Tree Texture Quotes

I seek truth and beauty in the transparency of an autumn leaf, in the perfect form of a seashell on the beach, in the curve of a woman's back, in the texture of an ancient tree trunk, but also in the elusive forms of reality.

Haldir had gone on and was now climbing to the high flet. As Frodo prepared to follow him, he laid his hand upon the tree beside the ladder: never before had he been so suddenly and so keenly aware of the feel and texture of a tree's skin and of the life within it. He felt a delight in wood and the touch of it, neither as forester nor as carpenter; it was the delight of the living tree itself.

…For love it is never the same. What goes on inside is never the same just like this music which changes every instant. For love there are a million variations, a million nights, a million days, contrasts in moods, in textures, whims, a million gestures colored by emotion, by sorrow, joy, fear, courage, triumph, by revelations which deepen the groove, creations which expand its dimensions, sharpen its penetrations. Love is vast enough to include a phrase read in a book, the shape of a neck seen and desired in a crowd, a face loved and desired, seen in the window of a passing subway, vast enough to include a past love, a future love, a film, a voyage, a scene in a dream, an hallucination, a vision. Love-making under a tent, or under a tree, with or without a cover, under a shower, in darkness or in light, in heat or cold.

The faint aroma of gum and calico that hangs about a library is as the fragrance of incense to me. I think the most beautiful sight is the gilt-edged backs of a row of books on a shelf. The alley between two well-stocked shelves in a hall fills me with the same delight as passing through a silent avenue of trees. The colour of a binding-cloth and its smooth texture gives me the same pleasure as touching a flower on its stalk. A good library hall has an atmosphere which elates. I have seen one or two University Libraries that have the same atmosphere as a chapel, with large windows, great trees outside, and glass doors sliding on noiseless hinges.

I don't necessarily love rotting bodies, but there's a texture to a rotting body that is unbelievable. Have you ever seen a little rotted animal? I love looking at those things, just as much as I like to look at a close-up of some tree bark, or a small bug, or a cup of coffee, or a piece of pie. You get in close and the textures are wonderful.

Pipkin: an assemblage of speeds, smells, textures. A cross section of all the boys who ever ran, fell, got up, and ran again.

Think of a globe, a revolving globe on a stand. Think of a contour globe, whose mountain ranges cast shadows, whose continents rise in bas-relief above the oceans. But then: think of how it really is. These heights are just suggested; they’re there….when I think of walking across a continent I think of all the neighborhood hills, the tiny grades up which children drag their sleds. It is all so sculptured, three-dimensional, casting a shadow. What if you had an enormous globe that was so huge it showed roads and houses- a geological survey globe, a quarter of a mile to an inch- of the whole world, and the ocean floor! Looking at it, you would know what had to be left out: the free-standing sculptural arrangement of furniture in rooms, the jumble of broken rocks in the creek bed, tools in a box, labyrinthine ocean liners, the shape of snapdragons, walrus. Where is the one thing you care about in earth, the molding of one face? The relief globe couldn’t begin to show trees, between whose overlapping boughs birds raise broods, or the furrows in bark, where whole creatures, creatures easily visible, live our their lives and call it world enough. What do I make of all this texture? What does it mean about the kind of world in which I have been set down? The texture of the world, its filigree and scrollwork, means that there is a possibility for beauty here, a beauty inexhaustible in its complexity, which opens to my knock, which answers in me a call I do not remember calling, and which trains me to the wild and extravagant nature of the spirit I seek.

I looked over at Sara. "I like it," I declared, beaming at the image in front of me. The sun's bright rays filtering through the leaves made me want to squint. With the heavy strokes of the bark, I could imagine dragging my fingertips along the rough texture. "Of course you do," Sara stated, shooting me a look out of the corner of her eye. "She pained the tree in your backyard with the swing you made for her.

Lord Loss sows all the sorrows of the world Lord Loss seeds the grief-starched trees In the center of the web, lowly Lord Loss bows his head Mangled hands, naked eyes Fanged snakes his soul line Curled inside like textured sin Bloody, curdled sheets for skin In the center of the web, vile Lord Loss torments the dead Over strands of red, Lord Loss crawls Dispensing pain, despising all Shuns friends, nurtures foes Ravages hope, breeds woe Drinks moons, devours suns Twirls his thumbs till the reaper comes In the center of the web, lush Lord Loss is all that’s left

My Templeton is to Cooperstown as a shadow is to the tree that spawned it; an outline that takes texture from the ground it falls on.

It was the breeze that made her look up, a change in the texture of the unseen, a change in the texture of her heart. She was ready. Charlotte moved with firm footing around a stand of beech trees and onto a moonbeam path. A pearly, full moon glowed over Red Mountain, burning back the curtains of night.

And the man then said Oh, please: Just let me know if you come upon bark textures that recall the erosion patterns of human hope...And then he disappeared behind a tree...and the forest fell into silence...

I inspect everything more closely, and there is about every surface—the river, the forest, the bark of the trees, the underbrush between them, even my own skin—there is about it all the unmistakable texture of linen stretched and framed. And this is when I feel the camel’s hair brush and the oil paint dabbing tenderly, meticulously, at the space below my navel.

They watched the elk gallop and mull about like a new texture being laid, and their presence against the mountains in that high sweet grass was a trellis alive and for a moment it seemed as if the world was reinventing itself and the boy was filled with an inexplicable hope.

I shuffle over to the tree, sliding beneath it and lying on my back so I can look up through the gnarled branches. It's a kaleidoscope of color and texture: the smooth light bulbs, the prickly pine needles. Ornaments of glass, and silk, and spiky metallic stars. A little wooden drummer Theo gave Ricky nearly twenty years ago. Laminated paper ornaments of our handprints from preschool, handmade ceramic blobs that were supposed to be pigs, or cows, or dogs. Nothing matches; there's no theme. But there is so much love in this tree, so much history.

The word God can mean whatever you believe it to mean, for me it is the conscious stream of life from which we all come, and to which we can stay connected throughout our lives as a source of peace, wisdom, love, support, knowing, inspiration, vitality, security, balance, and inner strength. I think that awareness is paramount, because in awareness we gain understanding, which then enables us to regain our feeling of empowerment. We need to feel empowered to make our choices conciously, about how to deal with changes in life, rather than reacting in fear (which tends to make us blind and weak). If we are aware, we can be realistic yet postive, and we can properly focus our intentions. Awareness can be quite sensual (which can add to your sense of feeling empowered). Think about how your body moves as you live your life, how amazing it is; think about nature, observe the intricate beautiful details of natural thngs, and of things we create, and breathe deeply to soak it all in.. Focus on the taste of food, the feel of textures in cloth, the feel of you partner's hand in yours; smell the sea breeze, listen to the wind in the trees, witness the colours of the leaves, the children playing; and be thankful for this life we are experiencing - this life we can all help to keep wonderful. Feel the wonder of being alive flood into you anytime you want, by taking a deep breath and letting the experience of these things fill you, even just by remembering. We all have that same stream of life within us, so you are a part of everything. Each one of us has the power to make a difference to everything. Breathe in that vital connection to the life source and sensual beauty everywhere, Feel loved and strong.

There comes a hush between darkness and day. Like expectation of a caress. A murmur of silence. Tree crests peeked down at Paulette through slowly lifting fog. Bark felt around for its texture again. Morning gathered and drifted through mere hints; through vague hopeful nuances of ‘Just maybe’. - From "The Gardens of Ailana" handbook for healers & mystics

A walk is exploring surfaces and textures with finger, toe, and—yuck—tongue; standing still and seeing who or what comes by; trying out different forms of locomotion (among them running, marching, high-kicking, galloping, scooting, projectile falling, spinning, and noisy shuffling). It is archeology: exploring the bit of discarded candy wrapper; collecting a fistful of pebbles and a twig and a torn corner of a paperback; swishing dirt back and forth along the ground. It is stopping to admire the murmuring of the breeze in the trees; locating the source of the bird’s song; pointing. Pointing!— using the arm to extend one’s fallen gaze so someone else can see what you’ve seen. It is a time of sharing. On our block,

Umi didn’t know that I had cut school to visit the art museum downtown I had cut school to sit in the park on a bench with my sketch pad drawing trees and leaves and sky and birds just to get my skills up just to understand the rules of line and texture and shading and black and white Just so I can break those rules And I didn’t need Ms. Rinaldi to tell me that I wasn’t advanced or I didn’t have history

'how then does soul differ from spirit?' you're probably asking yourself. although he must have been reasonably sure nobody was. "Well, soul is darker of color, denser of volume, saltier of flavor, rougher of texture, and tends to be more maternalistic than paternalistic: soul is connected to Mother Earth just as spirit is connected to Father Sky. Of course, mothers and fathers are prone to copulation, and in their commingled state, soul and spirit often can be difficult to distinguish the one from the other. Generally, if spirit is the fresh air cent and ambient lighting in the house of consciousness, if the spirit is the electrical system that illuminates that house, then soul is the smoky fireplace, the fragrant oven, the dusty wine cellar, the strange creeks we hear in the floorboards late at night. "It's a bit of a cliche to say it, but when you think of soul, you should think of things that are authentic and things that are deep. Anything superficial is not soulful. Anything artificial, imitative, or overly refined is not soulful. Wood has a stronger connection to soul than does plastic, although, paradoxically, thanks to human interface, a funky wooden table or chair can sometimes exceed in soulfulness the soul that may be invoked by a living tree.

