Torch Song Quotes

You think I'm not a goddess? Try me. This is a torch song. Touch me and you'll burn.

Far over the misty mountains cold To dungeons deep and caverns old We must away ere break of day To seek the pale enchanted gold. The dwarves of yore made mighty spells, While hammers fell like ringing bells In places deep, where dark things sleep, In hollow halls beneath the fells. For ancient king and elvish lord There many a gleaming golden hoard They shaped and wrought, and light they caught To hide in gems on hilt of sword. On silver necklaces they strung The flowering stars, on crowns they hung The dragon-fire, in twisted wire They meshed the light of moon and sun. Far over the misty mountains cold To dungeons deep and caverns old We must away, ere break of day, To claim our long-forgotten gold. Goblets they carved there for themselves And harps of gold; where no man delves There lay they long, and many a song Was sung unheard by men or elves. The pines were roaring on the height, The wind was moaning in the night. The fire was red, it flaming spread; The trees like torches blazed with light. The bells were ringing in the dale And men looked up with faces pale; The dragon's ire more fierce than fire Laid low their towers and houses frail. The mountain smoked beneath the moon; The dwarves, they heard the tramp of doom. They fled their hall to dying fall Beneath his feet, beneath the moon. Far over the misty mountains grim To dungeons deep and caverns dim We must away, ere break of day, To win our harps and gold from him!

What is admired in one generation is abhorred in another. We cannot say who will survive the holocaust of memory… We are men only, a brief flare of the torch.

I just want to be loved, is that so wrong?!

I know what love feels like, but this, this man... fuck me. Steals my breath. Knots me up. Torches me." "No, this is what denying love feels like, man. Why you denying your heart?

We are men only, a brief flare of the torch. Those to come may raise us or lower us as they please.

I am thinking about how it feels to be a no one in the life of someone you love.

Look—my feet don’t hit the marble! Like breath or a balloon, I’m rising, I hover six inches in the air in my blazing swan-egg of light. You think I’m not a goddess? Try me. This is a torch song. Touch me and you’ll burn.

I knew a man once,” Al Sorna continued, “who loved a woman very much. But he had a duty to perform, a duty he knew would cost him his life, and hers too if she stayed with him. And so he tricked her and had her taken far away. Sometimes that man tries to cast his thoughts across the ocean, to see if the love they shared has turned to hate, but he finds only distant echoes of her fierce compassion, a life saved here, a kindness done there, like smoke trailing after a blazing torch. And so he wonders, does she hate me? For she has much to forgive, and between lovers,” his gaze switched from her to me, “betrayal is always the worst sin.

You and I have been happy; we haven’t been happy just once, we’ve been happy a thousand times. The chances that spring, that’s for everyone, like in the popular songs, may belong to us too – the chances are pretty bright at this time because as usual, I can carry most of contemporary literary opinion, liquidated, in the hollow of my hand – and when I do, I see the swan floating on it and – I find it to be you and you only…. Forget the past – what you can of it, and turn about and swim back home to me, to your haven for ever and ever – even though it may seem a dark cave at times and lit with torches of fury; it is the best refuge for you – turn gently in the waters through which you move and sail back…

A sad fact widely known The most impassionate song To a lonely soul Is so easily outgrown But dont forget the songs That made you smile And the songs that made you cry When you lay in awe On the bedroom floor And said : oh, oh, smother me mother... No ... Rubber ring, rubber ring, rubber ring, rubber ring La ... The passing of time And all of its crimes Is making me sad again The passing of time And all of its sickening crimes Is making me sad again But dont forget the songs That made you cry And the songs that saved your life Yes, youre older now And youre a clever swine But they were the only ones who ever stood by you The passing of time leaves empty lives Waiting to be filled (the passing ...) The passing of time Leaves empty lives Waiting to be filled Im here with the cause Im holding the torch In the corner of your room Can you hear me ? And when youre dancing and laughing And finally living Hear my voice in your head And think of me kindly

See, an ugly person who goes after a pretty person gets nothing but trouble. But a pretty person who goes after an ugly person gets at least cab-fare.

Just because I said that's what I want doesn't mean that's what I want. I mean, that's what I want but that doesn't mean that I'm necessarily ready for it.

nothing is more opaque than absolute transparency. Look--my feet don't hit the marble! Like breath or a balloon, I'm rising, I hover six inches in the air in my blazing swan-egg of light. You think I'm not a goddess? Try me. This is a torch song. Touch me and you'll burn.

You realize I had half my guard out searching for you?” Eddard Stark said when they were alone. “Septa Mordane is beside herself with fear. She’s in the sept praying for your safe return. Arya, you know you are never to go beyond the castle gates without my leave.” “I didn’t go out the gates,” she blurted. “Well, I didn’t mean to. I was down in the dungeons, only they turned into this tunnel. It was all dark, and I didn’t have a torch or a candle to see by, so I had to follow. I couldn’t go back the way I came on account of the monsters. Father, they were talking about killing you! Not the monsters, the two men. They didn’t see me, I was being still as stone and quiet as a shadow, but I heard them. They said you had a book and a bastard and if one Hand could die, why not a second? Is that the book? Jon’s the bastard, I bet.

Melisandre laughed again. “You are lost in darkness and confusion, Ser Davos.” “And a good thing.” Davos gestured at the distant lights flickering along the walls of Storm’s End. “Feel how cold the wind is? The guards will huddle close to those torches. A little warmth, a little light, they’re a comfort on a night like this. Yet that will blind them, so they will not see us pass.” I hope. “The god of darkness protect us now, my lady, Even you.

(...) I've always thought of myself as a kind person. Not saintly but generously thoughtful (in a bitchy sort of way). (...)

The fervor and single-mindedness of this deification probably have no precedent in history. It's not like Duvalier or Assad passing the torch to the son and heir. It surpasses anything I have read about the Roman or Babylonian or even Pharaonic excesses. An estimated $2.68 billion was spent on ceremonies and monuments in the aftermath of Kim Il Sung's death. The concept is not that his son is his successor, but that his son is his reincarnation. North Korea has an equivalent of Mount Fuji—a mountain sacred to all Koreans. It's called Mount Paekdu, a beautiful peak with a deep blue lake, on the Chinese border. Here, according to the new mythology, Kim Jong Il was born on February 16, 1942. His birth was attended by a double rainbow and by songs of praise (in human voice) uttered by the local birds. In fact, in February 1942 his father and mother were hiding under Stalin's protection in the dank Russian city of Khabarovsk, but as with all miraculous births it's considered best not to allow the facts to get in the way of a good story.

The difference between Before and After is that today we need to safeguard our inner weirdo, seal it off and protect it from being buffeted. Learn an old torch song that nobody knows; read a musty, out-of-print detective novel; photograph a honey-perfect sunset and show it to no one. We may need to build new and stronger weirdo cocoons, in which to entertain our private selves. Beyond the sharing, the commenting, the constant thumbs-upping, beyond all that distracting gilt, there are stranger things waiting to be loved.

