling the earth like secular sepulchres, a new landscape of wasteground, crushed stone, libraries fat with forgotten volumes, old hospitals, towerblocks, ships and metal claws that lift cargoes from the water. How could we not see this approaching? What trick of topography is this, that lets the sprawling monster hide behind corners to leap out at the traveller? It is too late to flee.