When I started to draw, most of my influences were from other painters and illustrators, so I was drawing landscape at second hand, really. The trees were Rackham trees, or trees that I had seen in paintings rather than from my own observation...and I started to feel this was a real lack in my work. Everything was too generalised, and not based on real experience. Then in 1975, after having worked for some years in London as a book cover illustrator mainly, I came down to Devon and stayed with some friends up on the moor. In the course of this one weekend, wandering around the moor, finding rivers and ancient woods, I realised that everything that I would ever want to draw was actually here. There was so much richness in the texture and forms of these fantastic trees...and I decided in the course of that weekend to come and live here. I looked at a couple of houses, found one, and made an offer on it, all in that one weekend!

I've always thought of myself as a realist. I can remember fighting with my professors about it in grad school. The world that I live in consists of 250 advertisements a day and any number of unbelievably entertaining options, most of which are subsidized by corporations that want to sell me things. The whole way that the world acts on my nerve endings is bound up with stuff that the guys with the leather patches on their elbows would consider pop or trivial or ephemeral. I use a fair amount of pop stuff in my fiction, but what I mean by it is nothing different than what other people mean in writing about trees and parks and having to walk to the river to get water 100 years ago. It's just the texture of the world I live in.

(T)here is no darkness, not the kind they imagine. Everything is composed of webs and lattices and upheavals of sound and texture... Colour - that's another thing people don't expect. In her imagination, in her dreams, everything has colour. The museum buildings are beige, chestnut, hazel. Its scientists are lilac and lemon yellow and fox brown. Piano chords loll in the speaker of the wireless in the guard room projecting rich blacks and complicated blues down the hall toward the key pound. Church bells send arcs of bronze careening off the windows. Bees are silver, pigeons are ginger and auburn and occasionally golden. The huge cypress trees she and her father pass on their morning walk are shimmering kaleidoscopes, each needle a polygon of light.

A Night Piece The sky is overcast With a continuous cloud of texture close, Heavy and wan, all whitened by the Moon, Which through that veil is indistinctly seen, A dull, contracted circle, yielding light So feebly spread, that not a shadow falls, Chequering the ground--from rock, plant, tree, or tower. At length a pleasant instantaneous gleam Startles the pensive traveller while he treads His lonesome path, with unobserving eye Bent earthwards; he looks up--the clouds are split Asunder,--and above his head he sees The clear Moon, and the glory of the heavens. There, in a black-blue vault she sails along, Followed by multitudes of stars, that, small And sharp, and bright, along the dark abyss Drive as she drives: how fast they wheel away, Yet vanish not!--the wind is in the tree, But they are silent;--still they roll along Immeasurably distant; and the vault, Built round by those white clouds, enormous clouds, Still deepens its unfathomable depth. At length the Vision closes; and the mind, Not undisturbed by the delight it feels, Which slowly settles into peaceful calm, Is left to muse upon the solemn scene

For the first time in his life, Midhat wished he were more religious. Of course he prayed, but though that was a private mechanism it sometimes felt like a public act, and the lessons of the Quran were lessons by rote, one was steeped in them, hearing them so often. They were the texture of his world, and yet they did not occupy that central, vital part of his mind, the part that was vibrating at this moment, on this train, rattling forward while he struggled to hold all these pieces. As a child he had felt some of the same curiosity he held for the mysteries of other creeds—for Christianity with its holy fire, the Samaritans with their alphabets—but that feeling had dulled while he was still young, when traditional religion began to seem a worldly thing, a realm of morals and laws and the same old stories and holidays. They were acts, not thoughts. He faced the water now along the coast, steadying his gaze on the slow distance, beyond the blur of trees pushing past the tracks, on the desolate fishing boats hobbling over the waves. He sensed himself tracing the lip of something very large, something black and well-like, a vessel which was at the same time an emptiness, and he thought, without thinking precisely, only feeling with the tender edges of his mind, what the Revelation might have been for in its origin. Why it was so important that they could argue to the sword what it meant if God had hands, and whether He had made the universe. Underneath it all was a living urgency, that original issue of magnitude; the way several hundred miles on foot could be nothing to the mind, Nablus to Cairo, one thought of a day’s journey by train, but placed vertically that same distance in depth exposed the body’s smallness and suddenly one thought of dying. Did one need to face the earth, nose to soil, to feel that distance towering above? There was something of his own mortality in this. Oh then but why, in a moment of someone else’s death, must he think of his own disappearance?

What makes Travels with Charley so readily accessible to even the most casual reader is the deft evocation of the natural world, the colors and textures of leaves on the trees, the rich smells of earth, the slur of rain on pavement, the sharp rays of the sun as they pillar through a scud of clouds. Indeed, one can hardly open a page of this book without stumbling upon some bright image from nature.

What mazes there are in this world. The branches of trees, the filigree of roots, the matrix of crystals, the streets her father re-created in his models. Mazes in the nodules on murex shells and in the textures of sycamore bark and inside the hollow bones of eagles. None more complicated than the human brain, Etienne would say, what may be the most complex object in existence; one wet kilogram within which spin universes.

A conversation between Gandhiji and Narayana Guru is significant. Gandhiji, in an obvious reference to Chaturvarna and the inherent differences in quality between man and man, observed that all leaves of the same tree are not identical in shape and texture. To this Narayana Guru pointed out that the difference is only superficial, but not in essence: the juice of all leaves of a particular tree would be the same in content.8

What mazes there are in this world. The branches of trees, the filigree of roots, the matrix of crystals, the streets her father re-created in his models. Mazes in the nodules on murex shells and in the textures of sycamore bark and inside the hollow bones of eagles. None more complicated than the human brain, Etienne would say, what may be the most complex object in existence; one wet kilogram within which spin universes. She

Kuan Yin looks very traditional. Her hands are folded together. The thick cloth of her costume is folded perfectly," describes Lena. "Just as in the previous session, I’m reminded of the significance of the folds. I’m having an interesting vision that I haven’t thought about in many years. I see a beautiful tree where I used to go when I was a teenager. It stands majestic, atop the rolling hills behind the house where I grew up. Kuan Yin is at the tree looking very luminous. I see the bark of the tree, which looks very real, very three-dimensional. For some reason, Kuan Yin is touching the trunk of the tree. She suddenly seems very small next to me and she wants me to touch the tree. I’m not sure why. There is a tiny bird, with pretty feathers in its nest. It is about the size of a wren. I see the texture of the tree. I think it might be a birch. I’m not sure. ’Why should I touch the tree,’ I ask. She’s telling me that I created the tree, that it is another realm I was able to visit because life was too painful and lonely at home.” “You created the tree. You create your whole world with thoughts,” assures Kuan Yin. “Every time I try to touch the tree, Kuan Yin wants to help me touch it. There’s something different about this conversation. Usually we work on something about the earth. Because we’re revisiting my childhood, I get the impression Kuan Yin’s trying to show me something that maybe I created in my childhood.” “Well, do we all create our reality?” Kuan Yin asks of Lena. “I think she’s going to answer her own question,” comments Lena, from her trance. “Yes, you can create your reality. Once you free yourself from the negative effects of karma. I know it is sometimes difficult to differentiate between free will and karma. Focus upon your free will and your ability to create reality. I’m optimistic and hopeful you can do this.

More delicately, more intricately fashioned than any grasses of the field, more subtle in texture than any seaweed of the sea, more thickly woven, and with a sort of intimate passionate patience, by the creative spirit within it, than any forest leaves or any lichen upon any tree trunk, this sacred moss of Somersetshire would remain as a perfectly satisfying symbol of life if all other vegetation were destroyed out of that country. There is a religious reticence in the nature of moss.