I never knew I never knew that everything was falling through That everyone I knew was waiting on a cue To turn and run when all I needed was the truth But that's how it's got to be It's coming down to nothing more than apathy I'd rather run the other way than stay and see The smoke and who's still standing when it clears Everyone knows I'm in Over my head Over my head With eight seconds left in overtime She's on your mind She's on your mind Let's rearrange I wish you were a stranger I could disengage Just say that we agree and then never change Soften a bit until we all just get along But that's disregard Find another friend and you discard As you lose the argument in a cable car Hanging above as the canyon comes between Everyone knows I'm in Over my head Over my head With eight seconds left in overtime She's on your mind She's on your mind Everyone knows I'm in Over my head Over my head With eight seconds left in overtime She's on your mind She's on your ... And suddenly I become a part of your past I'm becoming the part that don't last I'm losing you and its effortless Without a sound we lose sight of the ground In the throw around Never thought that you wanted to bring it down I won't let it go down till we torch it ourselves And everyone knows I'm in Over my head Over my head With eight seconds left in overtime She's on your mind She's on your mind Everyone knows She's on your mind Everyone knows I'm in over my head I'm in over my head I'm over my... Everyone knows I'm in Over my head Over my head With eight seconds left in overtime She's on your mind She's on your mind.

Helen of Troy Does Counter Dancing The world is full of women who'd tell me I should be ashamed of myself if they had the chance. Quit dancing. Get some self-respect and a day job. Right. And minimum wage, and varicose veins, just standing in one place for eight hours behind a glass counter bundled up to the neck, instead of naked as a meat sandwich. Selling gloves, or something. Instead of what I do sell. You have to have talent to peddle a thing so nebulous and without material form. Exploited, they'd say. Yes, any way you cut it, but I've a choice of how, and I'll take the money. I do give value. Like preachers, I sell vision, like perfume ads, desire or its facsimile. Like jokes or war, it's all in the timing. I sell men back their worst suspicions: that everything's for sale, and piecemeal. They gaze at me and see a chain-saw murder just before it happens, when thigh, ass, inkblot, crevice, tit, and nipple are still connected. Such hatred leaps in them, my beery worshipers! That, or a bleary hopeless love. Seeing the rows of heads and upturned eyes, imploring but ready to snap at my ankles, I understand floods and earthquakes, and the urge to step on ants. I keep the beat, and dance for them because they can't. The music smells like foxes, crisp as heated metal searing the nostrils or humid as August, hazy and languorous as a looted city the day after, when all the rape's been done already, and the killing, and the survivors wander around looking for garbage to eat, and there's only a bleak exhaustion. Speaking of which, it's the smiling tires me out the most. This, and the pretense that I can't hear them. And I can't, because I'm after all a foreigner to them. The speech here is all warty gutturals, obvious as a slam of ham, but I come from the province of the gods where meaning are lilting and oblique. I don't let on to everyone, but lean close, and I'll whisper: My mothers was raped by a holy swan. You believe that? You can take me out to dinner. That's what we tell all the husbands. There sure are a lot of dangerous birds around. Not that anyone here but you would understand. The rest of them would like to watch me and feel nothing. Reduce me to components as in a clock factory or abattoir. Crush out the mystery. Wall me up alive in my own body. They'd like to see through me, but nothing is more opaque than absolute transparency. Look - my feet don't hit the marble! Like breath or a balloon, I'm rising, I hover six inches in the air in my blazing swan-egg of light. You think I'm not a goddess? Try me. This is a torch song. Touch me and you'll burn.

But fame is a strange thing. Some men gain glory after they die, while others fade. What is admired in one generation is abhorred in another... We cannot say who will survive the holocaust of memory. Who knows? Perhaps one day I will be famous. Perhaps more famous than you... We are men only. A brief flare of the torch. Those to come may raise us or lower us as they please.

Now, I ain't saying you should only date sane men (I don't want to kill off all the fish in the poluted sea), but at least find one who's willing to fight on his own.

We cannot say. We are men only, a brief flare of the torch.

For lo, what changes time can bring! The cycles of revolving years May free my heart from all its fears, And teach my lips a song to sing. Before yon field of trembling gold Is garnered into dusty sheaves, Or ere the autumn’s scarlet leaves Flutter as birds adown the wold, I may have run the glorious race, And caught the torch while yet aflame, And called upon the holy name Of Him who now doth hide His face. ARONA.

The Scholar girl. All that dark hair and those curves and her damned gold eyes. How he held her hand as they fled through the courtyard. The way she said his name and how, on her lips, it sounded like a song. I

If love lyrics were too mushy, he could sing them and make wised-up fun of the mush, and still, in some part of the self, acknowledge that there was some truth to the words. He could be tender and still be a tough guy. Ruth Etting could sing her weepy torch songs, but for men, whining or self-pity was not allowed; they were forbidden by the male codes of the city. Sinatra slowly found a way to allow tenderness into the performance while remaining manly. When he finally took command of his own career, he perfected the role of the Tender Tough Guy and passed it on to several generations of Americans. Before him, that archetype did not exist in American popular culture. That is one reason why he continues to matter; Frank Sinatra created a new model for American masculinity.

Sometimes I dream about it, I’m walking down this long empty hall. My voice echoes all around, but no one answers, so I walk faster, opening doors, shouting names. I don’t even know who I’m looking for. Most nights it’s my father, but sometimes it’s Robb instead, or my little sister Arya, or my uncle. Even the ravens are gone from the rookery, and the stables are full of bones. That always scares me. I start to run then, throwing open doors, climbing the tower three steps at a time, screaming for someone, for anyone. And then I find myself in front of the door to the crypts. It’s black inside, and I can see the steps spiraling down. Somehow I know I have to go down there, but I don’t want to. I’m afraid of what might be waiting for me. The old Kings of Winter are down there, sitting on their thrones with stone wolves at their feet and iron swords across their laps, but it’s not them I’m afraid of. I scream that I’m not a Stark, that this isn’t my place, but it’s no good, I have to go anyway, so I start down, feeling the walls as I descend, with no torch to light the way. It gets darker and darker, until I want to scream” -Jon Snow

And a good thing." Davos gestured at the distant lights flickering along the walls of Storm's End. "Feel how cold the wind is? The guards will huddle close to those torches. A little warmth, a little light, they're a comfort on a night like this. Yet that will blind them, so they will not see us pass... The god of darkness protects us now, my lady. Even you.

She was monumentally, conspicuously damaged in a way that was, to us then, ineffably chic.

Damned Elmer's Glue! Just let me finish emasculating this eye and I'll be right with you.

Odysseus shrugs. “We cannot say. We are men only, a brief flare of the torch. Those to come may raise us or lower us as they please. Patroclus may be such as will rise in the future.

