True Colours Quotes

Only once in your life, I truly believe, you find someone who can completely turn your world around. You tell them things that you’ve never shared with another soul and they absorb everything you say and actually want to hear more. You share hopes for the future, dreams that will never come true, goals that were never achieved and the many disappointments life has thrown at you. When something wonderful happens, you can’t wait to tell them about it, knowing they will share in your excitement. They are not embarrassed to cry with you when you are hurting or laugh with you when you make a fool of yourself. Never do they hurt your feelings or make you feel like you are not good enough, but rather they build you up and show you the things about yourself that make you special and even beautiful. There is never any pressure, jealousy or competition but only a quiet calmness when they are around. You can be yourself and not worry about what they will think of you because they love you for who you are. The things that seem insignificant to most people such as a note, song or walk become invaluable treasures kept safe in your heart to cherish forever. Memories of your childhood come back and are so clear and vivid it’s like being young again. Colours seem brighter and more brilliant. Laughter seems part of daily life where before it was infrequent or didn’t exist at all. A phone call or two during the day helps to get you through a long day’s work and always brings a smile to your face. In their presence, there’s no need for continuous conversation, but you find you’re quite content in just having them nearby. Things that never interested you before become fascinating because you know they are important to this person who is so special to you. You think of this person on every occasion and in everything you do. Simple things bring them to mind like a pale blue sky, gentle wind or even a storm cloud on the horizon. You open your heart knowing that there’s a chance it may be broken one day and in opening your heart, you experience a love and joy that you never dreamed possible. You find that being vulnerable is the only way to allow your heart to feel true pleasure that’s so real it scares you. You find strength in knowing you have a true friend and possibly a soul mate who will remain loyal to the end. Life seems completely different, exciting and worthwhile. Your only hope and security is in knowing that they are a part of your life.

When I pictured myself, it was always like just an outline in a colouring book, with the inside not yet completed.

When the immense drugged universe explodes In a cascade of unendurable colour And leaves us gasping naked, This is no more than the ectasy of chaos: Hold fast, with both hands, to that royal love Which alone, as we know certainly, restores Fragmentation into true being. Ecstasy of Chaos

True beauty is a ray That springs from the sacred depths of the soul, and illuminates the body, just as life springs from the kernel of a stone and gives colour and scent to a flower.

To see a man’s true colours, tell him that you don’t plan on having sex with him. To see a woman’s true colours, tell her that you don’t plan on marrying her.

Be happy, cried the Nightingale, be happy; you shall have your red rose. I will build it out of music by moonlight, and stain it with my own heart's-blood. All that I ask of you in return is that you will be a true lover, for Love is wiser than Philosophy, though she is wise, and mightier than Power, though he is mighty. Flame-coloured are his wings, and coloured like flame is his body. His lips are sweet as honey, and his breath is like frankincense.

They say that depression makes you see everything in a negative light. I disagree. It makes you see things for what they are. It makes you take off the fucking rose-tinted glasses and look around and see the world as it really is- cruel, harsh and unfair. It makes you see people in their true colours- stupid, shallow and self-absorbed. All that ridiculous optimism, all that carpe diem and life-is-what-you-make-of-it. Words, jsut empty words in an attempt to give meaning to an existence taht is both doomed and futile.

True beauty is a ray That springs from the sacred depths of the soul, and illuminates the body, just as life springs from the kernel of a stone and gives colour and scent to a flower.

While art thrives on the blazing colours of scandal, literature blossoms on the dark soil of tragedy.

People who dream when they sleep at night know of a special kind of happiness which the world of the day holds not, a placid ecstasy, and ease of heart, that are like honey on the tongue. They also know that the real glory of dreams lies in their atmosphere of unlimited freedom. It is not the freedom of the dictator, who enforces his own will on the world, but the freedom of the artist, who has no will, who is free of will. The pleasure of the true dreamer does not lie in the substance of the dream, but in this: that there things happen without any interference from his side, and altogether outside his control. Great landscapes create themselves, long splendid views, rich and delicate colours, roads, houses, which he has never seen or heard of...

Journeys are the midwives of thought. Few places are more conducive to internal conversations than a moving plane, ship or train. There is an almost quaint correlation between what is in front of our eyes and the thoughts we are able to have in our heads: large thoughts at times requiring large views, new thoughts new places. Introspective reflections which are liable to stall are helped along by the flow of the landscape. The mind may be reluctant to think properly when thinking is all it is supposed to do. At the end of hours of train-dreaming, we may feel we have been returned to ourselves - that is, brought back into contact with emotions and ideas of importance to us. It is not necessarily at home that we best encounter our true selves. The furniture insists that we cannot change because it does not; the domestice setting keeps us tethered to the person we are in ordinary life, but who may not be who we essentially are. If we find poetry in the service station and motel, if we are drawn to the airport or train carriage, it is perhaps because, in spite of their architectural compromises and discomforts, in spite of their garish colours and harsh lighting, we implicitly feel that these isolated places offer us a material setting for an alternative to the selfish ease, the habits and confinement of the ordinary, rooted world.

Appearances can be deceiving, but the true colours of your soul remain.

If you want to know what’s your boss is really like, go to his office with a resignation letter. You will then see your boss’s true colours. You will then see his emotions without any filters. No boss can ever fake himself in front of an employee who has just resigned.

The intellectual attainments of a man who thinks for himself resemble a fine painting, where the light and shade are correct, the tone sustained, the colour perfectly harmonised; it is true to life. On the other hand, the intellectual attainments of the mere man of learning are like a large palette, full of all sorts of colours, which at most are systematically arranged, but devoid of harmony, connection and meaning.

You will hear thunder and remember me, And think: she wanted storms. The rim Of the sky will be the colour of hard crimson, And your heart, as it was then, will be on fire. That day in Moscow, it will all come true, when, for the last time, I take my leave, And hasten to the heights that I have longed for, Leaving my shadow still to be with you.

How many times have your true colours faded just because the world was colour blind.

At this point I reveal myself in my true colours, as a stick-in-the-mud. I hold a number of beliefs that have been repudiated by the liveliest intellects of our time. I believe that order is better than chaos, creation better than destruction. I prefer gentleness to violence, forgiveness to vendetta. On the whole I think that knowledge is preferable to ignorance, and I am sure that human sympathy is more valuable than ideology. I believe that in spite of the recent triumphs of science, men haven't changed much in the last two thousand years; and in consequence we must still try to learn from history. History is ourselves. I also hold one or two beliefs that are more difficult to put shortly. For example, I believe in courtesy, the ritual by which we avoid hurting other people's feelings by satisfying our own egos. And I think we should remember that we are part of a great whole. All living things are our brothers and sisters. Above all, I believe in the God-given genius of certain individuals, and I value a society that makes their existence possible.

I am an absurd idealist. But I believe that all that must come true. For, unless it comes true, the world will be laid desolate. And I believe that it can come true. I believe that, by the grace of God, men will awake presently and be men again, and colour and laughter and splendid living will return to a grey civilisation. But that will only come true because a few men will believe in it, and fight for it, and fight in its name against everything that sneers and snarls at that ideal.

You don't fall in love like you fall in a hole. You fall like falling through space. It’s like you jump off your own private planet to visit someone else’s planet. And when you get there it all looks different: the flowers, the animals, the colours people wear. It is a big surprise falling in love because you thought you had everything just right on your own planet, and that was true, in a way, but then somebody signalled to you across space and the only way you could visit was to take a giant jump. Away you go, falling into someone else’s orbit and after a while you might decide to pull your two planets together and call it home. And you can bring your dog. Or your cat. Your goldfish, hamster, collection of stones, all your odd socks. (The ones you lost, including the holes, are on the new planet you found.) And you can bring your friends to visit. And read your favourite stories to each other. And the falling was really the big jump that you had to make to be with someone you don’t want to be without. That’s it. PS You have to be brave.