My reading has been lamentably desultory and immedthodical. Odd, out of the way, old English plays, and treatises, have supplied me with most of my notions, and ways of feeling. In everything that relates to science, I am a whole Encyclopaedia behind the rest of the world. I should have scarcely cut a figure among the franklins, or country gentlemen, in King John's days. I know less geography than a schoolboy of six weeks standing. To me a map of old Ortelius is as authentic as Arrowsmith. I do not know whereabout Africa merges into Asia, whether Ethiopia lie in one or other of those great divisions, nor can form the remotest, conjecture of the position of New South Wales, or Van Diemen's Land. Yet do I hold a correspondence with a very dear friend in the first named of these two Terrae Incognitae. I have no astronomy. I do not know where to look for the Bear or Charles' Wain, the place of any star, or the name of any of them at sight. I guess at Venus only by her brightness - and if the sun on some portentous morn were to make his first appearance in the west, I verily believe, that, while all the world were grasping in apprehension about me, I alone should stand unterrified, from sheer incuriosity and want of observation. Of history and chronology I possess some vague points, such as one cannot help picking up in the course of miscellaneous study, but I never deliberately sat down to a chronicle, even of my own country. I have most dim apprehensions of the four great monarchies, and sometimes the Assyrian, sometimes the Persian, floats as first in my fancy. I make the widest conjectures concerning Egypt, and her shepherd kings. My friend M., with great pains taking, got me to think I understood the first proposition in Euclid, but gave me over in despair at the second. I am entirely unacquainted with the modern languages, and, like a better man than myself, have 'small Latin and less Greek'. I am a stranger to the shapes and texture of the commonest trees, herbs, flowers - not from the circumstance of my being town-born - for I should have brought the same inobservant spirit into the world with me, had I first seen it, 'on Devon's leafy shores' - and am no less at a loss among purely town objects, tool, engines, mechanic processes. Not that I affect ignorance - but my head has not many mansions, nor spacious, and I have been obliged to fill it with such cabinet curiosities as it can hold without aching. I sometimes wonder how I have passed my probation with so little discredit in the world, as I have done, upon so meagre a stock. But the fact is, a man may do very well with a very little knowledge, and scarce be found out, in mixed company; everybody is so much more ready to produce his own, than to call for a display of your acquisitions. But in a tete-a-tete there is no shuffling. The truth will out. There is nothing which I dread so much, as the being left alone for a quarter of an hour with a sensible, well-informed man that does not know me.

He is the butcher who showed me how the price of flesh is love; skin the rabbit, he says! Off come my clothes. He makes his whistles out of an elder twig and that is what he uses to call the birds out of the air - all the birds come; and the sweetest singers he will keep in cages. He could thrust me into the seed-bed of next year's generation and I would have to wait until he whistled me up from my darkness before I could come back again. His skin is the tint and texture of sour cream, he has stiff, russet nipples ripe as berries. Like a tree that bears bloom and fruit on the same bough together, how pleasing, how lovely. I feel your sharp teeth in the subaqueous depths of your kisses. You sink your teeth into my throat and make me scream. His embraces were his enticements and yet, oh yet! they were the branches of which the trap itself was woven. I shall take two huge handfuls of his rustling hair as he lies half dreaming, half waking, and wind them into ropes, very softly, so he will not wake up, and, softly, with hands as gentle as rain, I shall strangle him with them.

Sitting under a tree, I studied my options. The fall flowers were in full bloom: verbena, goldenrod, chrysanthemum, and a late-blooming rose. The carefully tended city beds around the park held layers of textured evergreen but little color. I set to work, considering height, density, texture, and layers of scent, removing touch-damaged petals with careful pinches. When I had finished, spiraling white mums emerged from a cushion of snow-colored verbena, and clusters of pale climbing roses circled and dripped over the edge of a tightly wrapped nosegay. I removed every thorn. The bouquet was white as a wedding and spoke of prayers, truth, and an unacquainted heart.

THE BOOK OF A MONK’S LIFE I live my life in circles that grow wide And endlessly unroll, I may not reach the last, but on I glide Strong pinioned toward my goal. About the old tower, dark against the sky, The beat of my wings hums, I circle about God, sweep far and high On through milleniums. Am I a bird that skims the clouds along, Or am I a wild storm, or a great song? Many have painted her. But there was one Who drew his radiant colours from the sun. My God is dark- like woven texture flowing, A hundred drinking roots, all intertwined; I only know that from His warmth I'm growing. More I know not: my roots lie hidden deep My branches only are swayed by the wind. Dost thou not see, before thee stands my soul In silence wrapt my Springtime's prayer to pray? But when thy glance rests on me then my whole Being quickens and blooms like trees in May. When thou art dreaming then I am thy Dream, But when thou art awake I am thy Will Potent with splendour, radiant and sublime, Expanding like far space star-lit and still Into the distant mystic realm of Time. I love my life's dark hours In which my senses quicken and grow deep, While, as from faint incense of faded flowers Or letters old, I magically steep Myself in days gone by: again I give Myself unto the past:- again I live. Out of my dark hours wisdom dawns apace, Infinite Life unrolls its boundless space ... Then I am shaken as a sweeping storm Shakes a ripe tree that grows above a grave ' Round whose cold clay the roots twine fast and warm- And Youth's fair visions that glowed bright and brave, Dreams that were closely cherished and for long, Are lost once more in sadness and in song.

Were the earth as smooth as a ball bearing, it might be beautiful seen from another planet, as the rings of Saturn are. But here we live and move; we wander up and down the banks of the creek, we ride a railway through the Alps, and the landscape shifts and changes. Were the earth smooth, our brains would be smooth as well; we would wake, blink, walk two steps to get the whole picture and lapse into dreamless sleep. Because we are living people, and because we are on the receiving end of beauty, another element necessarily enters the question. The texture of space is a condition of time. Time is the warp and matter the weft of woven texture of beauty in space, and death is the hurtling shuttle… What I want to do, then, is add time to the texture, paint the landscape on an unrolling scroll, and set the giant relief globe spinning on it stand.

The key to this risotto is Japanese peppers of all things?!" "It's sharp, refreshing aroma highlights the mellow body of the cheese... while making the eel's umami flavor flash like an explosion!" "And that one key ingredient that quietly ties it all together... ... is garlic!" "Garlic?! In traditional Japanese cuisine?! That's almost unheard of!" "Those are special smoked garlic chips a junior of mine made. They were smoked using wood from a walnut tree, which is known to emphasize seafood flavors well. By lightly crushing those chips and sprinkling them on as a topping, I added a pleasantly crunchy texture to the dish. But the most critical feature of my dish... is that I broiled the eel using the Kansai region Kabayaki style. Unlike the Kanto region style, there's no steaming step. Leaving all that oil in gives the eel a more fragrant aroma with a heavier texture and stronger flavor... ... meaning it pairs much more naturally with a flavor as powerful as garlic. *Steaming the eel makes much of its natural oil seep out, leaving the flesh light and fluffy.* But what makes these chips so extraordinary... is that they're infused with Ibusaki's earnest passion and the pure sweat of his helpers, Aoki and Sato. There's no way they could not be delicious!" "Ew! Don't say they're infused with sweat! That's gross!" "This much alone is already an impressively polished gourmet course. What's in store for us in that teapot?" "That is eel-liver broth, my lady. I dressed the eel's liver and then sautéed it in olive oil with some smoked garlic chips. Then I poured the sake Sakaki and Marui made over the top and let the alcohol cook off before adding bonito stock to make a broth. It matches beautifully with the cheese that Yoshino and Nikumi made, creating a soft flavor with a splendid aftertaste.

The moonlight filtered through the trees like water from a strainer. Agatha’s hair was the color and consistency of wet noodles. I said she might look sexy as a redhead, and she asserted she’d be staying a creamy alfredo. I touched her tight skin they way a drummer might strum a guitar. She called me Mozart, and I didn’t know how to reply so I simply belched. Before I had finished, her open mouth was on mine, and she was huffing my essence like David Hasselhoff hoofing it to the liquor store. I remember what color panties she wore. They were transparent with the texture of flesh. I rubbed her back while she purred. Her skin was as soft as a fur coat. We made love for what seemed like days, but was in fact 3:58.95—a personal best for me. I felt like Roger Bannister, and she felt like a cheetah. Literally. I told her she’d look good on my rug, as a rug, and she playfully pinched the folds on my stomach. She explored my naval cavity with her pinky, and what started out as foreplay turned into a scavenger hunt. While she might have expected to find lint, nobody could have ever suspected she’d find the lost Templar treasure.