Joffrey called out, “Dog!” Sandor Clegane seemed to take form out of the night, so quickly did he appear. He had exchanged his armor for a red woolen tunic with a leather dog’s head sewn on the front. The light of the torches made his burned face shine a dull red. “Yes, Your Grace?” he said. “Take my betrothed back to the castle, and see that no harm befalls her,” the prince told him brusquely. And without even a word of farewell, Joffrey strode off, leaving her there. Sansa could feel the Hound watching her. “Did you think Joff was going to take you himself?” He laughed. He had a laugh like the snarling of dogs in a pit. “Small chance of that.” He pulled her unresisting to her feet. “Come, you’re not the only one needs sleep. I’ve drunk too much, and I may need to kill my brother tomorrow.” He laughed again. He was mocking her, she realized. “No one could withstand him,” she managed at last, proud of herself. It was no lie. Sandor Clegane stopped suddenly in the middle of a dark and empty field. She had no choice but to stop beside him. “Some septa trained you well. You’re like one of those birds from the Summer Isles, aren’t you? A pretty little talking -bird, repeating all the pretty little words they taught you to recite.” “ Take your look.” His fingers held her jaw as hard as an iron trap. His eyes watched hers. Drunken eyes, sullen with anger. She had to look. The right side of his face was gaunt, with sharp cheekbones and a grey eye beneath a heavy brow. His nose was large and hooked, his hair thin, dark. He wore it long and brushed it sideways, because no hair grew on the other side of that face. The left side of his face was a ruin. His ear had been burned away; there was nothing left but a hole. His eye was still good, but all around it was a twisted mass of scar, slick black flesh hard as leather, pocked with craters and fissured by deep cracks.

we had a love affair with fire, the president of the United States thought as the match that he’d just struck to light his pipe flared beneath his fingers. He stared into it, mesmerized by its color—and as the fire grew he had the vision of a tower of flame a thousand feet tall, whirling across the country he loved, torching cities and towns, turning rivers to steam, ripping across the ruins of heartland farms and casting

Her hands warming on tea looked like chunks of knitting a child had felted in grubby palms. Enough decades, and a body slowly twists into one great cramp, but there was a time once, where she had been sexy, and if not sexy, at least odd-looking enough to compel. Through this clear window she could see how good it all had been. She had no regrets. That's not true, Mathilde. The whisper in the ear. Oh, Christ, yes, there was one. Solitary, gleaming, a regret. It was that all her life she had said no. From the beginning she had let so few people in. That first night, his young face glowing up a hers in the black light, bodies beating the air around them, and inside there was that unexpected sharp recognition, oh, this. A sudden peace arriving for her. She who hadn't been at peace since she was so little. Out of nowhere, out of this surprising night with its shatters of lightning and the stormy black campus outside, with the heat and song and sex and animal fear inside. He had seen her and made the leap and swung through the crowd and taken her hand, this bright boy who was giving her a place to rest. He offered not only his whole laughing self, the past that build him and the warm beating body that moved her with its beauty and the future she felt compressed and waiting, but also the torch he carried before him in the dark, his understanding, dazzling, instant, that there was goodness at her core. With the gift came the bitter seed of regret, the unbridgeable gap between the Mathilde she was and the Mathilde he had seen her to be. A question, in the end, of vision. She wished she'd been the kind Mathilde, the good one, his idea of her. She would have looked smiling down at him, she would've heard beyond marry me to the world that spun behind the words. There would have been no pause, no hesitation. She would've laughed, touched his face for the first time, felt his warmth in the palm of her hand. 'Yes,' she would've said. 'Sure.

he brings the torch down to her bloody feet and takes a look again into her eyes as though asking himself what does madness look like, it looks like this, not someone waving their arms and yelling at the gods but a mother trying to get back home to her children.

You're in love, little brother" Dante stared at him. "Yeah? I know what love feels like , but this, this, man... fuck me. Steals my breath. Knots me up. Torches me." Von shook his head. "No, this is what denying love feels like man. Why you denying your heart?

FIREFLY SONG Flittering white-fire insect! Wandering white-fire bug! Weave little stars about my bed! Weave little stars into my sleep! Come, little dancing white-fire bug! Come, little flitting white-fire beast! Light me with your white-flame magic, Your little star-torch. Ojibwa

(...) When things get too good... I get out. Well. I guess to a degree we all do. But most pull out; ride off into the sunset with a wave and a wink and a "Heigh-o-Silver." But not me. I am a pusher. I nudge and kvetch and cry and demand until I leave my partner no possible alternative but for him to run for his life. (...)

Beneath the dragonglass was an old warhorn, made from an aurochs’ horn and banded in bronze. Jon shook the dirt from inside it, and a stream of arrowheads fell out. He let them fall, and pulled up a corner of the cloth the weapons had been wrapped in, rubbing it between his fingers. Good wool, thick, a double weave, damp but not rotted. It could not have been long in the ground. And it was dark. He seized a handful and pulled it close to the torch. Not dark. Black.

But fame is a strange thing. Some men gain glory after they die, while others fade. What is admired in one generation is abhorred in another...We cannot say who will survive the holocaust of memory. Who knows?...Perhaps one day even I will be famous. Perhaps more famous than you.' 'I doubt it.' Odysseus shrugs. 'We cannot say. We are men only, a brief flare of the torch. Those to come may raise us or lower us as they please. Patroclus may be such as will rise in the future.' 'He is not.

Go down into the crypts. When I woke, I told him to take me down, to see if Father was truly there. At first he didn’t know what I was saying, but I got him to the steps by telling him to go here and go there, only then he wouldn’t go down. He just stood on the top step and said ‘Hodor,’ like he was scared of the dark, but I had a torch. It made me so mad I almost gave him a swat in the head, like Old Nan is always doing.” He saw the way the maester was frowning and hurriedly added, “I didn’t, though.

You know...give peace a chance, not shoot people for peace. All we need is love. I believe it. it's damned hard but I absolutely believe it. We're not the first to say 'Imagine no countries' or 'Give peace a chance' but we're carrying that torch, like the Olympic torch, passing it from hand to hand, to each other, to each country, to each generation. That's our job...I've never claimed divinity. I've never claimed purity of soul. I've never claimed to have the answer to life. I can only put out songs and answer questions as honestly as I can, but only as honestly as I can, no more, no less. "I used to think that the world was doing it to me and that the world owed me something, and that either the conservatives or the socialists or the fascists or the communists or the Christians or the Jews were doing something to me, and when you're a teenybopper that's what you think. I'm 40 now. I don't think that anymore, 'cause I found out it doesn't fucking work. The thing goes on anyway and all you're doing is jacking off and screaming about what your mommy or daddy or society did...I have found out personally...that I am responsible for it as well as them. I am part of them.

Jon: Sometimes I dream about it. I'm walking down this long empty hall. My voice echoes all around, but no one answers, so I walk faster, opening door, shouting names. I don't even know who I'm looking for. Most nights it's my father, but sometimes it's Robb instead, or my little sister Arya, or my uncle. Sam: Do you ever find anyone in your dream? Jon: No one. The castle is always empty. Even the ravens are gone from the rookery, and the stables are full of bones, That always scares me. I start to run then, throwing open doors, climbing the tower three steps at a time, screaming for someone, for anyone. And then I find myself in front of the door to the crypts. It's black inside, and I can see the steps spiraling down. Somehow I know I have to go down there, but I don't want to. I'm afraid of what might be waiting for me. The old Kings of Winter are down there, sitting on their thrones with stone wolves at their feet and iron swords across their laps, but it's not them I'm afraid of. I scream that I'm not a Stark, that this isn't my place, but it's no good, I have to go anyway, so I start down, feeling the walls as I descend, with no torch to light the way. It gets darker and darker, until I want to scream. That's when I always wake.