What you knew in your childhood is true; the Otherworld of magic and enchantment is real, sometimes terribly real - and certainly more real than the factual reality which our culture has built up, brick by brick, to shut out colour and light and prevent us from flying.

Don't go in for the "yellowish" if what you need is "yellow". The attitude called precision is the quality that remarks the accuracy of your demand. Never settle for the less; Go for the exact thing!

I was recently living more comfortably surrounded by secrets... Like dozens of luxurious satiny pillows, they were embracing me from all directions into safe lulling warmth, thus isolating me from the sharp dead-cold edges of the truth hiding behind their endearingly smooth textures and tender soothing colours. Secrets could be so irresistibly beautiful...

Painting is metaphor for control. Every choice is mine. The canvas, the colour. As a child I had neither a sense of the world nor my place in it but art taught me that one’s vision can be achieved with sheer force of will. The same is true of life, provided one refuses to let anything stand in one’s way.

Cults can hide in many places. They are so adept at blending into society and masking their true colours that often their victims do not realise that they were even in a cult until they have escaped it. Nor do they fully comprehend the severity of the brainwashing that they were subjected to, until they are finally free of it.

What is the colour of Christmas? Red? The red of the toyshops on a dark winter’s afternoon, Of Father Christmas and the robin’s breast? Or green? Green of holly and spruce and mistletoe in the house, dark shadow of summer in leafless winter? One might plainly add a romance of white, fields of frost and snow; thus white, green, red- reducing the event to the level of a Chianti bottle. But many will say that the significant colour is gold, gold of fire and treasure, of light in the winter dark; and this gets closer, For the true colour of Christmas is Black. Black of winter, black of night, black of frost and of the east wind, black of dangerous shadows beyond the firelight. I am not sure who wrote this. I got it from page nine of “A Book of Christmas” by William Sansom. Google didn’t help. It is rather true I think, that the true color of Christmas is black. For like the author said in succeeding sentences “The table yellow with electric light, the fire by which stories are told, the bright spangle of the tree- they all blazé out of shadow and out of a darkness of winter

Endings bring new beginnings. Love has many truths. And knights come in all colours.

Yesterday, when we were packing, Julius asked me, "If you could rub Tulip out of your past life, would you do it?" And I had to shake my head. I can't regret the times we had together. Sometimes I worry I won't have times like that again, that there will be no lit nights, no incandescent days. But I know it's not true. There can be colour in a million ways. I know I'll find it on my own.

He domesticated and developed the native wild flowers. He had one hill-side solidly clad with that low-growing purple verbena which mats over the hills of New Mexico. It was like a great violet velvet mantle thrown down in the sun; all the shades that the dyers and weavers of Italy and France strove for through centuries, the violet that is full of rose colour and is yet not lavender; the blue that becomes almost pink and then retreats again into sea-dark purple—the true Episcopal colour and countless variations of it.

Friendship is a kind of a flower that have many COLOURS and very sweet SMELL. A summer friend loves its COLOURS but a real friend loves its SMELL.

No man whose vision is bounded by colour can come into contact with what is highest and best in the world.

In some cases, we first need to disappoint or enrage someone, or to break their heart, for them to finally show us their true colours.

Sometimes friends do foolish things. My father told me that true friends are like gold coins. Ships are wrecked by storms and lie for hundreds of years on the ocean floor. Worms destroy the wood. Iron corrodes. Silver turns black but gold doesn't change in sea water. It loses none of its brilliance or colour. It comes up the same. It survives shipwrecks and time.

True love can be overwhelming, and sometimes painful. It is a kaleidoscope of emotions, all sorts of different colours blending together into one. It's gravity so powerful - an unstoppable force. True love is a natural muse; you will puzzle over it, dream about it, and be lost in it. It consumes you wholeheartedly.

What could be more absurd? Yet it is nature's folly, not ours. When she set about her chief masterpiece, the making of man, she should have thought of one thing only. Instead, turning her head, looking over her shoulder, into each one of us she let creep instincts and desires which are utterly at variance with his main being, so that we are streaked, variegated, all of a mixture; the colours have run. Is the true self this which stands on the pavement in January, or that which bends over the balcony in June? Am I here, or am I there? Or is the true self neither this nor that, neither here nor there, but something so varied and wandering that it is only when we give the rein to its wishes and let it take its way unimpeded that we are indeed ourselves?

A game at which the liberals have become masters is that of deliberate evasiveness. The question often comes up `what can you do?`. If you ask him to do something like stopping to use segregated facilities or dropping out of varsity to work at menial jobs like all blacks or defying and denouncing all provisions that make him privileged, you always get the answer - `but that's unrealistic!' While this may be true, it only serves to illustrate the fact that no matter what a white man does, the colour of his skin - his passport to privilege- will always put him miles ahead of the black men. Thus in the ultimate analysis, no white person can escape being part of the oppressor camp.

If I had the true colours to describe what I feel for you, I wouldn't waste time stringing beads of words... Instead I would run to kiss you and leave monuments on you:- pyramids on your lips, the Taj Mahal on your skin, and the Eiffel tower in your heart. NOTESEUM | A storm I chased

Blue that was unstable and misbehaved when left in skin. Blue like the sea that had taken his father. Blue, for his mother’s sake, and for the true colour of every bereaved and bloodless heart when it is collapsing.

Full-Private Number One in the Awkward Squad of the rank and file of life was Sloppy, and yet had his glimmering notions of standing true to the Colours.

At sunset you see a mix of humanity's regrets and some wishes coming true, thus the exploding and contrasting colours. On Sunset

Words are like Leaves; and where they most abound, Much Fruit of Sense beneath is rarely found. False Eloquence, like the Prismatic Glass, Its gawdy Colours spreads on ev’ry place; The Face of Nature was no more Survey, All glares alike, without Distinction gay: But true Expression, like th’ unchanging Sun, Clears, and improves whate’er it shines upon, It gilds all Objects, but it alters none.

Generals trump Majors," Ursan said. "True, but do princes trump generals?" "I attacked him." "Ryne's not the type to hold a grudge." Ursan considered. "Isn't he a king? Both his parents died" "Technically, yes. But he hasn't assumed the title." "Neither has Prince Kerrick," Ursan said. " Don't you find that odd?" "Not with Kerrick. He loved his father very much. I think it's still too painful for him to assume the title. Plus he hasn't been home in years." Ursan remained quiet until we reached his tent. "Prince Kerrick's a forest mage. Which means his eyes change colour with the seasons. Right?" "Yes." He stared at me for a moment. "Lucky guy." Ursan ducked into his tent.

You don't usually think of boredom as something similar to pain. That's because you've only been exposed to it in relatively small doses. You don’t know its true colour. The difference between the boredom you know and the boredom I know is like the difference between touching snow and putting your hand in a vat of liquid nitrogen.

Stand forth, Nayman of Noland (for no longer will I follow you obliquelike through the inspired form of the third person singular and the moods and hesitensies of the deponent but address myself to you, with the empirative of my vendettative, provocative and out direct), stand forth, come boldly, jolly me, move me, zwilling though I am, to laughter in your true colours ere you be back for ever till I give you your talkingto!

True love is like a bird of many colours, at times, soft and comforting, at others, wild and intense. Yet, it is a fire we all desire. Don’t be afraid of its intense force. It is a spark that consumes the heart, but it quenches the thirst of the seeking soul.