Moreover, Nancy Sinatra was afflicted, as the overwhelming majority of Americans were, with monolingualism. Lana’s richer, more textured version of “Bang Bang” layered English with French and Vietnamese. Bang bang, je ne l’oublierai pas went the last line of the French version, which was echoed by Pham Duy’s Vietnamese version, We will never forget. In the pantheon of classic pop songs from Saigon, this tricolor rendition was one of the most memorable, masterfully weaving together love and violence in the enigmatic story of two lovers who, regardless of having known each other since childhood, or because of knowing each other since childhood, shoot each other down. Bang bang was the sound of memory’s pistol firing into our heads, for we could not forget love, we could not forget war, we could not forget lovers, we could not forget enemies, we could not forget home, and we could not forget Saigon. We could not forget the caramel flavor of iced coffee with coarse sugar; the bowls of noodle soup eaten while squatting on the sidewalk; the strumming of a friend’s guitar while we swayed on hammocks under coconut trees; the football matches played barefoot and shirtless in alleys, squares, parks, and meadows; the pearl chokers of morning mist draped around the mountains; the labial moistness of oysters shucked on a gritty beach; the whisper of a dewy lover saying the most seductive words in our language, anh oi; the rattle of rice being threshed; the workingmen who slept in their cyclos on the streets, kept warm only by the memories of their families; the refugees who slept on every sidewalk of every city; the slow burning of patient mosquito coils; the sweetness and firmness of a mango plucked fresh from its tree; the girls who refused to talk to us and who we only pined for more; the men who had died or disappeared; the streets and homes blown away by bombshells; the streams where we swam naked and laughing; the secret grove where we spied on the nymphs who bathed and splashed with the innocence of the birds; the shadows cast by candlelight on the walls of wattled huts; the atonal tinkle of cowbells on mud roads and country paths; the barking of a hungry dog in an abandoned village; the appetizing reek of the fresh durian one wept to eat; the sight and sound of orphans howling by the dead bodies of their mothers and fathers; the stickiness of one’s shirt by afternoon, the stickiness of one’s lover by the end of lovemaking, the stickiness of our situations; the frantic squealing of pigs running for their lives as villagers gave chase; the hills afire with sunset; the crowned head of dawn rising from the sheets of the sea; the hot grasp of our mother’s hand; and while the list could go on and on and on, the point was simply this: the most important thing we could never forget was that we could never forget.

Last year I had a very unusual experience. I was awake, with my eyes closed, when I had a dream. It was a small dream about time. I was dead, I guess, in deep blank space high up above many white stars. My own consciousness had been disclosed to me, and I was happy. Then I saw far below me a long, curved band of color. As I came closer, I saw that it stretched endlessly in either direction, and I understood that I was seeing all the time of the planet where I had lived. It looked like a woman’s tweed scarf; the longer I studied any one spot, the more dots of color I saw. There was no end to the deepness and variety of dots. At length I started to look for my time, but, although more and more specks of color and deeper and more intricate textures appeared in the fabric, I couldn’t find my time, or any time at all that I recognized as being near my time. I couldn’t make out so much as a pyramid. Yet as I looked at the band of time, all the individual people, I understood with special clarity, were living at that very moment with great emotion, in intricate, detail, in their individual times and places, and they were dying and being replaced by ever more people, one by one, like stitches in which wholly worlds of feeling and energy were wrapped in a never-ending cloth. I remembered suddenly the color and texture of our life as we knew it- these things had been utterly forgotten- and I thought as I searched for it on the limitless band, “that was a good time then, a good time to be living.” And I began to remember our time. I recalled green fields with carrots growing, one by one, in slender rows. Men and women in bright vests and scarves came and pulled the carrots out of the soil and carried them in baskets to shaded kitchens, where they scrubbed them with yellow brushes under running water. I saw white-faced cattle lowing and wading in creeks. I saw May apples in forests, erupting through leaf-strewn paths. Cells on the root hairs of sycamores split and divided, and apples grew spotted and striped in the fall. Mountains kept their cool caves and squirrels raced home to their nests through sunlight and shade. I remembered the ocean, and I seemed to be in the ocean myself, swimming over orange crabs that looked like coral, or off the deep Atlantic banks where whitefish school. Or again I saw the tops of poplars, and the whole sky brushed with clouds in pallid streaks, under which wild ducks flew with outstretched necks, and called, one by one, and flew on. All these things I saw. Scenes grew in depth and sunlit detail before my eyes, and were replaced by ever more scenes, as I remember the life of my time with increasing feeling. At last I saw the earth as a globe in space, and I recalled the ocean’s shape and the form of continents, saying to myself with surprise as I looked at the planet, “yes, that’s how it was then, that part there was called France.” I was filled with the deep affection of nostalgia- and then I opened my eyes. We all ought to be able to conjure up sights like these at will, so that we can keep in mind the scope of texture’s motion in time.

From an essay on early reading by Robert Pinsky: My favorite reading for many years was the "Alice" books. The sentences had the same somber, drugged conviction as Sir John Tenniel's illustrations, an inexplicable, shadowy dignity that reminded me of the portraits and symbols engraved on paper money. The books were not made of words and sentences but of that smoky assurance, the insistent solidity of folded, textured, Victorian interiors elaborately barricaded against the doubt and ennui of a dreadfully God-forsaken vision. The drama of resisting some corrosive, enervating loss, some menacing boredom, made itself clear in the matter-of-fact reality of the story. Behind the drawings I felt not merely a tissue of words and sentences but an unquestioned, definite reality. I read the books over and over. Inevitably, at some point, I began trying to see how it was done, to unravel the making--to read the words as words, to peek behind the reality. The loss entailed by such knowledge is immense. Is the romance of "being a writer"--a romance perhaps even created to compensate for this catastrophic loss--worth the price? The process can be epitomized by the episode that goes with one of my favorite illustrations. Alice has entered a dark wood--"much darker than the last wood": [S]he reached the wood: It looked very cool and shady. "Well, at any rate it's a great comfort," she said as she stepped under the trees, "after being so hot, to get into the--into the--into what?" she went on, rather surprised at not being able to think of the word. "I mean to get under the--under the--under this, you know!" putting her hand on the trunk of the tree. "What does it call itself, I wonder? I do believe it's got no name--why to be sure it hasn't!" This is the wood where things have no names, which Alice has been warned about. As she tries to remember her own name ("I know it begins with L!"), a Fawn comes wandering by. In its soft, sweet voice, the Fawn asks Alice, "What do you call yourself?" Alice returns the question, the creature replies, "I'll tell you, if you'll come a little further on . . . . I can't remember here". The Tenniel picture that I still find affecting illustrates the first part of the next sentence: So they walked on together through the wood, Alice with her arms clasped lovingly round the soft neck of the Fawn, till they came out into another open field, and here the Fawn gave a sudden bound into the air, and shook itself free from Alice's arm. "I'm a Fawn!" it cried out in a voice of delight. "And dear me! you're a human child!" A sudden look of alarm came into its beautiful brown eyes, and in another moment it had darted away at full speed. In the illustration, the little girl and the animal walk together with a slightly awkward intimacy, Alice's right arm circled over the Fawn's neck and back so that the fingers of her two hands meet in front of her waist, barely close enough to mesh a little, a space between the thumbs. They both look forward, and the affecting clumsiness of the pose suggests that they are tripping one another. The great-eyed Fawn's legs are breathtakingly thin. Alice's expression is calm, a little melancholy or spaced-out. What an allegory of the fall into language. To imagine a child crossing over from the jubilant, passive experience of such a passage in its physical reality, over into the phrase-by-phrase, conscious analysis of how it is done--all that movement and reversal and feeling and texture in a handful of sentences--is somewhat like imagining a parallel masking of life itself, as if I were to discover, on reflection, that this room where I am writing, the keyboard, the jar of pens, the lamp, the rain outside, were all made out of words. From "Some Notes on Reading," in The Most Wonderful Books (Milkweed Editions)