Arianna simply wasn’t up to it. She had a pretty voice, she could carry a tune—that was never a problem. But she had no depth. She couldn’t interpret a song, place her stamp on it. Unlike Lesley, who fairly stomped on it! And that’s what you need in folk music. These are songs that have been around for hundreds, maybe thousands of years. They existed for centuries before any kind of recording was possible, even before people could write, for god’s sake! So the only way those songs lived and got passed on was by singers. The better singer you were, the more likely it was people were going to turn out to hear you and remember you—and remember the song—whether it was at a pub or wedding or ceilidh or just a knot of people seeking shelter under a tree during a storm. It’s a kind of time machine, really, the way you can trace a song from whoever’s singing it now back through the years—Dylan or Johnny Cash, Joanna Newsom or Vashti Bunyan—on through all those nameless folk who kept it alive a thousand years ago. People talk about carrying the torch, but I always think of that man they found in the ice up in the Alps. He’d been under the snow for 1,200 years, and when they discovered him, he was still wearing his clothes, a cloak of woven grass and a bearskin cap, and in his pocket they found a little bag of grass and tinder and a bit of dead coal. That was the live spark he’d been carrying, the bright ember he kept in his pocket to start a fire whenever he stopped. You’d have to be so careful, more careful than we can even imagine, to keep that one spark alive. Because that’s what kept you alive, in the cold and the dark. Folk music is like that. And by folk I mean whatever music it is that you love, whatever music it is that sustains you. It’s the spark that keeps us alive in the cold and night, the fire we all gather in front of so we know we’re not alone in the dark. And the longer I live, the colder and darker it gets. A song like “Windhover Morn” can keep your heart beating when the doctors can’t. You might laugh at that, but it’s true.

Torches flared murkily on the revels in the Maul, where the thieves of the east held carnival by night. In the Maul they could carouse and roar as they liked, for honest people shunned the quarters, and watchmen, well paid with stained coins, did not interfere with their sport. Along the crooked, unpaved streets with their heaps of refuse and sloppy puddles, drunken roisterers staggered, roaring. Steel glinted in the shadows where wolf preyed on wolf, and from the darkness rose the shrill laughter of women, and the sounds of scufflings and strugglings. Torchlight licked luridly from broken windows and wide-thrown doors, and out of those doors, stale smells of wine and rank sweaty bodies, clamor of drinking-jacks and fists hammered on rough tables, snatches of obscene songs, rushed like a blow in the face.

There's no such thing as witches. But there used to be. It used to be the air was so thick with magic you could taste it on your tongue like ash. Witches lurked in every tangled wood and waited at every midnight-crossroad with sharp-toothed smiles. They conversed with dragons on lonely mountaintops and rode rowan-wood brooms across full moons; they charmed the stars to dance beside them on the summer solstice and rode to battle with familiars at their heels. It used to be witches were wild as crows and fearless as foxes, because magic blazed bright and the night was theirs. But then came the plague and the purges. The dragons were slain and the witches were burned and the night belonged to men with torches and crosses. Witching isn’t all gone, of course. My grandmother, Mama Mags, says they can’t ever kill magic because it beats like a great red heartbeat on the other side of everything, that if you close your eyes you can feel it thrumming beneath the soles of your feet, thumpthumpthump. It’s just a lot better-behaved than it used to be. Most respectable folk can’t even light a candle with witching, these days, but us poor folk still dabble here and there. Witch-blood runs thick in the sewers, the saying goes. Back home every mama teaches her daughters a few little charms to keep the soup-pot from boiling over or make the peonies bloom out of season. Every daddy teaches his sons how to spell ax-handles against breaking and rooftops against leaking. Our daddy never taught us shit, except what a fox teaches chickens — how to run, how to tremble, how to outlive the bastard — and our mama died before she could teach us much of anything. But we had Mama Mags, our mother’s mother, and she didn’t fool around with soup-pots and flowers. The preacher back home says it was God’s will that purged the witches from the world. He says women are sinful by nature and that magic in their hands turns naturally to rot and ruin, like the first witch Eve who poisoned the Garden and doomed mankind, like her daughter’s daughters who poisoned the world with the plague. He says the purges purified the earth and shepherded us into the modern era of Gatling guns and steamboats, and the Indians and Africans ought to be thanking us on their knees for freeing them from their own savage magics. Mama Mags said that was horseshit, and that wickedness was like beauty: in the eye of the beholder. She said proper witching is just a conversation with that red heartbeat, which only ever takes three things: the will to listen to it, the words to speak with it, and the way to let it into the world. The will, the words, and the way. She taught us everything important comes in threes: little pigs, bill goats gruff, chances to guess unguessable names. Sisters. There wer ethree of us Eastwood sisters, me and Agnes and Bella, so maybe they'll tell our story like a witch-tale. Once upon a time there were three sisters. Mags would like that, I think — she always said nobody paid enough attention to witch-tales and whatnot, the stories grannies tell their babies, the secret rhymes children chant among themselves, the songs women sing as they work. Or maybe they won't tell our story at all, because it isn't finished yet. Maybe we're just the very beginning, and all the fuss and mess we made was nothing but the first strike of the flint, the first shower of sparks. There's still no such thing as witches. But there will be.

Letter 4 As I lay dreaming, Montezuma introduced himself and put his hand on my shoulder. The palm of the Aztec king felt like ancient papyrus. When I looked up at him, I saw that his nose was chipped like that of a sphinx. His arms were like long ivory ropes that frayed into hands. He led me down to the river, where we sat together and shared the river’s silence. Then he spoke: „Allow me to tell you my story. It may help you understand your own. At dusk, in the year of one thousand rivers, the Spanish explorer Cortés arrived at the gates of my city. I welcomed him with open arms. I showed Cortés hundreds of aviaries that had built in the city, and finally I took him to the most aviary of sighs. These birds carried only love letters. Cortes laughed and said that all the bird songs made him feel like a virgin bride who is drunk with faith as she walks down the aisle of the church. On her wedding night, she undresses for her husband and he takes her in his arms. She believes everything is possible. When Cortés stared straight into my eyes and said 'It is a night that is always colored in blood'." He paused for a long time before he spoke. Then he said, „Cortés returned with a small army of soldiers on horseback. When they ransacked the city, I was Cortes's own hand that lit the torch that set fire to the aviary of sighs. The fires raged. The birds painted the blue sky black with the ashes of their wings. The gardens were reddened with the blood of our children. The sun rose behind a sky filled with plumes of dark smoke. But during night, three birds of phoenix had risen from the burning aviaries. They closed their eyes and soared straight up into the dark clouds. When they opened their eyes they could see the stars clearly, though they could not see the ground below.