Men are taught how to be what a woman wants and women are taught how to be what a man wants, therefore, people end up with people because there is something offered which they want; not because they see the other person, understand the other person, share the other person's dreams... why are not men and women being taught how to show other people their dreams, the colours of their souls, their fears and pains, their joys and laughters? People should be falling in love with people! Not with ideas!

Early on, when they'd just started home schooling together, he'd written a note on the margin of her page: "What's your star sign?" She'd turned to him, "What does my star sigh?" and he'd seen how much she'd liked the idea that she owned a star, and that it sighed; he'd seen in her eyes that her mind was rushing through the possible words that it could sigh. It's true that his handwriting was bad: the "n" looked a lot like an "h." But when he's crossed it out and written "sign," underlining the "n" three times, a vagueness had wandered onto her face, and she'd thought for a moment, then said, "Pisces," and smiled.

Piper knew that wasn’t exactly true. Looking at him, her heart did a little tap dance. Jason was dressed simply in jeans and a clean purple T-shirt, like he’d worn at the Grand Canyon. He had new trainers on, and his hair was newly trimmed. His eyes were the same colour as the sky. Aphrodite’s message was clear: This one needs no improvement.

I have always believed reincarnation to be true. This will go on and on until one discovers oneself. But at times, my thinking deviates a bit from eastern philosophy. I don’t think our bad karmas would make us cockroaches, rats, pigs, etc., in our next lives. I am of the view that achieving Moksha isn’t possible unless we experience everything that could be experienced. I have to experience oppression, but I also have to oppress. I have to be a sparrow to experience the joy of flight. I have to be a bee to experience colours beyond the visible spectrum. And I have to be a dog to hear ultrasonic sounds. Do you get it? I have to experience everything to achieve moksha. Becoming a bee in the next life is not the result of my bad Karma. It is instead a stepping stone. The path to ascension has to be a spiral. Not round and round. Every decision of mine has to lead there. Every step has to lead me towards self-actualization.

What answer had your lecturer in Moscow to make to the question why he was forging notes? 'Everybody is getting rich one way or another, so I want to make haste to get rich too.' I don't remember the exact words, but the upshot was that he wants money for nothing, without waiting or working! We've grown used to having everything ready-made, to walking on crutches, to having our food chewed for us. Then the great hour struck, and every man showed himself in his true colours.

Time they say is the best healer. Sad, but not true. With time, pain becomes you and you become pain. One forgets what life was without the pain.

The six colours, including the white background, represent the colours of all the world's flags... this is a true international emblem.

Was there some subtle affinity between the chemical atoms that shaped themselves into form and colour on the canvas and the soul that was within him? Could it be that what that soul thought, they realized? -- that what it dreamed, they made true?

Why must we be put down when we try to get away? Why must we all grow up when we could just play and play? Good things in life are free, can't buy everything, that's true Only one thing wrong with that, what it don't buy I don't use " "A change of speed, a change of style. A change of scene, with no regrets, A chance to watch, admire the distance, Still occupied, though you forget. Different colours, different shades, Over each mistakes were made. I took the blame." "It's just second nature, It's what we've been shown, We're living by your rules

Sunlight changed all that, and in May, when the rains paused, bright pink and purple azaleas bloomed overnight, and everywhere was lime-green new growth—on the lawns, in the shoots of fragile leaves along the roadsides

Also, I've spent an entire week without reading any books or talking about them too loudly. I'm learning to work my apparat's screen, the colourful pulsating mosaic of it, the fact that it knows every last stinking detail about the world, whereas my books only know the minds of their authors.

Nothing is so sad, in my opinion, as the devastation wrought by age. My poor friend. I have described him many times. Now to convey to you the difference. Crippled with arthritis, he propelled himself about in a wheelchair. His once plump frame had fallen in. He was a thin little man now. His face was lined and wrinkled. His moustache and hair, and hair, it is true, were still of a jet black colour, but candidly, though I would not for the world have hurt his feelings by saying so to him, this was a mistake. There comes a moment when hair dye is only too painfully obvious. There had been a time when I had been surprised to learn that the blackness of Poirot's hair came out of a bottle. But now the theatricality was apparent and merely created the impression that he wore a wig and had adorned his upper lip to amuse children!

He was like some prophet of old, scourging the sins of the people. He leaped about in a frenzy of inspiration till I feared he would do himself an injury. Sometimes he expressed himself in a somewhat odd manner, but every word carried conviction. He showed me New York in its true colours. He showed me the vanity and wickedness of sitting in gilded haunts of vice, eating lobster when decent people should be in bed. 'He said that the tango and the fox-trot were devices of the devil to drag people down into the Bottomless Pit. He said that there was more sin in ten minutes with a negro banjo orchestra than in all the ancient revels of Nineveh and Babylon. And when he stood on one leg and pointed right at where I was sitting and shouted "This means you!" I could have sunk through the floor.

Men had sought beauty in many forms—in sequences of sound, in lines upon paper, in surfaces of stone, in the movements of the human body, in colours ranged through space. All these media still survived in Diaspar and down the ages others had been added to them. No one was yet certain if all the possibilities of art had been discovered, or if it had any meaning outside the mind of Man. And the same was true of love.

I suspect that it refers to that friend of our childhood, the prince of the old folk tale; the young man who travels for seven miles and comes to seven gates guarded by seven dragons, and passes through all sorts of perils, which are marked at once by moral heroism and mathematical symmetry. It is he who is to be exhibited in as a despot and oppressor; as a despot of elfland and an oppressor of seven-headed dragons. As he is rather a remote as well as a romantic figure, it may be a little difficult for historians to discover what were his true colours. His true colours, so far as I am concerned, are silver and gold and crimson, and all the colours of the rainbow.

In college, in the early 1950s, I began to learn a little about how science works, the secrets of its great success, how rigorous the standards of evidence must be if we are really to know something is true, how many false starts and dead ends have plagued human thinking, how our biases can colour our interpretation of evidence, and how often belief systems widely held and supported by the political, religious and academic hierarchies turn out to be not just slightly in error, but grotesquely wrong.

and I am sure that food is much more generally entertaining than scenery.  Do you give in, as Walt Whitman would say, that you are any the less immortal for that?  The true materialism is to be ashamed of what we are.  To detect the flavour of an olive is no less a piece of human perfection than to find beauty in the colours of the sunset.

I neither oblige the belief of other person, nor overhastily subscribe mine own. Nor have I stood with others computing or collating years and chronologies, lest I should be vainly curious about the time and circumstance of things, whereof the substance is so much in doubt. By this time, like one who had set out on his way by night, and travelled through a region of smooth or idle dreams, our history now arrives on the confines, where daylight and truth meet us with a clear dawn, representing to our view, though at a far distance, true colours and shapes.

I think that positivity— real positivity— is like the butterflies. The whole essence of the butterfly: caterpillar, cocoon, winged creature. When I look at a butterfly, I not only see a winged beauty, but I also see a strong beauty! A mind that decided: "I'm going to become better, I'm not going to be afraid of the dark, I'm going to roll myself up in this thing that I am and I will come out winged and colourful." A butterfly can never become a butterfly unless the caterpillar realises that it needs to become one. This, to me, is true positivity. I don't like what others do— the way they paint on colours and tape on wings. I like what the caterpillars do. They truly BECOME.

No religion is absolutely perfect. Yet not only do we fight for religion, but also are we often willing to sacrifice our lives for it. And what we hopelessly fail to do is to live it. A true religion is that which has no caste, no creed, no colour. It is but an all-uniting and all-pervading embrace.