God is not a robot. He isn’t a comptroller of an accounting company trying to make things add up or work out. He is a being full of deep emotion, longing, and memories of what it used to be like. The incarnation therefore isn’t about an equation but about remembering what home used to be like and making a plan to get back there. Consider this reboot of the Genesis creation account. It may help you see God’s emotion a little better. First off, nothing … but God. No light, no time, no substance, no matter. Second off, God says the word and WHAP! Stuff everywhere! The cosmos in chaos: no shape, no form, no function—just darkness … total. And floating above it all, God’s Holy Spirit, ready to play. Day one: Then God’s voice booms out, “Lights!” and, from nowhere, light floods the skies and “night” is swept off the scene. God gives it the big thumbs up, calls it “day”. Day two: God says, “I want a dome—call it ‘sky’—right there between the waters above and below.” And it happens. Day three: God says, “Too much water! We need something to walk on, a huge lump of it—call it ‘land’. Let the ‘sea’ lick its edges.” God smiles, says, “Now we’ve got us some definition. But it’s too plain! It needs colour! Vegetation! Loads of it. A million shades. Now!” And the earth goes wild with trees, bushes, plants, flowers and fungi. “Now give it a growth permit.” Seeds appear in every one. “Yesss!” says God. Day four: “We need a schedule: let’s have a ‘sun’ for the day, a ‘moon’ for the night; I want ‘seasons’, ‘years’; and give us ‘stars’, masses of stars—think of a number, add a trillion, then times it by the number of trees and we’re getting there: we’re talking huge! Day five: “OK, animals: amoeba, crustaceans, insects, fish, amphibians, reptiles, birds, mammals … I want the whole caboodle teeming with a million varieties of each—and let’s have some fun with the shapes, sizes, colours, textures!” God tells them all, “You’ve got a growth permit—use it!” He sits back and smiles, says, “Result!” Day six: Then God says, “Let’s make people—like us, but human, with flesh and blood, skin and bone. Give them the job of caretakers of the vegetation, game wardens of all the animals.” So God makes people, like him, but human. He makes male and female.… He smiles at them and gives them their job description: “Make babies! Be parents, grandparents, great-grandparents—fill the earth with your families and run the planet well. You’ve got all the plants to eat from, so have all the animals—plenty for all. Enjoy.” God looks at everything he’s made, and says, “Fantastic. I love it!” Day seven: Job done—the cosmos and the earth complete. God takes a bit of well-earned R&R and just enjoys. He makes an announcement: “Let’s keep this day of the week special, a day off—battery-recharge day: Rest Day.”2 I’m not normally a paraphrase guy, but we always read the creation story like a textbook. I love this rendition because it captures the enthusiastic emotion that God felt about everything He created, especially humans. He loved it all. He loved us. Most of all, He loved the way things were.

When one writes "the last apple on the tree," or "the one small peach as pink as dawn," one is beginning to deal with particulars - to develop texture... Such texture is vital to all poetry. It is what makes the poem an experience, something much more than mere statement.

What speaks to me most is close to the ground: the shrubs and vines, rather than the great elms, oaks, and maples. The understory, as botanists call it. In the decades after the war, when the city turned its back on the park—firing the groundskeepers, ceding greater and greater swaths of land to the muggers and drug dealers—it was not the big trees that began to disappear; it was the shrubs: the witch hazel and jetbead, black haw and sweet pepperbush. The park became like the city: skyscrapers, no texture. And that meant it was dying. The things that live at ground level are what hold the earth fast. . . . It is the shrubs that allow the park to survive.

It was good for me to be afflicted. (Psalm 119:71) It is a remarkable occurrence of nature that the most brilliant colors of plants are found on the highest mountains, in places that are the most exposed to the fiercest weather. The brightest lichens and mosses, as well as the most beautiful wildflowers, abound high upon the windswept, storm-ravaged peaks. One of the finest arrays of living color I have ever seen was just above the great Saint Bernard Hospice near the ten-thousand-foot summit of Mont Cenis in the French Alps. The entire face of one expansive rock was covered with a strikingly vivid yellow lichen, which shone in the sunshine like a golden wall protecting an enchanted castle. Amid the loneliness and barrenness of that high altitude and exposed to the fiercest winds of the sky, this lichen exhibited glorious color it has never displayed in the shelter of the valley. As I write these words, I have two specimens of the same type of lichen before me. One is from this Saint Bernard area, and the other is from the wall of a Scottish castle, which is surrounded by sycamore trees. The difference in their form and coloring is quite striking. The one grown amid the fierce storms of the mountain peak has a lovely yellow color of a primrose, a smooth texture, and a definite form and shape. But the one cultivated amid the warm air and the soft showers of the lowland valley has a dull, rusty color, a rough texture, and an indistinct and broken shape. Isn’t it the same with a Christian who is afflicted, storm-tossed, and without comfort? Until the storms and difficulties allowed by God’s providence beat upon a believer again and again, his character appears flawed and blurred. Yet the trials actually clear away the clouds and shadows, perfect the form of his character, and bestow brightness and blessing to his life. Amidst my list of blessings infinite Stands this the foremost, that my heart has bled; For all I bless You, most for the severe. Hugh Macmillan

Nuances of shade and colour in the sand and rock; desert textures - fine, rough, ordered, chaotic, ridged with salt-crust; a broken and wind-swept landscape blends seamlessly into hidden valleys gentled with acacia trees; the smoothness of an ancient lake-bed followed by long struggles with soft sand; rolling hills tessellated with smooth black stones, so ordered it could be a mosaic; salt pans, still wet and yielding under our tyres, the surface cracked and wrinkled like elephant-skin; fine, milky, wind-blown dust so thick that the lower half of a body or motorbike simply disappears below waist height and strange half-people move mysteriously, seemingly unconnected with the ground; crisp-edged dunes lie on the hard desert surface, sculpted by the wind's hand; gnarled acacia trees, lonely patriarchs, seem to crouch and writhe against the heat, standing incongruous in the sand - disparate images flicker through my mind, blend and come together, separate and coalesce like slides flashed briefly against a wall and then they blend again.

Dr. John G. Jackson quotes Kenneth R.H. Mackenzie as follows: “From the woolly texture of the hair, I am inclined to assign to the Budda of India, the Fuhi of China, the Sommanoacom of the Siamese, the Xaha of the Japanese, and the Quetzalcoatl of the Mexicans, and the same, and indeed an African, or rather ‘Nubian’ origin.” Most of these black gods were regarded as crucified saviours who died to save mankind by being nailed to a cross, or tied to a tree with arms outstretched as if on a cross, or slain violently in some other manner. Of these crucified saviors, the most prominent were Osiris and Horus of Egypt, Krishna of India, Mithra of Persia, Quetzalcoatl of Mexico, Adonis of Babylonia and Attis of Phrygia. Nearly all of these slain savior-gods have the following stories related about them: They are born of a virgin, on or near December 25th (Christmas); their births are heralded by a star; they are born either in a cave or stable; they are slain, commonly by crucifixion; they descend into hell, and rise from the dead at the beginning of Spring (Easter), and finally ascend into heaven. The parallels between the legendary lives of these pagan messiahs and the life of Jesus Christ as recorded in the BIBLE are so similar that progressive Bible scholars now admit that stories of these heathen have been woven into the life-story of Jesus.

I don't necessarily love rotting bodies, but there's a texture to a rotting body that is un-believable. Have you ever seen a little rotted animal? I love looking at those things, just as much as I like to look at a close-up of some tree bark, or a small bug, or a cup of coffee, or a piece of pie. You get in close and the textures are wonderful.

As I watch [the world],’ wrote Nan Shepherd in 1945, ‘it arches its back, and each layer of landscape bristles.’ It is a brilliant observation about observation. Shepherd knew that ‘landscape’ is not something to be viewed and appraised from a distance, as if it were a panel in a frieze or a canvas in a frame. It is not the passive object of our gaze, but rather a volatile participant – a fellow subject which arches and bristles at us, bristles into us. Landscape is still often understood as a noun connoting fixity, scenery, an immobile painterly decorum.* I prefer to think of the word as a noun containing a hidden verb: landscape scapes, it is dynamic and commotion causing, it sculpts and shapes us not only over the courses of our lives but also instant by instant, incident by incident. I prefer to take ‘landscape’ as a collective term for the temperature and pressure of the air, the fall of light and its rebounds, the textures and surfaces of rock, soil and building, the sounds (cricket screech, bird cry, wind through trees), the scents (pine resin, hot stone, crushed thyme) and the uncountable other transitory phenomena and atmospheres that together comprise the bristling presence of a particular place at a particular moment.

I hadn't known what to expect as I entered the ring of white trees- tall and straight as pillars- but it was not the tall, thin veiled figure in dark tattered robes. Its hunched back facing me. I could count the hard knobs of its spine poking through the thin fabric. Spindly, scabby gray arms clawed at the snare with yellowed, cracked fingernails. ... Then slowly, it turned to me, the dark veil draped over its bald head, blowing in a phantom breeze. A face that looked like it had been crafted from dried, weatherworn bone, its skin either forgotten or discarded, a lipless mouth and too-long teeth held by blackened gums, slitted holes for nostrils, and eyes... eyes that were nothing more than swirling pits of milky white- the white of death, the white of sickness, the white of clean-picked corpses. Peeking above the ragged neck of its dark robes was a body of veins and bones, as dried and solid and horrific as the texture of its face. It let go of the snare, and its too-long fingers clicked against each other as it studied me.