Samwell Tarly looked at him for a long moment, and his round face seemed to cave in on itself. He sat down on the frost-covered ground and began to cry, huge choking sobs that made his whole body shake. Jon Snow could only stand and watch. Like the snowfall on the barrowlands, it seemed the tears would never end. It was Ghost who knew what to do. Silent as shadow, the pale direwolf moved closer and began to lick the warm tears off Samwell Tarly's face. The fat boy cried out, startled... and somehow, in a heartbeat, his sobs turned to laughter. Jon Snow laughed with him. Afterward they sat on the frozen ground, huddled in their cloaks with Ghost between them. Jon told the story of how he and Robb had found the pups newborn in the late summer snows. It seemed a thousand years ago now. Before long he found himself talking of Winterfell. "Sometimes I dream about it," he said. "I'm walking down this long empty hall. My voice echoes all around, but no one answers, so I walk faster, opening doors, shouting names. I don't even know who I'm looking for. Most nights it's my father, but sometimes it's Robb instead, or my little sister Arya, or my uncle." The thought of Benjen Stark saddened him; his uncle was still missing. The Old Bear had sent out rangers in search of him. Ser Jaremy Rykker had led two sweeps, and Quorin Halfhand had gone forth from the Shadow Tower, but they'd found nothing aside from a few blazes in the trees that his uncle had left to mark his way. In the stony highlands to the northwest, the marks stopped abruptly and all trace of Ben Stark vanished. "Do you ever find anyone in your dream?" Sam asked. Jon shook his head. "No one. The castle is always empty." He had never told anyone of the dream, and he did not understand why he was telling Sam now, yet somehow it felt good to talk of it. "Even the ravens are gone from the rookery, and the stables are full of bones. That always scares me. I start to run then, throwing open doors, climbing the tower three steps at a time, screaming for someone, for anyone. And then I find myself in front of the door to the crypts. It's black inside, and I can see the steps spiraling down. Somehow I know I have to go down there, but I don't want to. I'm afraid of what might be waiting for me. The old Kings of Winter are down there, sitting on their thrones with stone wolves at their feet and iron swords across their laps, but it's not them I'm afraid of. I scream that I'm not a Stark, that this isn't my place, but it's no good, I have to go anyway, so I start down, feeling the walls as I descend, with no torch to light the way. It gets darker and darker, until I want to scream." He stopped, frowning, embarrassed. "That's when I always wake." His skin cold and clammy, shivering in the darkness of his cell. Ghost would leap up beside him, his warmth as comforting as daybreak. He would go back to sleep with his face pressed into the direwolf s shaggy white fur.

The Greeks were the first people in the world to play, and they played on a great scale. All over Greece there were games, all sorts of games; athletic contests of every description: races—horse-, boat-, foot-, torch-races; contests in music, where one side out-sung the other; in dancing—on greased skins sometimes to display a nice skill of foot and balance of body; games where men leaped in and out of flying chariots; games so many one grows weary with the list of them. They are embodied in the statues familiar to all, the disc thrower, the charioteer, the wrestling boys, the dancing flute players. The great games—there were four that came at stated seasons—were so important, when one was held, a truce of God was proclaimed so that all Greece might come in safety without fear. There “glorious-limbed youth”—the phrase is Pindar’s, the athlete’s poet—strove for an honor so coveted as hardly anything else in Greece. An Olympic victor—triumphing generals would give place to him. His crown of wild olives was set beside the prize of the tragedian. Splendor attended him, processions, sacrifices, banquets, songs the greatest poets were glad to write. Thucydides, the brief, the severe, the historian of that bitter time, the fall of Athens, pauses, when one of his personages has conquered in the games, to give the fact full place of honor. If we had no other knowledge of what the Greeks were like, if nothing were left of Greek art and literature, the fact that they were in love with play and played magnificently would be proof enough of how they lived and how they looked at life. Wretched people, toiling people, do not play. Nothing like the Greek games is conceivable in Egypt or Mesopotamia. The life of the Egyptian lies spread out in the mural paintings down to the minutest detail. If fun and sport had played any real part they would be there in some form for us to see. But the Egyptian did not play. “Solon, Solon, you Greeks are all children,” said the Egyptian priest to the great Athenian.

-Sometimes I dream about it. I'm walking down this long empty hall. My voice echoes all around, but no one answers, so I walk faster, opening door, shouting names. I don't even know who I'm looking for. Most nights it's my father, but sometimes it's Robb instead, or my little sister Arya, or my uncle. -Do you ever find anyone in your dream? -No one. The castle is always empty. Even the ravens are gone from the rookery, and the stables are full of bones, That always scares me. I start to run then, throwing open doors, climbing the tower three steps at a time, screaming for someone, for anyone. And then I find myself in front of the door to the crypts. It's black inside, and I can see the steps spiraling down. Somehow I know I have to go down there, but I don't want to. I'm afraid of what might be waiting for me. The old Kings of Winter are down there, sitting on their thrones with stone wolves at their feet and iron swords across their laps, but it's not them I'm afraid of. I scream that I'm not a Stark, that this isn't my place, but it's no good, I have to go anyway, so I start down, feeling the walls as I descend, with no torch to light the way. It gets darker and darker, until I want to scream. That's when I always wake. Jon and Sam

In 1964 the fear & loathing of Barry Goldwater was startling. Martin Luther King, Jr., detected “dangerous signs of Hitlerism in the Goldwater campaign.” Joachim Prinz, president of the American Jewish Congress, warned that “a Jewish vote for Goldwater is a vote for Jewish suicide.” And George Meany, head of the AFL-CIO, saw power falling into “the hands of union-hating extremists, racial bigots, woolly-minded seekers after visions of times long past.” On Election Day Goldwater suffered a devastating defeat, winning only 41 electoral votes. It was the judgment of the establishment that Goldwater’s critique of American liberalism had been given its final exposure on the national political scene. Conservatives could now go back to their little lairs and sing to themselves their songs of nostalgia and fancy, and maybe gather together every few years to hold testimonial dinners in honor of Barry Goldwater, repatriated by Lyndon Johnson to the parched earth of Phoenix, where dwell only millionaires seeking dry air to breathe and the Indians Barry Goldwater could now resume photographing. But then of course 16 years later the world was made to stand on its head when Ronald Reagan was swept into office on a platform indistinguishable from what Barry had been preaching. During

Far over the misty mountains cold To dungeons deep and caverns old We must away ere break of day To seek the pale enchanted gold. The dwarves of yore made mighty spells, While hammers fell like ringing bells In places deep, where dark things sleep, In hollow halls beneath the fells. For ancient king and elvish lord There many a gleaming golden hoard They shaped and wrought, and light they caught To hide in gems on hilt of sword. On silver necklaces they strung The flowering stars, on crowns they hung The dragon-fire, in twisted wire They meshed the light of moon and sun. Far over the misty mountains cold To dungeons deep and caverns old We must away, ere break of day, To claim our long-forgotten gold. Goblets they carved there for themselves And harps of gold; where no man delves There lay they long, and many a song Was sung unheard by men or elves. The pines were roaring on the height, The winds were moaning in the night. The fire was red, it flaming spread; The trees like torches blazed with light. The bells were ringing in the dale And men looked up with faces pale; The dragon’s ire more fierce than fire Laid low their towers and houses frail. The mountain smoked beneath the moon; The dwarves, they heard the tramp of doom. They fled their hall to dying fall Beneath his feet, beneath the moon. Far over the misty mountains grim To dungeons deep and caverns dim We must away, ere break of day, To win our harps and gold from him! As