Only now, years after having read though the works of Shakespeare, Dickens, Scott, Poe, Balzac did he realise that even the most prolific writer created only one novel; throw away the individual bindings and the whole of each man's writing constituted one book: the true and complete portrait of himself. An artist had one thing to say, and one only; he might flail about, seek new techniques, forms, colour combinations, subjects, but intrinsically he would always paint the same canvas, write the same book.

I think a good rule of thumb for being true to your own convictions is this; don't do or champion anything in the name of a group that you wouldn't do or champion as an individual - for if you do so, you become a chameleon that fades into the colours of group think, and you compromise the autonomy of individuation.

Unless we recognise that each individual is irrepeatable and valuable by virtue of simply being conceived human, we cannot begin to talk about human rights. This includes the right to be born, as all of us have enjoyed. True justice should be for each human being, visible and invisible, young and old, disabled and able, to enjoy fully their right to life. The accidental attributes that we acquire such as colour, sex intelligence, economic circumstances, physical or mental disability should not be used as an excuse to deprive a person of life.

Q: How do you fall in love? You don't fall in love like you fall in a hole. You fall like falling through space. It's like you jump off your own private planet to visit someone else's planet. And when you get there it all looks different: the flowers, the animals, the colours people wear. It is a big surprise falling in love because you thought you had everything just right on your own planet, and that was true, in a way, but then somebody signalled to you across space and the only way you could visit was to take a giant jump... And you can bring your friends to visit. And read your favorite stories to each other. And the falling was really the big jump that you had to make to be with someone you don't want to be without. That's it. PS You have to be brave.

Myriads of professing Christians nowadays seem utterly unable to distinguish things that differ. Like people afflicted with colour-blindness, they are incapable of discerning what is true and what is false, what is sound and what is unsound. If a preacher of religion is only clever and eloquent and earnest, they appear to think he is all right, however strange and heterogeneous his sermons may be. They are destitute of spiritual sense, apparently, and cannot detect error. Popery or Protestantism, an atonement or no atonement, a personal Holy Ghost or no Holy Ghost, future punishment or no future punishment, ‘high church’ or ‘low church’ or ‘broad church,’ Trinitarianism, Arianism, or Unitarianism—nothing comes amiss to them; they can swallow it all, even if they cannot digest it! Carried away by a fancied liberality and charity, they seem to think everybody is right and nobody is wrong, every clergyman is sound and none are unsound, everybody is going to be saved and nobody going to be lost. Their religion is made of negatives; and the only positive thing about them is that they dislike distinctness and think all extreme and decided and positive views are very naughty and very wrong!

This One True Love—which flourished for two, three years—left me wounded. I spent months scooped in bed, howling my heart out. In learning to forget him, I had to pick up what was left of me, the little fragments of individuality [...] like broken bangles, chipped glass, colourful pebbles. [...] This was a lover who had become the landscape. Everything in Kerala reminded me of him.

He domesticated and developed the native wild flowers. He had one hill-side solidly clad with that low-growing purple verbena which mats over the hills of New Mexico. It was like a great violet velvet mantle thrown down in the sun; all the shades that the dyers and weavers of Italy and France strove for through centuries, the violet that is full of rose colour and is yet not lavender; the blue that becomes almost pink and then retreats again into sea-dark purple--the true Episcopal colour and countless variations of it.

…….one horizon always hides another and it goes on like that into infinity, to the unspeakable beauty of renewal, to intangible rapture. As for me, it is true all the way to the possibility of this book, to the moment when my words glide across the curve of your lips, to the sheets of white paper that put up with my trail, or rather the trail of those who have walked before me, for me. I moved forward in the trace of their footsteps as in a waking dream where the scent of a newly blown poppy is no longer a perfume but a blossoming: where the deep red of a maple leaf in autumn is no longer a colour but a grace; where a country is no longer a place but a lullaby.

Don't you have virgin blood to drink or something?' 'Virgin blood?' Castor smiled one of those devastating vampire smiles as he shoved a hand through his hair in very devil-may-care fashion. 'What kind of stories have you been reading about me?' 'I don't read any stories about you,' Lala huffed, but Evangeline swore there was a deeper colour on her cheeks. 'So it's just a coincidence that you're quoting one of them?' 'I know you drink blood,' she said. Castor's gaze turned heated. I'd like to drink your blood, it seemed to say.

This is the definition of clutter: things that exist in your outer life to distract you from the inner things that you're avoiding. If you avoid something, it grows.... The great thing is, the reverse is also true: when you honestly look at something, it shrinks. When you see the situation for what it is, bypassing the emotional layers that coloured it and made it into a clutter monster, it becomes simple. That's how peaceful clutter busting is. You're honestly looking at each layer of distraction, questioning the thing, letting it go, and realizing what's underneath. Looking directly at something has the power of a magnifying glass in the sun. The sun is you; the glass, your attention

Hi, I’m Adele Czerny. I don’t really have a long speech. I mean, I sat through these things when I was your age, and they’re boring. I’m just going to say a few things about Noah and Raven Day. Did any of you guys know him?” In unison, Gansey and Adam started to lift their hands and just as quickly dropped them. Yes, they knew him. No, they had not known him. Noah, alive, had been before their time here. Noah, dead, was a phenomenon, not an acquaintance. “Well, you were missing out,” she said. “My mom always said he was a firecracker, which just meant he was always getting speeding tickets and jumping on tables at family reunions and stuff. He always had so many ideas. He was so hyper.” Adam and Gansey looked at each other. They had always had the sense that the Noah they knew was not the true Noah. It was just disconcerting to hear how much Noahness death had stripped. It was impossible to not wonder what Noah would have done with himself if he had lived. “Anyway, I’m here because I was actually the first one he told about his idea for Raven Day. He called me one evening, I guess it would’ve been when he was fourteen, and he told me he’d had this dream about ravens fighting and battling. He said they were all different colours and sizes and shapes, and he was inside them, and they were, like, swirling around him.” She motioned around herself in a whirlwind; she had Noah’s hands, Noah’s elbows. “And he told me, ‘I think it would be a cool art project.’ And I told him, ‘I’ll bet if everybody at the school made one, I bet you’d have enough.’ ” Gansey was aware that his arm hairs were standing up. “So they’re swooping and careening and there’s nothing but ravens, nothing but dreams all around you,” Adele said, only Gansey wasn’t sure if she had actually said it, or if he’d heard her wrong and he was just half-remembering something she’d already said. “Anyway, I know he’d like what it is like nowadays. So, um, thanks for remembering one of his crazy dreams.

Girl Without Hands Walking through the ruins on your way to work that do not look like ruins with the sunlight pouring over the seen world like hail or melted silver, that bright and magnificent, each leaf and stone quickened and specific in it, and you can't hold it, you can't hold any of it. Distance surrounds you, marked out by the ends of your arms when they are stretched to their fullest. You can go no farther than this, you think, walking forward, pushing the distance in front of you like a metal cart on wheels with its barriers and horizontals. Appearance melts away from you, the offices and pyramids on the horizon shimmer and cease. No one can enter that circle you have made, that clean circle of dead space you have made and stay inside, mourning because it is clean. Then there's the girl, in the white dress, meaning purity, or the failure to be any colour. She has no hands, it's true. The scream that happened to the air when they were taken off surrounds her now like an aureole of hot sand, of no sound. Everything has bled out of her. Only a girl like this can know what's happened to you. If she were here she would reach out her arms towards you now, and touch you with her absent hands and you would feel nothing, but you would be touched all the same.