For now, Rien could distract herself with the texture of an alien night and the cold trees, ice and snow and the stars smeared behind a frosty sky.

We ordered way too much food, but Vietnamese is a cuisine I don't try often, and I wanted to absorb every taste and texture. We started with the signature Tamarind Tree Rolls---salad rolls with fresh herbs, fried tofu, peanuts, fresh coconut, and jicama. We then moved on to the Crispy Prawn Baguette---a lightly fried prawn and baguette served with hoisin and fresh chili sauce. I was impressed at how light and crisp the batter was----it was no more than a dusting. For a main course Nick ordered a curry chicken braised with potato and served with fresh lime and chili sauce. I couldn't help myself---I ordered the beef stew. I do this almost anywhere I go, because the cultural permutations are infinite. This one was fresh and citrusy with a dash of carrot, lime, pepper, and salt. I mentally developed some changes for my next stew. We also ordered green beans stir fried with garlic, and Shrimp Patty Noodles---a frothy bowl of vermicelli noodles, tomatoes, fresh bean sprouts, shredded morning glory, and banana blossoms.

Moreover, Nancy Sinatra was afflicted, as the overwhelming majority of Americans were, with monolingualism. Lana’s richer, more textured version of “Bang Bang” layered English with French and Vietnamese. Bang bang, je ne l’oublierai pas went the last line of the French version, which was echoed by Pham Duy’s Vietnamese version, We will never forget. In the pantheon of classic pop songs from Saigon, this tricolor rendition was one of the most memorable, masterfully weaving together love and violence in the enigmatic story of two lovers who, regardless of having known each other since childhood, or because of knowing each other since childhood, shoot each other down. Bang bang was the sound of memory’s pistol firing into our heads, for we could not forget love, we could not forget war, we could not forget lovers, we could not forget enemies, we could not forget home, and we could not forget Saigon. We could not forget the caramel flavor of iced coffee with coarse sugar; the bowls of noodle soup eaten while squatting on the sidewalk; the strumming of a friend’s guitar while we swayed on hammocks under coconut trees; the football matches played barefoot and shirtless in alleys, squares, parks, and meadows; the pearl chokers of morning mist draped around the mountains; the labial moistness of oysters shucked on a gritty beach; the whisper of a dewy lover saying the most seductive words in our language, anh oi; the rattle of rice being threshed; the workingmen who slept in their cyclos on the streets, kept warm only by the memories of their families; the refugees who slept on every sidewalk of every city; the slow burning of patient mosquito coils; the sweetness and firmness of a mango plucked fresh from its tree; the girls who refused to talk to us and who we only pined for more; the men who had died or disappeared; the streets and homes blown away by bombshells; the streams where we swam naked and laughing; the secret grove where we spied on the nymphs who bathed and splashed with the innocence of the birds; the shadows cast by candlelight on the walls of wattled huts; the atonal tinkle of cowbells on mud roads and country paths; the barking of a hungry dog in an abandoned village; the appetizing reek of the fresh durian one wept to eat; the sight and sound of orphans howling by the dead bodies of their mothers and fathers; the stickiness of one’s shirt by afternoon, the stickiness of one’s lover by the end of lovemaking, the stickiness of our situations; the frantic squealing of pigs running for their lives as villagers gave chase; the hills afire with sunset; the crowned head of dawn rising from the sheets of the sea; the hot grasp of our mother’s hand; and while the list could go on and on and on, the point was simply this: the most important thing we could never forget was that we could never forget. When Lana was finished, the audience clapped, whistled, and stomped, but I sat silent and stunned as she bowed and gracefully withdrew, so disarmed I could not even applaud.

New Yorkers liked Sadik-Khan’s bike lanes and the plazas; they liked the 800 more acres of parks—though Parks had cut its staff 40% between 2008 and 2012 even as the Central Park Conservancy boasted a $183 million endowment—and three-quarters of a million more trees. A certain texture was gone though, easy to see on the Upper East Side where almost a third of the apartments between 49th and 70th between Fifth and Park were vacant ten months a year, owned by shell companies and LLCs. The neighborhood was a kind of jewelry store now, apartments tended and traded for their speculative value. Yet the idea of New York City was bigger and broader than it had ever been. By 2010, 37% of New York’s residents were immigrants, two-thirds living in Brooklyn and Queens, and as much as globalization had helped gut the city’s manufacturing base, they’d been at least as much responsible for hatching its evolutions as anything done at One Police Plaza or City Hall. While Wall Street had been mining wealth for itself, immigrants from around the world had rebuilt the day-to-day economy; from 1994 to 2004, businesses in neighborhoods like Flushing and Sunset Park grew by as much as 55%. Half of the city’s accountants

They had left the buckets of stemmed flowers and now found themselves in the center of the indoor succulent section, an array of miniature plants with whimsical names such as burro's tail and flaming katy. Olive slowed her pace, taking her time perusing metal racks of each variety. She stooped down and plucked a container of a sweet, blossom-shaped plant. "What's that one?" Julia asked. She liked the look of its pink-edged tips, whose color reminded her of a radish. "This guy here is called roseum. It likes the sun, so I'd have to think of a spot near a window. But it's a nice touch of color among all the green. At different times of year, it develops clusters of light-pink star-shaped flowers. I like it because it adds texture next to something like, say, that jade plant, which is more like a stocky little tree. If I place them together, it adds interest." "Wow. That sounds great." Olive brightened. "Thanks. And then, see these here?" She pointed to a miniature plant with chubby, rosette-style leaves. "Yes?" Julia leaned closer and squinted to read the sign. "The one that says 'Sedum Golden Glow'?" "Yes. That one. I'm thinking of getting a few of those guys and placing them on the dining table in these cool little glass-and-gold terrariums I found online. They have delicate little panes of glass set against metal frames that catch your eye, and they're fancy enough for Mom's taste. She's okay if I do rustic, but she always wants a touch of something expensive mixed in. The terrariums do the trick, I think.

The scenery that opened before me was composed of shades of black and white, and of trees woven together in lines along the boundaries between the fields. In places where the grass had not been cut, the snow had failed to blanket the fields in a uniform plane of white. Blades of grass were poking through its cover; from a distance it looked as if a large hand had begun to sketch an abstract pattern, by practicing some short strokes, fine and subtle. I could see the beautiful geometric shapes of fields, strips and rectangles, each with a different texture, each with its own shade, sloping at different angles toward the rapid winter Dusk. And our houses, all seven, were scattered here like a part of nature, as if they had sprung up with the field boundaries, and so had the stream and little bridge across it—it all seemed carefully designed and positioned, perhaps by the very same hand that had been sketching.

I realized that they make maps in their heads – scent maps, event maps, thing maps, texture maps, sequential maps – that much of their activity on the trails is mapmaking and map following. I know why Ben whines for me to open the car windows as we drive. His mapmaking needs the scent element. A ride in the car is mapmaking in the fast lane. New places, new smells, new maps, enlarge brains. The world is a newspaper. It is my world my dogs are mapping, my world they are imprinting. Now I pay attention to their world: the tree limb, the new hole, the crushed hay where to deer slept. I begin to tread as they do. I am allowed, as I learn to pay attention, to participate, as my dogs do, in the wonders of the natural world, a world from which I had grown far apart.

These were lonely moments on my isolated farm, but I found beauty in them. Tatters of cloud shone silver agains the violet sky, shimmering in the night wind. The breeze rippled the leaves of the apple trees clustered between my place and the shore of Hood Canal, and it tinged the air with the scent of salt water. I felt the pull of the canal as a physical sensation. Its tides seemed to resonate with the tides of my own flowing blood, its life calling to the life in my veins. Sometimes the pull was so strong I had to drop what I what I was doing and go to the shore, driven by a need to touch the water, to feel its cool, salty texture on my fingers or washing over my bare feet.

Practice: Beginner’s Mind on a Walk Start by seeing the activity of walking with fresh eyes, as if you don’t know what to expect, as if you haven’t done it thousands of times already. Really look at the path, the trees or concrete, the buildings and landscape. Try to see the details that you might not normally notice. Notice the textures, tastes, smells, and appearance of the world around you. Pay close attention, as if you don’t already know where your walk will take you.