Hold Everything Dear for John Berger as the brick of the afternoon stores the rose heat of the journey as the rose buds a green room to breathe and blossoms like the wind as the thinning birches whisper their silver stories of the wind to the urgent in the trucks as the leaves of the hedge store the light that the moment thought it had lost as the nest of her wrist beats like the chest of a wren in the turning air as the chorus of the earth find their eyes in the sky and unwrap them to each other in the teeming dark hold everything dear the calligraphy of birds across the morning the million hands of the axe, the soft hand of the earth one step ahead of time the broken teeth of tribes and their long place steppe-scattered and together clay's small, surviving handle, the near ghost of a jug carrying itself towards us through the soil the pledge of offered arms, the single sheet that is our common walking the map of the palm held in a knot but given as a torch hold everything dear the paths they make towards us and how far we open towards them the justice of a grass that unravels palaces but shelters the songs of the searching the vessel that names the waves, the jug of this life, as it fills with the days as it sinks to become what it loves memory that grows into a shape the tree always knew as a seed the words the bread the child who reaches for the truths beyond the door the yearning to begin again together animals keen inside the parliament of the world the people in the room the people in the street the people hold everything dear 19th May 2005 Gareth Evans

There’s a tap on my shoulder. I turn around and get lost in a sea of blue. A Jersey-accented voice says, “It’s about time, kid,” and Frank Sinatra rattles the ice in his glass of Jack Daniel’s. Looking at the swirling deep-brown liquid, he whispers, “Ain’t it beautiful?” This is my introduction to the Chairman of the Board. We spend the next half hour talking Jersey, Hoboken, swimming in the Hudson River and the Shore. We then sit down for dinner at a table with Robert De Niro, Angie Dickinson and Frank and his wife, Barbara. This is all occurring at the Hollywood “Guinea Party” Patti and I have been invited to, courtesy of Tita Cahn. Patti had met Tita a few weeks previous at the nail parlor. She’s the wife of Sammy Cahn, famous for such songs as “All The Way,” “Teach Me Tonight” and “Only the Lonely.” She called one afternoon and told us she was hosting a private event. She said it would be very quiet and couldn’t tell us who would be there, but assured us we’d be very comfortable. So off into the LA night we went. During the evening, we befriend the Sinatras and are quietly invited into the circle of the last of the old Hollywood stars. Over the next several years we attend a few very private events where Frank and the remaining clan hold forth. The only other musician in the room is often Quincy Jones, and besides Patti and I there is rarely a rocker in sight. The Sinatras are gracious hosts and our acquaintance culminates in our being invited to Frank’s eightieth birthday party dinner. It’s a sedate event at the Sinatras’ Los Angeles home. Sometime after dinner, we find ourselves around the living room piano with Steve and Eydie Gorme and Bob Dylan. Steve is playing the piano and up close he and Eydie can really sing the great standards. Patti has been thoroughly schooled in jazz by Jerry Coker, one of the great jazz educators at the Frost School of Music at the University of Miami. She was there at the same time as Bruce Hornsby, Jaco Pastorius and Pat Metheny, and she learned her stuff. At Frank’s, as the music drifts on, she slips gently in on “My One and Only Love.” Patti is a secret weapon. She can sing torch like a cross between Peggy Lee and Julie London (I’m not kidding). Eydie Gorme hears Patti, stops the music and says, “Frank, come over here. We’ve got a singer!” Frank moves to the piano and I then get to watch my wife beautifully serenade Frank Sinatra and Bob Dylan, to be met by a torrent of applause when she’s finished. The next day we play Frank’s eightieth birthday celebration for ABC TV and I get to escort him to the stage along with Tony Bennett. It’s a beautiful evening and a fitting celebration for the greatest pop singer of all time. Two years later Frank passed away and we were generously invited to his funeral. A

laughed at his third “what,

He had expected to find them impressive, perhaps even frightening. He had not thought to find them beautiful. Yet they were. As black as onyx, polished smooth, so the bone seemed to shimmer in the light of his torch. They liked the fire, he sensed. He’d thrust the torch into the mouth of one of the larger skulls and made the shadows leap and dance on the wall behind him. The teeth were long, curving knives of black diamond. The flame of the torch was nothing to them; they had bathed in the heat of far greater fires. When he had moved away, Tyrion could have sworn that the beast’s empty eye sockets had watched him go. There were nineteen skulls. The oldest was more than three thousand years old; the youngest a mere century and a half. The most recent were also the smallest; a matched pair no bigger than mastiff’s skulls, and oddly misshapen, all that remained of the last two hatchlings born on Dragonstone. They were the last of the Targaryen dragons, perhaps the last dragons anywhere, and they had not lived very long. From there the skulls ranged upward in size to the three great monsters of song and story, the dragons that Aegon Targaryen

Far over the misty mountains cold To dungeons deep and caverns old We must away ere break of day To seek the pale enchanted gold. The dwarves of yore made mighty spells, While hammers fell like ringing bells In places deep, where dark things sleep, In hollow halls beneath the fells. For ancient king and elvish lord There many a gleaming golden hoard They shaped and wrought, and light they caught To hide in gems on hilt of sword. On silver necklaces they strung The flowering stars, on crowns they hung The dragon-fire, in twisted wire They meshed the light of moon and sun. Far over the misty mountains cold To dungeons deep and caverns old We must away, ere break of day, To claim our long-forgotten gold. Goblets they carved there for themselves And harps of gold; where no man delves There lay they long, and many a song Was sung unheard by men or elves. The pines were roaring on the height, The winds were moaning in the night. The fire was red, it flaming spread; The trees like torches blazed with light. The bells were ringing in the dale And men looked up with faces pale; The dragon’s ire more fierce than fire Laid low their towers and houses frail. The mountain smoked beneath the moon; The dwarves, they heard the tramp of doom. They fled their hall to dying fall Beneath his feet, beneath the moon. Far over the misty mountains grim To dungeons deep and caverns dim We must away, ere break of day, To win our harps and gold from him!

In walked a vision of elegance that might have just stepped off the pages of a Jane Austen novel. She didn't even bother trying not to stare. Peach Gallagher had arrived. And all her expectations exploded. Not only did he appear to understand the meaning of black tie, he walked into the reception room as if he had invented the look---a perfectly fitted tuxedo jacket and matching trousers, a shirt with studs and cuff links, an expertly tied bow tie, and black laced oxfords. His long hair managed to make the attire seem more formal. He was every crush she'd ever had from junior high onward. Every album cover she'd stared at, listening to torch songs until she cried. Every mooned-over heartthrob she could never have.

with the

Gaffer’s torch powers on and then it is turned off again. It is then the sea is visible, the sound of the ocean woven with the racing breeze as they cross a road and follow a sandy path through dunes onto a beach and she knows the name of this beach, she has been here so many times before, and there is a man standing in a pale anorak with his hood pulled up texting into a phone and she sees two inflatable boats by the water’s edge and something inside her is flung when she sees the ocean dark and barren but for the rollers breaking whitely by the headland.

cubes to blow torches.