In a sense, one could speak of the secret life of colour. Despite its outward beckoning, like true beauty, colour is immensely hesitant in giving away its secrets. Painters learn to respect the hesitancy of colour and endeavour to refine their skill to become worthy of its revelations. A painter learns the language of colour slowly. As with any language, you struggle for a long time outside the language. There is a willed deliberateness to how you sequence the strange words to make a sentence.Then one day the language lets you in to where the words dance to your thoughts with ease and fluency. Perhaps for the painter there is a day when colour lets him in, when his palette sings with synergy and delight.

From the hood of his car, he hefted a large green insulated pack - the kind Fadlan's Falafel used for deliveries. "This is for you, Magnus. I hope you enjoy." The scent of fresh falafel wafted out. True, I'd eaten falafel just a few hours ago, but my stomach growled because ... well, more falafel. "Man, you're the best. I can't believe - Wait. You're in the middle of a fast and you brought me food? That seems wrong." "Just because I'm fasting doesn't mean you can't enjoy." He clapped me on my shoulder. "You'll be in my prayers. All of you." I knew he was sincere. Me, I was an atheist. I only prayed sarcastically to my own father for a better colour of boat. Learning about the existence of Norse deities and the Nine Worlds had just made me more convinced that there was no grand divine plan. What kind of God would allow Zeus and Odin to run around the same cosmos, both claiming to be the king of creation, smiting mortals with lightning bolts and giving motivational seminars? Bur Amir was a man of faith. He and Samirah believed in something bigger, a cosmic force that actually cared about humans. I suppose it was kind of comforting to know Amir had my back in the prayer department, even if I doubted there was anybody at the end of that line. "Thanks, man." I shook his hand one last time.

And, talking about the God of Love, Eros, who had grown up from the cute angelic Cupid with his ten colourful darts & golden bow, now wanted to be the God of True Love. He locked himself in embrace with his lovely wife, Psyche, all day & night, since, as he put it, Psyche was the Soul, & he, Eros, was the Body. And thus, Body & Soul should always be together. And he had, accordingly, set his golden bow & quiver of colourful darts aside.

Would you like to go for a walk through the grounds instead? The brisk air will put some colour back into your cheeks. You look so pale this morning. Surely you've noticed." "How could I?" Belle asked. "There aren't any mirrors here." "True." "Because you broke them all." The Beast cleared his throat. "Also, true," he said. "Personally? I like books better than mirrors," he added, trying to lighten the mood. "Mirrors only show us what we are. Books show us what we can be.

The Native Americans, whose wisdom Thoreau admired, regarded the Earth itself as a sacred source of energy. To stretch out on it brought repose, to sit on the ground ensured greater wisdom in councils, to walk in contact with its gravity gave strength and endurance. The Earth was an inexhaustible well of strength: because it was the original Mother, the feeder, but also because it enclosed in its bosom all the dead ancestors. It was the element in which transmission took place. Thus, instead of stretching their hands skyward to implore the mercy of celestial divinities, American Indians preferred to walk barefoot on the Earth: The Lakota was a true Naturist – a lover of Nature. He loved the earth and all things of the earth, the attachment growing with age. The old people came literally to love the soil and they sat or reclined on the ground with a feeling of being close to a mothering power. It was good for the skin to touch the earth and the old people liked to remove their moccasins and walk with bare feet on the sacred earth. Their tipis were built upon the earth and their altars were made of earth. The birds that flew in the air came to rest on the earth and it was the final abiding place of all things that lived and grew. The soil was soothing, strengthening, cleansing and healing. That is why the old Indian still sits upon the earth instead of propping himself up and away from its life-giving forces. For him, to sit or lie upon the ground is to be able to think more deeply and to feel more keenly; he can see more clearly into the mysteries of life and come closer in kinship to other lives about him. Walking, by virtue of having the earth’s support, feeling its gravity, resting on it with every step, is very like a continuous breathing in of energy. But the earth’s force is not transmitted only in the manner of a radiation climbing through the legs. It is also through the coincidence of circulations: walking is movement, the heart beats more strongly, with a more ample beat, the blood circulates faster and more powerfully than when the body is at rest. And the earth’s rhythms draw that along, they echo and respond to each other. A last source of energy, after the heart and the Earth, is landscapes. They summon the walker and make him at home: the hills, the colours, the trees all confirm it. The charm of a twisting path among hills, the beauty of vine fields in autumn, like purple and gold scarves, the silvery glitter of olive leaves against a defining summer sky, the immensity of perfectly sliced glaciers … all these things support, transport and nourish us.

He meditated resentfully on the physical texture of life. Had it always been like this? Had food always tasted like this? He looked round the canteen. A low-ceilinged, crowded room, its walls grimy from the contact of innumerable bodies; battered metal tables and chairs, placed so close together that you sat with elbows touching; bent spoons, dented trays, coarse white mugs; all surfaces greasy, grime in every crack; and a sourish, composite smell of bad gin and bad coffee and metallic stew and dirty clothes. Always in your stomach and in your skin there was a sort of protest, a feeling that you had been cheated of something that you had a right to. It was true that he had no memories of anything greatly different. In any time that he could accurately remember, there had never been quite enough to eat, one had never had socks or underclothes that were not full of holes, furniture had always been battered and rickety, rooms underheated, tube trains crowded, houses falling to pieces, bread dark-coloured, tea a rarity, coffee filthy-tasting, cigarettes insufficient -- nothing cheap and plentiful except synthetic gin. And though, of course, it grew worse as one's body aged, was it not a sign that this was not the natural order of things, if one's heart sickened at the discomfort and dirt and scarcity, the interminable winters, the stickiness of one's socks, the lifts that never worked, the cold water, the gritty soap, the cigarettes that came to pieces, the food with its strange evil tastes? Why should one feel it to be intolerable unless one had some kind of ancestral memory that things had once been different?

If one puts forward an idea to a true Englishman--always a rash thing to do--he never dreams of considering whether the idea is right or wrong. The only thing he considers of any importance is whether one believes it oneself. Now, the value of an idea has nothing whatsoever to do with the sincerity of the man who expresses it. Indeed, the probabilities are that the more insincere the man is, the more purely intellectual will the idea be, as in that case it will not be coloured by either his wants, his desires, or his prejudices.

Naturalness?’ I said, loudly. ‘This lot’ll tell you anything is natural; they’ll tell you greed and hate and jealousy and paranoia and unthinking religious awe and fear of God and hating anybody who’s another colour or thinks different is natural. Hating blacks or hating whites or hating women or hating men or hating gays; that’s natural. Dog-eat-dog, looking out for number one, no lame ducks . . . Shit, they’re so convinced about what’s natural it’s the more sophisticated ones that’ll tell you suffering and evil are natural and necessary because otherwise you can’t have pleasure and goodness. They’ll tell you any one of their rotten stupid systems is the natural and right one, the one true way; what’s natural to them is whatever they can use to fight their own grimy corner and fuck everybody else. They’re no more natural than us than an amoeba is more natural than them just because it’s cruder.

Scene: Darkness. Suddenly, a single spotlight illuminates Apollo standing on the front porch of the Big House. The house is a bold red colour, a stark contrast to the short white chiton Apollo wears. He clears his throat and speaks. Apollo:<\b> A poem by Apollo, recited dramatically by ... Apollo: O Immortal Chiron, Centaur wise and true, Trainer of our heroes, Just remember who taught you. - The opening scene of Welcome to Camp Half-Blood Apollo's chiton was so short, I held my breath throughout this scene, praying he didn't bend over. - P. J.