She watched the early-morning sun filter out from the trees still glistening from frost, and imagined the way here perennial beds would be thick and wild with beauty in just a few months. And her zinnias and sunflowers and trumpet vine would cover the fence and keep Patsy out. The messy look. That is just how Patsy described it last summer. After Elizabeth dug up the boxwoods and hollies with their geometric precision, their obedient square ugliness, she planted daisies, black-eyed Susans, coneflowers, and phlox. She planted zinnias and cosmos that she had grown from seed. The border had exploded in color and texture. The plants had flowered wild and strong and generous. Every morning, Elizabeth had fingered the velvety petals.

...his paintings are distinctly Vincent: vivid colors thick paint textured fields and skies and flowers and trees and houses all in blues and oranges and yellows and pinks and whites and greens and reds.

There are fires spreading through trees, adding biblical texture to the infernal landscape.

on a seagull poo–like texture when mixed into cold water. Amelia saved my palate and joints by introducing me to the Great Lakes hydrolyzed version (green label), which blends easily and smoothly. Add a tablespoon of beet root powder like BeetElite to stave off any cow-hoof flavor, and it’s a whole new game. Amelia uses BeetElite pre-race and pre-training for its endurance benefits, but I’m much harder-core: I use it to make tart, low-carb gummy bears when fat Tim has carb cravings. RumbleRoller: Think foam roller meets monster-truck tire. Foam rollers have historically done very little for me, but this torture device had an immediate positive impact on my recovery. (It also helps you sleep if used before bed.) Warning: Start slow. I tried to copy Amelia and did 20-plus minutes my first session. The next day, I felt like I’d been put in a sleeping bag and swung against a tree for a few hours. Rolling your foot on top of a golf ball on the floor to increase “hamstring” flexibility. This is infinitely more helpful than a lacrosse ball. Put a towel on the floor underneath the golf ball, lest you shoot your dog’s eye out. Concept2 SkiErg for training when your lower body is injured. After knee surgery, Amelia used this low-impact machine to maintain cardiovascular endurance and prepare for the 2014 World’s Toughest Mudder, which she won 8 weeks post-op. Kelly Starrett (page 122) is also a big fan of this device. Dry needling: I’d never heard of this before meeting Amelia. “[In acupuncture] the goal is not to feel the needle. In dry-needling, you are sticking the needle in the muscle belly and trying to get it to twitch, and the twitch is the release.” It’s used for super-tight, over-contracted muscles, and the needles are not left in. Unless you’re a masochist, don’t have this done on your calves. Sauna for endurance: Amelia has found using a sauna improves her endurance, a concept that has since been confirmed by several other athletes, including cyclist David Zabriskie, seven-time U.S. National Time Trial Championship winner. He considers sauna training a more practical replacement for high-altitude simulation tents. In the 2005 Tour de France, Dave won the Stage 1 time trial, making him the first American to win stages in all three Grand Tours. Zabriskie beat Lance Armstrong by seconds, clocking an average speed of 54.676 kilometers per hour (!). I now use a sauna at least four times per week. To figure out the best protocols, I asked

He was undersized; though witily powerful and as lithe as a panther. His coat, which should have been wavily abundant, was as short and as thick as a chow’s. It was not unlike a chow’s in texture and growth. His bushy tail was three inches too short. His head was broad where it should have been chiseled into classic lines. His muzzle was not long enough for the rest of his head. The “‘stop’”’ above it was too prominent. His glowing dark eyes were round; not almondshaped or slanted as called for in the “Standard of the Breed.” In brief, he was not a true type of collie; though of royally pure lineage. He was a throwback;—a throwback almost to the ancestral wolves which form the trunk and roots of the collie family-tree. It was this queer outward resemblance to a young timber-wolf which gave him his name.

There is a hidden materiality to texts—a word that originally meant “weaving,” a connection seen in “texture.” Forests haunt writing: The English word for “book” is related to “beech tree” by its Germanic root, and “library” comes from the Latin for “the inner bark of trees.” In most Indo-European languages, “writing” comes from carving and cutting. Language carries the memory of words etched into wood tablets, tree trunks, and bones.

Beard a little long, hair, too, but it gave him a rough-hewn edge—the beauty of a tree rather than the clean-sawn board. All those nooks and crannies, the texture and topography of the bark, the knots, the lines of imperfect grain. Raw, unmachined, and blissfully uneven. That was Nate. Her Nate.

Ironically both of them were on the pavement that night to escape their past and all that had circumscribed their lives so far. And yet, in order to arm themselves for battle, they retreated right back into what they sought to escape, into what they were used to, into what they really were. He, a revolutionary trapped in an accountant’s mind. She, a woman trapped in a man’s body. He, raging at a world in which the balance sheets did not tally. She, raging at her glands, her organs, her skin, the texture of her hair, the width of her shoulders, the timbre of her voice. He, fighting for a way to impose fiscal integrity on a decaying system. She, wanting to pluck the very stars from the sky and grind them into a potion that would give her proper breasts and hips and a long, thick plait of hair that would swing from side to side as she walked, and yes, the thing she longed for most of all, that most well stocked of Delhi’s vast stock of invectives, that insult of all insults, a Maa ki Choot, a mother’s cunt. He, who had spent his days tracking tax dodges, pay-offs and sweetheart deals. She, who had lived for years like a tree in an old graveyard, where, on lazy mornings and late at night, the spirits of the old poets whom she loved, Ghalib, Mir and Zauq, came to recite their verse, drink, argue and gamble. He, who filled in forms and ticked boxes. She, who never knew which box to tick, which queue to stand in, which public toilet to enter (Kings or Queens? Lords or Ladies? Sirs or Hers?). He, who believed he was always right. She, who knew she was all wrong, always wrong. He, reduced by his certainties. She, augmented by her ambiguity. He, who wanted a law. She, who wanted a baby. A circle formed around

She wandered moodily about the clearing, kicking at the grass, then bent down and picked something up. It was an old steel helmet, thick with rust, a jagged hole in the side. You still find these all over the woods, she said. I'm not even sure whether it's Russian or German. She turned it slowly over and over in her hands, crumbling more of the rusty metal off. Then she hurled it away and brushed the rust off her hands. The helmet hit a tree, bounced off in a shower of rust and fell into a bramble bush where it perched on a a branch, bobbing up and down like some great brown bird alighting. Raya seemed to be abashed by the ridiculousness of it, and picked it out of the bush. They sat down side by side on a fallen tree trunk sodden, like everything else, with the stored wetness of winter. Raya turned the helmet over in her hands again, feeling its texture curiously. Poor old helmet, she said, Manufactured and issued and worn and punctured and lost and rusted by the forces of historical necessity. Found and touched and lost again by Raissa P. metelius, lecturer.

In this studio class that I’ve taken, the teacher had a joke that I should take pictures of my paintings, because he would come over, and I would have a painting of a boy, and he would go away, and then an hour later it would be a painting of a tree, then he would go and come back and it would be a painting of a shoe, and it’s still the same canvas. What I would say to him is that I was just trying to build up a surface. What I hate is a white canvas, and I don’t like one layer of paint. I like the texture of it, so the only way to get to that is to keep painting stuff and erasing it, and painting on top of it and struggling with it so the layers would be hidden.

Blending into the tinctures and textures of the countryside. The tree which falls without any human hearing still falls, as the creatures who die without being found by a human still die.

Suppose in the beginning there is an open plain without any mountains or trees, completely open land, a simple desert without any particular characteristics. That is how we are, what we are. We are very simple and basic. And yet there is a sun shining, a moon shining, and there will be lights and colors, the texture of the desert. There will be some feeling of the energy which plays between heaven and earth. This goes on and on. Then, strangely, there is suddenly someone to notice all this. It is as if one of the grains of sand had stuck its neck out and begun to look around. We are that grain of sand, coming to the conclusion of our separateness. This is the “birth of ignorance” in its first stage, a kind of chemical reaction. Duality has begun.

Paper, I understand, was invented by the Chinese; but Western paper is to us no more than something to be used, while the texture of Chinese paper and Japanese paper gives us a certain feeling of warmth, of calm and repose. Even the same white could as well be one color for Western paper and another for our own. Western paper turns away the light, while our paper seems to take it in, to envelop it gently, like the soft surface of a first snowfall. It gives off no sound when it is crumpled or folded, it is quiet and pliant to the touch as the leaf of a tree.

and are often taunted regarding physical features like their eyes, nose, teeth, neck, knees, feet, voice, hair texture, or their complexion. Boys are criticized for liking girls; girls are criticized for liking boys. Some boys don’t care for sports. Some girls don’t like to play house. Teenagers require more sleep. Kids have always had their own way of communicating, their unique style of clothes and hair, and distinctive music. Kids go through awkward times where they don’t think they’re attractive, smart, or interesting. What is key in all of this is that a parent should communicate nothing but acceptance for the unique characteristics of their children. When they do that, a child senses the kind of acceptance that God has for us in our uniqueness. What is key in all of this is that a parent should communicate nothing but acceptance for the unique characteristics of their children.