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Over the misty mountains cold To dungeons deep and caverns old We must away ere break of day To seek the pale enchanted gold. The dwarves of yore made mighty spells, While hammers fell like ringing bells In places deep, where dark things sleep, In hallows halls beneath the fells. For ancient kind and elvish lord There many a gleaming golden hoard They shaped and wrought, and light they caught To hide in gems on hilt of sword. On silver necklaces they strung The flowering stars, on crowns they hung The dragon-fire, in twisted wire They meshed the light of moon and sun. Far over the misty mountains cold To dungeons deep and caverns old We must away, ere break of day, To claim our long-forgotten gold. Goblets they carved there for themselves And harps of gold; where no man delves There lay they long, and many a song Was sung unheard by men or elves. The pines were roaring on the height, The winds were moaning in the night. The fire was red, it flaming spread; The trees like torches blazed with light. The bells were ringing in the dale And men looked up with faces pale; The dragon's ire more fierce than fire Laid low their towers and houses frail. The mountain smoked beneath the moon; The dwarves, they heard the tramp of doom. They fled their hall to dying fall Beneath his feet, beneath the moon. For over the misty mountains grim To dungeons deep and caverns dim We must away, ere break of day , To win our harps and gold from him!

The Robeson and Morgan plans—the Show Boat that could have been, the Show Boat that came to be—were built on new song-centered, thoroughly gendered performance personas: the spiritual-singing black man and the torch song-singing white woman, both of which marked out new areas of racially defined performance. These were innovative voices and figures, expressions of the changing popular culture landscape of Jazz Age Manhattan.

I am a free black man who writes as surrender and soulwork; as a tongue-clicking, bomb-femme torch song; as mourning prayer; as metamorphosis.

If you do this to me, I will write about it.

Violet Everly is twelve years old, and dreaming of other worlds. This usually involves climbing into the old wardrobe at the back of the library, and shutting the door in a whirl of cedar and dust. There she sits, with a thin torch between her teeth and a fat book spread across her lap, its thick and creamy pages layered in old-fashioned type and rich with glossy sentences. Every one of them whispering adventure. The worlds spring up behind her eyelids: cities of gold and silver filigree buildings; lands of intertwining waterways with bright boats sculling through the water; a forest of witches, their skin shades of eggshell blue all the way to deepest twilight, constellations twinkling across their shoulders. All of this a siren song that she can’t quite shake. It’s because of her desire to escape into a good book that she finds herself inside the wardrobe, as Ambrose converses with a stranger in his midst.

Polly knew she should find the others and persuade them to listen to the song and help her to find the singer. For her own sanity she needed witnesses. But the words were getting fainter and seemed to be taunting her, calling her forward. It was night before they found her. There was a torch in her jacket pocket and she set off after the girl’s

Cassilda: (speaking to herself) We strain our ears for the sound of love, but must all mothers bear the horror of seeing their Children grow from wonderful possibility to grim reality? Stranger: (Stands mutely in the shadows, his hands folding across his chest) Cassilda: If only we could stay a moment behind the veil of time, and live in that moment of indecision. Stranger: (Whispers so Cassilda cannot hear) Existence is decision. (...) [Te Child appears before the closed curtain] 1 Te Child: I am not the Prologue, nor the Afterword; call me the Prototaph. My role is this: to tell you it is now too late to close the book or quit the theatre. You already thought you should have done so earlier, but you stayed. How harmless it all is! No definite principles are involved, no doctrines promulgated in these pristine pages, no convictions outraged…but the blow has fallen, and now it is too late. And shall I tell you where the sin lies? It is yours. You listened to us; and all the say you stay to see the Sign. Now you are ours, or, since the runes also run backwards, we are yours…forever. (...) Along the shore the cloud waves break, The twin suns sink behind the lake, The shadows lengthen In Carcosa. Strange is the night where black stars rise, And strange moons circle through the skies But stranger still is Lost Carcosa. Songs that the Hyades shall sing, Where flap the tatters of the King, Must die unheard in Dim Carcosa. Song of my soul, my voice is dead; Die thou, unsung, as tears unshed Shall dry and die in Lost Carcosa. (...) [As the gong continues to strike, everyone begins to unmask. There are murmurs and gestures of surprise, real or polite, as identities are recognized or revealed. Ten there is a wave of laugher. The music becomes louder and increases in tempo.] Camilla: You, sir, should unmask. Stranger: Indeed? Camilla: Indeed, it’s time. We have all laid aside disguise but you. Stranger: I wear no mask. Camilla: No mask? No mask! Stranger: I, I am the Pallid Mask itself. I, I am the Phantom of Truth. I came from Alar. My star is Aldebaran. Truth is our invention; it is our weapon of war. And see–by this sign we have conquered, and the siege of good and evil is ended… § [On the horizon, the towers of Carcosa begin to glow] Noatalba: (Pointing) Look, look! Carcosa, Carcosa is on fire! (...) The King: Te Phantom of ruth shall be laid. Te scalloped tattersof Te King must hide Haita forever. As for thee, Yhtill– All: No! No, no! Te King: And as for thee, we tell you this; it is a fearful thing to fall into the hands of the living god. (...) Te Stranger falls, and everyone else sinks slowly to the ground after him. Te King can now be seen, although only faintly. He stands in state upon the balcony. He has no face, and is twice as tall as a man. He wears painted shows under his tattered, fantastically colored robes, and a streamer of silk appears to fall from the pointed tip of his hood. Behind his back he holds inverted a torch with a turned and jeweled shaft, which emits smoke, but no light. At times he appears to be winged; at others, haloed. These details are for the costumier; at no point should Te King be sufficiently visible to make themall out. Behind him, Carcosa and the Lake of Hali have vanished. Instead, there appears at his back a huge sculptured shield, in shape suggesting a labrys of onyx, upon which the Yellow Sign is chased in gold. Te rest of the stage darkens gradually, until, at the end, it is lit only by the decomposed body of the Stranger, phosphorescing bluely.]

I HAVEN’T HAD the Dream in a long time. But it’s back. And it’s changed. It does not begin as it always has, with the chase. The woods. The mad swooping of the griffins and the charge of the hose-beaked vromaski. The volcano about to erupt. The woman calling my name. The rift that opens in the ground before me. The fall into the void. The fall, where it always ends. Not this time. This time, these things are behind me. This time, it begins at the bottom. I am outside my own body. I am in a nanosecond frozen in time. I feel no pain. I feel nothing. I see someone below, twisted and motionless. The person is Jack. Jack of the Dream. But being outside it, I see that the body is not mine. Not the same face. As if, in these Dreams, I have been dwelling inside a stranger. I see small woodland creatures, fallen and motionless, strewn around the body. The earth shakes. High above, griffins cackle. Water trickles beneath the body now. It pools around the head and hips. And the nanosecond ends. The scene changes. I am no longer outside the body but in. Deep in. The shock of reentry is white-hot. It paralyzes every molecule, short-circuiting my senses. Sight, touch, hearing—all of them join in one huge barbaric scream of STOP. The water fills my ear, trickles down my neck and chest. It freezes and pricks. It soothes and heals. It is taking hold of the pain, drawing it away. Drawing out death and bringing life. I breathe. My flattened body inflates. I see. Smell. Hear. I am aware of the soil ground into my skin, the carcasses all around, the black clouds lowering overhead. The thunder and shaking of the earth. I blink the grit from my eyes and struggle to rise. I have fallen into a crevice. The cracked earth is a vertical wall before me. And the wall contains a hole, a kind of door into the earth. I see dim light within. I stand on shaking legs. I feel the snap of shattered bones knitting themselves together. One step. Two. With each it becomes easier. Entering the hole, I hear music. The Song of the Heptakiklos. The sound that seems to play my soul like a guitar. I draw near the light. It is inside a vast, round room, an underground chamber. I enter, lifted on a column of air. At the other side I see someone hunched over. The white lambda in his hair flashes in the reflected torch fire. I call to him and he turns. He looks like me. Beside him is an enormous satchel, full to bursting. Behind him is the Heptakiklos. Seven round indentations in the earth. All empty.