I fancy that the true explanation is this: It often happens that the real tragedies of life occur in such an inartistic manner that they hurt us by their crude violence, their absolute incoherence, their absurd want of meaning, their entire lack of style. They affect us just as vulgarity affects us. They give us an impression of sheer brute force, and we revolt against that. Sometimes, however, a tragedy that possesses artistic elements of beauty crosses our lives. If these elements of beauty are real, the whole thing simply appeals to our sense of dramatic effect. Suddenly we find that we are no longer the actors, but the spectators of the play. Or rather we are both. We watch ourselves, and the mere wonder of the spectacle enthralls us. In the present case, what is it that has really happened? Some one has killed herself for love of you. I wish that I had ever had such an experience. It would have made me in love with love for the rest of my life. The people who have adored me—there have not been very many, but there have been some—have always insisted on living on, long after I had ceased to care for them, or they to care for me. They have become stout and tedious, and when I meet them, they go in at once for reminiscences. That awful memory of woman! What a fearful thing it is! And what an utter intellectual stagnation it reveals! One should absorb the colour of life, but one should never remember its details. Details are always vulgar.

I remembered during puberty, through the anorexic mists of intermittent menstrual cycles, that man, my father, lifting Shirley's nightdress over her head and asking her in his mocking way to choose what colour condom she wanted. 'Red or yellow?' Which did she choose? I can't remember. Perhaps she alternated. Perhaps there were other colours. It didn't happen once. It happened again and again. I had no power to stop it. That man, my father, had some control over me. I was drugged by the black silence in that big house, the vile whiff of aftershave, the crushing torment of inevitability. My father fucked Shirley using red or yellow condoms and it was those condoms that brought it all to an end. It was my last realization of the day; any more would have been too much to contemplate. That time when my mother had found used condoms in bedroom, he had admitted, after a pointless burst my father's of denial, that he had been going to prostitutes. That was no doubt true but I can't imagine clients take used condoms away with them; prostitutes would surely get rid of the things. No. My father kept those used condoms as a prize. He was fucking his fourteen-year-old-daughter. He was proud of it. Rebecca welled up with tears. Poor thing, she kept saying. Poor thing.

I have a dream that one day this nation will rise up and live out the true meaning of its creed: We hold these truths to be self-evident, that all men are created equal. ‘I have a dream that one day, on the red hills of Georgia, the sons of former slaves and the sons of former slave owners will be able to sit down to gether at the table of brotherhood – I have a dream. ‘That one day even the state of Mississippi – a state sweltering with the heat of injustice, sweltering with the heat of op pression – will be transformed into an oasis of freedom and justice. I have a dream.’ He had hit a rhythm, and two hundred thousand people felt it sway their souls. It was more than a speech: it was a poem and a canticle and a prayer as deep as the grave. The heartbreaking phrase ‘I have a dream’ came like an amen at the end of each ringing sentence. ‘. . . That my four little children will one day live in a nation where they will not be judged by the colour of their skin but by the content of their character – I have a dream today. ‘I have a dream that one day down in Alabama – with its vicious racists, with its governor having his lips dripping with the words of interposition and nullification – one day right there in Alabama, little black boys and black girls will be able to join hands with little white boys and white girls as sisters and brothers – I have a dream today. ‘With this faith we will be able to hew, out of the mountain of despair, a stone of hope. ‘With this faith we will be able to transform the jangling discords of our nation into a beautiful symphony of brotherhood. ‘With this faith we will be able to work together, to pray together, to struggle together, to go to jail together, to stand up for freedom together, knowing that we will be free one day.’ Looking around, Jasper saw that black and white faces alike were running with tears. Even he felt moved, and he had thought himself immune to this kind of thing. ‘And when this happens; when we allow freedom to ring; when we let it ring from every village and every hamlet, from every state and every city; we will be able to speed up that day when all of God’s children, black men and white men, Jews and Gentiles, Protestants and Catholics, will be able to join hands . . .’ Here he slowed down, and the crowd was almost silent. King’s voice trembled with the earthquake force of his passion. ‘. . . and sing, in the words of the old Negro spiritual: ‘Free at last! ‘Free at last! ‘Thank God Almighty, we are free at last!

A man can be beautiful, I see that now. It’s not just a woman’s term, not a word reserved for romantic, virtuous, elegant things. I don’t think beauty is neat anymore. It’s unordered. It’s unbrushed hair and a torn back pocket. It’s bright and strange and lovely, and if I were to paint him, I’d use all the warm colours - ochre, gold, plum, terracotta, scarlet, burnt orange. I want him to see me as I saw him then, I want him to find me alone at the end of the day with the sun in my hair. I want his heart to buckle, too. I want him to stop someone out in the square and say, who’s that? Do you know her? Where is she from?” — - from Eve Green’s mother’s account. “It is written on a piece of thin, yellow paper, and is folded in half. I like this account. I like it because it’s true, she’s right. We all want out lovers to see us that way - unaware, natural, serene. We want to change their world with one glance, to stop their breath at the sight of us.

Patriotism,” said Lymond, “like honesty is a luxury with a very high face value which is quickly pricing itself out of the spiritual market altogether. [...] It is an emotion as well, and of course the emotion comes first. A child’s home and the ways of its life are sacrosanct, perfect, inviolate to the child. Add age; add security; add experience. In time we all admit our relatives and our neighbours, our fellow townsmen and even, perhaps, at last our fellow nationals to the threshold of tolerance. But the man living one inch beyond the boundary is an inveterate foe. [...] Patriotism is a fine hothouse for maggots. It breeds intolerance; it forces a spindle-legged, spurious riot of colour.… A man of only moderate powers enjoys the special sanction of purpose, the sense of ceremony; the echo of mysterious, lost and royal things; a trace of the broad, plain childish virtues of myth and legend and ballad. He wants advancement—what simpler way is there? He’s tired of the little seasons and looks for movement and change and an edge of peril and excitement; he enjoys the flowering of small talents lost in the dry courses of daily life. For all these reasons, men at least once in their lives move the finger which will take them to battle for their country.… “Patriotism,” said Lymond again. “It’s an opulent word, a mighty key to a royal Cloud-Cuckoo-Land. Patriotism; loyalty; a true conviction that of all the troubled and striving world, the soil of one’s fathers is noblest and best. A celestial competition for the best breed of man; a vehicle for shedding boredom and exercising surplus power or surplus talents or surplus money; an immature and bigoted intolerance which becomes the coin of barter in the markets of power— [...] These are not patriots but martyrs, dying in cheerful self-interest as the Christians died in the pleasant conviction of grace, leaving their example by chance to brood beneath the water and rise, miraculously, to refresh the centuries. The cry is raised: Our land is glorious under the sun. I have a need to believe it, they say. It is a virtue to believe it; and therefore I shall wring from this unassuming clod a passion and a power and a selflessness that otherwise would be laid unquickened in the grave. [...] “And who shall say they are wrong?” said Lymond. “There are those who will always cleave to the living country, and who with their uprooted imaginations might well make of it an instrument for good. Is it quite beyond us in this land? Is there no one will take up this priceless thing and say, Here is a nation, with such a soul; with such talents; with these failings and this native worth? In what fashion can this one people be brought to live in full vigour and serenity, and who, in their compassion and wisdom, will take it and lead it into the path?