First, I placed the clean snapper on a bed of aluminum foil sprinkled with sea salt and olive oil. I then stuffed the tomatoes, garlic, onions, and coriander into the belly of the fish before sewing it shut. The first time I'd tasted this, the snapper was skewered and turned over open flames. To accompany it, I'd drunk the sweet juice from young coconuts cut with machetes, taken off the very trees above us. Now that I was back to apartment living, I had to modify the recipe and grill the fish in a closed packet. The texture of the skin wouldn't be as crisp, but the flesh would be even more tender. If I had thought Celia preferred the crisp texture, I would have fried it with the stuffing mixture served on the side. The fish was ready to be baked. I prepared sinanag, Filipino garlic fried rice, to accompany the fish: jasmine rice, smashed garlic cloves, sea salt, and a sprinkle of vegetable oil.

Mother had that peculiar God-given gift of imagination so keen that the printed word became to her a vivid, living reality. It was as though, while her body stayed at home and cared for the children, her spirit had climbed far mountain peaks and sailed into strange harbors. Because of Barrie and Kipling and scores of others she had been intimately, sensitively in touch with the places and peoples of the world. She had stood on wind-swept, heather-grown Scottish moors, and broken bread in the little gray homes of the Thrums weavers. She had watched, fascinated, the slow-moving, red-lacquered bullock carts, veiled and curtained, creep over the yellow-brown sands of India. She had walked under brilliant stars down long, long trails in clear, cold, silent places, and she had strolled through groves of feathery flowering loong-yen trees of China. She had sensed to the finger tips the beauty of the witching, seductive moon-filled nights of Hawaii, and with strained eyes and chilling heart she had watched for the return of the fishing fleet on the wild-wind banks of Labrador. Yes, the warp of Mother's life had been restricted to keeping the home for Henry and the children. But the woof of the texture had been fashioned from the wind clouds and star drifts of the heavens. As she had touched her life with all the lives of these peoples of the earth, for the time being sunk her own personality in theirs, she had come to the conviction that, fundamentally, there was nothing in life that could not be found in this little inland town.

So brisk! I can feel the fresh Mediterranean breeze... gently rustling the leaves of the lemon trees. I've had semifreddo desserts many times in my life. But this is unlike anything I've tasted before! And I know the taste of true Italian limoncello. Where on earth did this intense lemony flavor come from?! Is it that fourth layer? What is it?!" "That layer... ... is lemon curd." "Lemon curd?" "Lemon card?" "It isn't curd like curds of milk. It's a dessert spread made with citrus fruits." LEMON CURD A fruit spread originating in Britain, it was intended as an alternative to jams. Egg yolks, sugar, fruit juice and zest are mixed together with a blender and then cooked into a paste and chilled. A centuries-old, traditional dessert, there is even a royal version called Royal Curd. "That vibrant, citrusy tang of the curd has a fresh, refined aroma. Its smoothness combined with the satiny-soft Genoese cake melts in the mouth! What a light and downy texture. It touches the tongue like a feather! The grainy Biscuit Joconde could never be this soft!" "He turned it around! The Genoese cake was supposed to be a liability... but he turned it into an advantage by making it part of an elegant, mature taste experience!" "A British fruit spread, eh? And he put that together right on the spot?" "I'm shocked he had the ingredients." "Fruit curds don't need many ingredients. They use egg yolks, sugar, lemon juice, lemon zest... and butter." "Butter? I thought you barely had a scrap of butter left." "I substituted the butter with this." "Olive oil?!" "Oho! Is that even possible?" "He must certainly know all about it, having grown up in Italy!" "I handicapped myself by choosing Genoese for the sponge cake style. It doesn't have nearly the punch the almondy Biscuit Joconde has. So I turned to the citrusy flavor instead.

WHOA! Now that's some thick-cut bacon!" "Oh my gosh! Look! The top of it is gleaming! Just looking at it is making me hungry..." "Wait a minute. If he's copying the transfer student, then the meat he's using should be oxtail, right? So why is he bringing out bacon?" If he's adding bacon to beef stew, there's only one thing it could be. A GARNISH! THE BACON IS MEANT TO BE A SIDE DISH TO THE STEW. Yukihira's recipe is the type that calls for straining the demi-glace sauce at the end to give it a smooth texture. That means its only official ingredients are the meat and the sauce, making for a very plain dish. Garnishes of some sort are a necessity! Beef simmered in red wine- the French dish thought to be the predecessor to beef stew- always comes with at least a handful of garnishes. The traditional garnishes are croutons, glazed pearl onions, sautéed mushrooms... ... and bacon! Then that means... he's going to take that thick, juicy bacon and add it to the stew?!" "Now he's sautéing those extra-thick slices of bacon in butter! He's being just as efficient and delicate as always." "Man, the smell of that bacon is so good! It's smoky, yet still somehow mellow..." "What kind of wood chips did he use to give it that kind of scent?" "You wanna know what I used? Easy. It's mesquite." "Mess-keet?" "Have you heard of it?" "It's a small tree used for smoking that's native to Mexico and the Southern U.S. You'll hardly find it used anywhere in Japan though." "Ibusaki!" Mesquite is one of the most popular kinds of wood chips in Texas, the heartland of barbecues and grilling. Because of its sharp scent, it's mostly used in small quantities for smoking particularly rough cuts of meat, giving them a golden sheen. "But I didn't stop there! I added a secret weapon to my curing compound- Muscovado sugar! I sweetened my curing compound with Muscovado, sage, nutmeg, basil and other spices, letting the bacon marinate for a week! It will have boosted the umami of the bacon ten times over!

Norton was very short-sighted her whole life and the Borrowers’ environment, whether under the floorboards, out and about in the house’s drawing room and nursery or in the fields and furrows across which they travel in the sequels, always has an absolute authenticity about it – the textural truth of someone who has spent her life with her nose squashed up close to things. ‘Where others saw the far hills, the distant woods, the soaring pheasant,’ she once wrote in an essay, ‘I, as a child would turn sideways to the close bank, the tree-roots, and the tangled grasses. Moss, fern-stalks, sorrel stems, created the mise en scène for a jungle drama … One invented the characters – small, fearful people picking their way through miniature undergrowth; one saw smooth places where they might sit and rest; branched stems which might invite them to climb; sandy holes in which they might creep for shelter.

On Saturday morning, he'd chosen his favorite place in Taipei to show me, Chung-shan Park. We wandered on a beautiful walking path around a lake with spraying fountains, surrounded by trees, and under the shadow of Taipei's iconic skyscraper, which was called Taipei 101. It was a great place for people-watching, with young couples on romantic walks, parents pushing babies in strollers, older people practicing tai chi, kids riding bikes, and nature lovers snapping photos of flowers. Best of all were the baobing- delicious shaved ices with a super-thin texture and condensed milk that added an extra sweet flavor. I topped my baobing with mango chunks, while Uncle Masa chose sweet potato chunks on his, an addition I never imagined could be delicious until I sampled his for myself.

Are you sure, Raven?” He whispered it so sensually her body went liquid in answer. “I want you to be completely sure. You must be certain this is your choice.” She circled his neck with her arms, cradled his head. “Yes.” The memory of his mouth moving against her, the white-hot pleasure piercing her very soul, made heat pool low and wicked in her abdomen. She wanted this, even needed this. “You give yourself to me freely?” His tongue tasted the texture of her skin, flicked across her pulse, and traced down the valley between her breasts. “Mikhail.” His name was a plea. She feared that he was waiting too long and might not be able to live, to breathe, to merge completely with her. He lifted her easily and cradled her in his arms. His tongue lapped her nipple, once, twice. Raven gasped, arched closer to him, her body scenting the wildness in him rising to match, to conquer, the wildness in her. She seemed to float through the air, every nerve ending raw with hunger and need. The sweet scent of blood called to her. Temptation. She smelled fresh air and opened her eyes to discover the night. It whispered to her with the same sensual power as the ebb and flow of Mikhail’s blood. Trees swayed overhead; the wind cooled her body, yet fanned her need. “This is our world, little one. Feel its beauty, hear its call.