Jesse was moaning in her sleep. She was a delicate woman of thirty-five with long curly red hair. She lay deep in a shapeless feather mattress, cradled in a wooden bed which hung from the ceiling on four rusted chains. Somewhere in the big rambling house a clock chimed. She must wake up. Two hours until the Vampire Lestat’s concert. But she could not leave the twins now. This was new to her, this part unfolding so rapidly, and the dream was maddeningly dim as all the dreams of the twins had been. Yet she knew the twins were in the desert kingdom again. The mob surrounding the twins was dangerous. And the twins, how different they looked, how pale. Maybe it was an illusion, this phospherescent luster, but they appeared to glow in the semidarkness, and their movements were languid, almost as if they were caught in the rhythm of a dance. Torches were thrust at them as they embraced one another; but look, something was wrong, very wrong. One of them was now blind. Her eyelids were shut tight, the tender flesh wrinkled and sunken. Yes, they have plucked out her eyes. And the other one, why she make those terrible sounds? “Be still, don’t fight anymore,” said the blind one, in the ancient language which was always understandable in the dreams. And out of the other win came a horrid, gutteral moaning. She couldn’t speak. They’d cut out her tongue! I don’t want to see any more, I want to wake up. But the soldiers were pushing their way through the crowd, something dreadful was to happen, and the twins became suddenly very still. The soldiers took hold of them, dragged them apart. Don’t separate them! Don’t you know what this means to them? Get the torches away. Don’t set them on fire! Don’t burn their red hair. The blind twin reached out for her sister, screaming her name: “Mekare!” And Mekare, the mute one, who could not answer, roared like a wounded beast. The crowd was parting, making way for two immense stone coffins, each carried in a great heavy bier. Crude these sarcophagi, yet the lids had the roughened shape of human faces, limbs. What have the twins done to be put in these coffins? I can’t stand it, the biers being set down, the twins dragged towards the coffins, the crude stone lids being lifted. Don’t do it! The blind one is fighting as if she can see it, yet they are overpowering her, lifting her and putting her inside the stone box. In mute terror, Mekare is watching, though she herself is being dragged to the bier. Don’t lower the lid, or I will scream for Mekare! For both of them- Jesse sat up, her eyes opened. She had screamed. Alone in the house, with no one to hear her, she’d screamed and she could feel the echo still. Then nothing but the quiet settling around her, and the faint creaking of the bed as it moved on its chains. The song of the birds outside in the forest, the deep forest; and her own curious awareness that the clock had struck six.

I didn’t correct her because I didn’t want her thinking I was interested. I definitely was not. I’ve gone swimming with enough sharks. There comes a time in a man’s life when a nice goldfish starts to look pretty good.

Two eyes rose up before him. Bronze, they were, brighter than polished shields, glowing with their own heat, burning behind a veil of smoke rising from the dragon's nostrils. The light of Quentyn's torch washed over scales of dark green, the green of moss in the deep woods at dusk, just before the last light fades. Then the dragon opened its mouth, and light and heat washed over them. Behind a fence of sharp black teeth he glimpsed the furnace glow, the shimmer of a sleeping fire a hundred times brighter than his torch.

Maester,” said Lady Melisandre, her deep voice flavored with the music of the Jade Sea. “You ought take more care.” As ever, she wore red head to heel, a long loose gown of flowing silk as bright as fire, with dagged sleeves and deep slashes in the bodice that showed glimpses of a darker bloodred fabric beneath. Around her throat was a red gold choker tighter than any maester’s chain, ornamented with a single great ruby. Her hair was not the orange or strawberry color of common red-haired men, but a deep burnished copper that shone in the light of the torches. Even her eyes were red … but her skin was smooth and white, unblemished, pale as cream. Slender she was, graceful, taller than most knights, with full breasts and narrow waist and a heart-shaped face. Men’s eyes that once found her did not quickly look away, not even a maester’s eyes. Many called her beautiful. She was not beautiful. She was red, and terrible, and red. “I … thank you, my lady.” “A man your age must look to where he steps,” Melisandre said courteously. “The night is dark and full of terrors.

The Rain Song" It is the springtime of my loving The second season I am to know You are the sunlight in my growing So little warmth I've felt before It isn't hard to feel me glowing I watched the fire that grew so low, ooh, oh It is the summer of my smiles Flee from me, keepers of the gloom Speak to me only with your eyes It is to you I give this tune Ain't so hard to recognize, oh These things are clear to all from time to time, ooh Oh, oh Ah, talk, talk, talk, talk Hey! I've felt the coldness of my winter I never thought it would ever go I cursed the gloom that set upon us, upon us, upon us But I know that I love you so, oh, oh But I know that I love you so These are the seasons of emotion And like the winds they rise and fall This is the wonder of devotion I see the torch we all must hold This is the mystery of the quotient quotient Ah, upon us all, upon us all a little rain must fall Just a little rain, oh yeah Uh, ooh, yeah yeah yeah Led Zeppelin Houses Of The Holy (1973)

have written before on ‘Don’t Think Twice, It’s Alright’5 and pointed out a similarity of use of the word ‘light’ with a celebrated line from Othello. It occurs in a verse which is of particular interest as it changes in the different Dylan versions we have of the song. Dylan sings the following lines in the version from The Gaslight Tapes 1962: Well, it ain’t no use in turnin’ on your lights, babe Lights I never knowed And it ain’t no use in burnin’ your lamp, babe I’m on the dark side of the road. While on the later Freewheelin’ album version, we hear, in addition to slight improvements to the first two lines, the stanza concluding with: An’ it ain’t no use in turnin’ on your light, babe I’m on the dark side of the road By changing the third line, Dylan makes this verse consistent with all the others in the song, where the third line repeats the first. In the first version, the “burning” image is redolent of ashes, of ‘burning out’ and interestingly, of ‘burning your bridges’ in addition to its primary meaning of ‘shining’ which puts the lamp in opposition to the dark. “Turning on your light” in the Freewheelin’ version suggests something much more forceful and active, and Dylan has changed the word from the plural in both the first and (now) third lines. The phrase “turning on your lights” simply suggests lighting up her home to make it a welcome place for the singer in contrast to the ‘dark side of the road’. “Turning on your light” is much more personal. It reminds you of the phrase ‘to hold a torch for someone’, and has an intimate appeal, though it is a forlorn one in this case. The light here is now both a physical thing, and also the woman’s inner being. The song’s line now shares the same two meanings of light that we hear in Othello’s chilling statement as he murders Desdemona: Put out the light, and then put out the light.6