There is one in this tribe too often miserable - a child bereaved of both parents. None cares for this child: she is fed sometimes, but oftener forgotten: a hut rarely receives her: the hollow tree and chill cavern are her home. Forsaken, lost, and wandering, she lives more with the wild beast and bird than with her own kind. Hunger and cold are her comrades: sadness hovers over, and solitude besets her round. Unheeded and unvalued, she should die: but she both lives and grows: the green wilderness nurses her, and becomes to her a mother: feeds her on juicy berry, on saccharine root and nut. There is something in the air of this clime which fosters life kindly: there must be something, too, in its dews, which heals with sovereign balm. Its gentle seasons exaggerate no passion, no sense; its temperature tends to harmony; its breezes, you would say, bring down from heaven the germ of pure thought, and purer feeling. Not grotesquely fantastic are the forms of cliff and foliage; not violently vivid the colouring of flower and bird: in all the grandeur of these forests there is repose; in all their freshness there is tenderness. The gentle charm vouchsafed to flower and tree, - bestowed on deer and dove, - has not been denied to the human nursling. All solitary, she has sprung up straight and graceful. Nature cast her features in a fine mould; they have matured in their pure, accurate first lines, unaltered by the shocks of disease. No fierce dry blast has dealt rudely with the surface of her frame; no burning sun has crisped or withered her tresses: her form gleams ivory-white through the trees; her hair flows plenteous, long, and glossy; her eyes, not dazzled by vertical fires, beam in the shade large and open, and full and dewy: above those eyes, when the breeze bares her forehead, shines an expanse fair and ample, - a clear, candid page, whereon knowledge, should knowledge ever come, might write a golden record. You see in the desolate young savage nothing vicious or vacant; she haunts the wood harmless and thoughtful: though of what one so untaught can think, it is not easy to divine. On the evening of one summer day, before the Flood, being utterly alone - for she had lost all trace of her tribe, who had wandered leagues away, she knew not where, - she went up from the vale, to watch Day take leave and Night arrive. A crag, overspread by a tree, was her station: the oak-roots, turfed and mossed, gave a seat: the oak-boughs, thick-leaved, wove a canopy. Slow and grand the Day withdrew, passing in purple fire, and parting to the farewell of a wild, low chorus from the woodlands. Then Night entered, quiet as death: the wind fell, the birds ceased singing. Now every nest held happy mates, and hart and hind slumbered blissfully safe in their lair. The girl sat, her body still, her soul astir; occupied, however, rather in feeling than in thinking, - in wishing, than hoping, - in imagining, than projecting. She felt the world, the sky, the night, boundlessly mighty. Of all things, herself seemed to herself the centre, - a small, forgotten atom of life, a spark of soul, emitted inadvertent from the great creative source, and now burning unmarked to waste in the heart of a black hollow. She asked, was she thus to burn out and perish, her living light doing no good, never seen, never needed, - a star in an else starless firmament, - which nor shepherd, nor wanderer, nor sage, nor priest, tracked as a guide, or read as a prophecy? Could this be, she demanded, when the flame of her intelligence burned so vivid; when her life beat so true, and real, and potent; when something within her stirred disquieted, and restlessly asserted a God-given strength, for which it insisted she should find exercise?

Composers do not remember this lost fatherland, but each of them remains all his life unconsciously attuned to it; he is delirious with joy when he sings in harmony with his native land, betrays it at times with his thirst for fame, but then, in seeking fame, turns his back on it, and it is only by scorning fame that he finds it when he breaks out into that distinctive strain the sameness of which—for whatever its subject it remains identical with itself—proves the permanence of the elements that compose his soul. But in that case is it not true that those elements—all the residuum of reality which we are obliged to keep to ourselves, which cannot be transmitted in talk, even from friend to friend, from master to disciple, from lover to mistress, that ineffable something which differentiates qualitatively what each of us has felt and what he is obliged to leave behind at the threshold of the phrases in which he can communicate with others only by limiting himself to externals, common to all and of no interest—are brought out by art, the art of a Vinteuil like that of an Elstir, which exteriorises in the colours of the spectrum the intimate composition of those worlds which we call individuals and which, but for art, we should never know? A pair of wings, a different respiratory system, which enabled us to travel through space, would in no way help us, for if we visited Mars or Venus while keeping the same senses, they would clothe everything we could see in the same aspect as the things of Earth. The only true voyage, the only bath in the Fountain of Youth, would be not to visit strange lands but to possess other eyes, to see the universe through the eyes of another, of a hundred others, to see the hundred universes that each of them sees, that each of them is; and this we can do with an Elstir, with a Vinteuil; with men like these we do really fly from star to star.

In the modern era, teachers and scholarship have traditionally laid strenuous emphasis on the fact that Briseis, the woman taken from Achilles in Book One, was his géras, his war prize, the implication being that her loss for Achilles meant only loss of honor, an emphasis that may be a legacy of the homoerotic culture in which the classics and the Iliad were so strenuously taught—namely, the British public-school system: handsome and glamorous Achilles didn’t really like women, he was only upset because he’d lost his prize! Homer’s Achilles, however, above all else, is spectacularly adept at articulating his own feelings, and in the Embassy he says, “‘Are the sons of Atreus alone among mortal men the ones / who love their wives? Since any who is a good man, and careful, / loves her who is his own and cares for her, even as I now / loved this one from my heart, though it was my spear that won her’ ” (9.340ff.). The Iliad ’s depiction of both Achilles and Patroklos is nonchalantly heterosexual. At the conclusion of the Embassy, when Agamemnon’s ambassadors have departed, “Achilles slept in the inward corner of the strong-built shelter, / and a woman lay beside him, one he had taken from Lesbos, / Phorbas’ daughter, Diomede of the fair colouring. / In the other corner Patroklos went to bed; with him also / was a girl, Iphis the fair-girdled, whom brilliant Achilles / gave him, when he took sheer Skyros” (9.663ff.). The nature of the relationship between Achilles and Patroklos played an unlikely role in a lawsuit of the mid-fourth century B.C., brought by the orator Aeschines against one Timarchus, a prominent politician in Athens who had charged him with treason. Hoping to discredit Timarchus prior to the treason trial, Aeschines attacked Timarchus’ morality, charging him with pederasty. Since the same charge could have been brought against Aeschines, the orator takes pains to differentiate between his impulses and those of the plaintiff: “The distinction which I draw is this—to be in love with those who are beautiful and chaste is the experience of a kind-hearted and generous soul”; Aeschines, Contra Timarchus 137, in C. D. Adams, trans., The Speeches of Aeschines (Cambridge, MA, 1958), 111. For proof of such love, Aeschines cited the relationship between Achilles and Patroklos; his citation is of great interest for representing the longest extant quotation of Homer by an ancient author. 32

The impotence of liberal humanism is a symptom of its essentially contradictory relationship to modern capitalism. For although it forms part of the ‘official’ ideology of such society, and the ‘humanities’ exist to reproduce it, the social order within which it exists has in one sense very little time for it at all. Who is concerned with the uniqueness of the individual, the imperishable truths of the human condition or the sensuous textures of lived experience in the Foreign Office or the boardroom of Standard Oil? Capitalism’s reverential hat-tipping to the arts is obvious hypocrisy, except when it can hang them on its walls as a sound investment. Yet capitalist states have continued to direct funds into higher education humanities departments, and though such departments are usually the first in line for savage cutting when capitalism enters on one of its periodic crises, it is doubtful that it is only hypocrisy, a fear of appearing in its true philistine colours, which compels this grudging support. The truth is that liberal humanism is at once largely ineffectual, and the best ideology of the ‘human’ that present bourgeois society can muster. The ‘unique individual’ is indeed important when it comes to defending the business entrepreneur’s right to make profit while throwing men and women out of work; the individual must at all costs have the ‘right to choose’, provided this means the right to buy one’s child an expensive private education while other children are deprived of their school meals, rather than the rights of women to decide whether to have children in the first place.

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

I wanted to write an adventure story, not, it's true, I really did. I shall have failed, that's all. Adventures bore me. I have no idea how to talk about countries, how to make people wish they had been there. I am not a good travelling salesman. Countries? Where are they , whatever became of them. When I was twelve I dreamed of Hongkong. That tedious, commonplace little provincial town! Shops sprouting from every nook and cranny! The Chinese junks pictured on the lids of chocolate boxes used to fascinate me. Junks: sort of chopped-off barges, where the housewives do all their cooking and washing on deck. They even have television. As for the Niagara Falls: water, nothing but water! A dam is more interesting; at least one can occasionally see a big crack at its base, and hope for some excitement. When one travels, one sees nothing but hotels. Squalid rooms, with iron bedsteads, and a picture of some kind hanging on the wall from a rusty nail, a coloured print of London Bridge or the Eiffel Tower. One also sees trains, lots of trains, and airports that look like restaurants, and restaurants that look like morgues. All the ports in the world are hemmed in by oil slicks and shabby customs buildings. In the streets of the towns, people keep to the sidewalks, cars stop at red lights. If only one occasionally arrived in a country where women are the colour of steel and men wear owls on their heads. But no, they are sensible, they all have black ties, partings to one side, brassières and stiletto heels. In all the restaurants, when one has finished eating one calls over the individual who has been prowling among the tables, and pays him with a promissory note. There are cigarettes everywhere! There are airplanes and automobiles everywhere.

Senseless people name evil good, call good evil. As you are doing. You accuse Us of passing false judgement: you do Us injustice. We shall prove this to you. You ask who We are: We are God’s handle, Master Death, a truly effective reaper. Our scythe works its way. It cuts down white, black, red, brown, green, blue, grey, yellow, and all kinds of lustrous flowers in its path, irrespective of their splendour, their strength, their virtue. And the violet’s beautiful colour, rich perfume, and palatable sap, avail it nought. See: that is justice. Our justification was acknowledged by the Romans and the poets, for they knew Us better than you do. You ask what We are: We are nothing, and yet something. Nothing, because We have neither life, nor being, nor form, and We are no spirit, not visible, not tangible; something, because We are the end of life, the end of existence, the beginning of nullity, a cross between the two. We are a happening that fells all people. Huge giants must fall before Us; all living beings must be transformed by Us. You ask where We are: We are not ascertainable. But Our form was found in a temple in Rome*, painted on a wall, as a hoodwinked man sitting on an ox; this man wielded a hatchet in his right hand and a shovel in his left hand, with which he was beating the ox. A great crowd of all kinds of people was hitting him, fighting him, and making casts at him, each one with the tools of his trade: even the nun with her psalter was there. They struck and made casts at the man on the ox, he who signified Us; yet Death contested and buried them all. Pythagoras likens Us to a man’s form with the eyes of a basilisk: they wandered to the ends of the Earth, and every living creature had to die at their glance. You ask where We are: We are from the Earthly Paradise. God created Us there and gave Us Our true name, when he said: «The day that ye bite of this fruit, ye shall die the death.» And for that reason We call ourself: «We, Death, mighty ruler and master on Earth, in the air, and in the rivers of the sea.» You ask what good We do: you have already heard that We bring the world more advantage than harm. Now cease, rest content, and thank Us for the kindness we have done you!

NAMING THE EARTH (a poem of light for national poetry day) And the world will be born again in circles of steaming breath and beams of light as each one of us directs our inner eye upon its name. Hear the cry of wings, the sigh of leaves and grass, smell the new sweet mist rising as the pathway is cleared at last. Stones stand ready - they have known since ages and ages ago that they were not alone. Water carries the planet's energy into skies and down to earth and bones. The cold parts steadily as we come together, bodies and hearts warm, hands tingling. We are silent but our eyes are singing. We look, we feel, we know, we trust each other's souls, we have no need to speak. Not now, but later, when the time is right, the name will ring within the iron core of each other's listening - and the very earth's being. Every creature, every plant, will hear it calling, tolling like a bell - a sound we've always felt but never dared to hope to hear reverberating - true at last, at every level of existence. The poets come together to open the intimate centre. Believe in life and air - breathe the light itself, for these are the energies and rhythms that we need to see, to touch, to reach, to identify, to say, the NAME. Colours on your skin fuse and dissolve - leave the river clean for pure space and time to enter and flow in. We all become one fluid stream of stillness and motion, of flaring thought pulses discovering weird pools and twists within where darkness hides from the flames in our eyes but will not snare us. We probe deeper still, journeying towards a unity which will be more raw and yet also more formed than anything written or spoken before. Our fragile bodies fall away - and the trees, and the roots of trees, guide us - lead us away from the faces we remember seeing each day in the mirror - into an ocean of dreams seething with warmth, love, where the beginning is real, ripe, evolving. And the world is born again in circles of steaming breath and beams of light. An ache - a signal - a trembling moment - and the time is right to say the name. We sing as one whole voice of the universal - all the words, the names of every tiny thirsting thing, and they ring out together as one sound, one energy, one sense, one vibration, one breath. And the world listens, beats, shines, glows - IS - Exists!

Please,' she says, her head bent. 'Please. You must try to break the curse. I know that you are the queen by right and that you may not want him back, but-' If anything could have increased my astonishment, it was that. 'You think that I'd-' 'I didn't know you, before,' she says, the anguish clear in her voice. There is a hitch in her breath that comes with weeping. 'I thought you were just some mortal.' I have to bite my tongue at that, but I don't interrupt her. 'When you became his seneschal, I told myself that he wanted you for your lying tongue. Or because you'd become biddable, although you never were before. I should have believed you when you told him he didn't know the least of what you could do. 'While you were in exile, I got more of the story out of him. I know you don't believe this, but Cardan and I were friends before we were lovers, before Locke. He was my first friend when I came here from the Undersea. And we were friends, even after everything. I hate that he loves you.' 'He hated it, too,' I say with a laugh that sounds more brittle than I'd like. Nicasia fixes me with a long look. 'No, he didn't.' To that, I can only be silent. 'He frightens the Folk, but he's not what you think he is,' Nicasia says. 'Do you remember the servants that Balekin had? The human servants?' I nod mutely. Of course I remember. I will never forget Sophie and her pockets full of stones. 'They'd go missing sometimes, and there were rumours that Cardan hurt them, but it wasn't true. He'd return them to the mortal world.' I admit, I'm surprised. 'Why?' She throws up a hand. 'I don't know! Perhaps to annoy his brother. But you're human, so I thought you'd like that he did it. And he sent you a gown. For the coronation.' I remember it- the ball gown in the colours of the night, with the stark outlines of trees stitched on it and the crystals for stars. A thousand times more beautiful than the dress I commissioned. I had thought perhaps it came from Prince Dain, since it was his coronation and I'd sworn to be his creature when I'd joined the Court of Shadows. 'He never told you, did he?' Nicasia says. 'So see? Those are two nice things about him you didn't know. And I saw the way you used to look at him when you didn't think anyone was watching you.' I bite the inside of my cheek, embarrassed despite the fact that we were lovers, and wed, and it should hardly be a secret that we like each other. 'So promise me,' she says. 'Promise me you'll help him.' I think of the golden bridle, about the future the stars predicted. 'I don't know how to break the curse,' I say, all the tears I haven't shed welling up in my eyes. 'If I could, do you think i would be at this stupid banquet? Tell me what I must slay, what I must steal, tell me the riddle I must solve or the hag I must trick. Only tell me the way, and I will do it, no matter the danger, no matter the hardship, no matter the cost.' My voice breaks. She gives me a steady look. Whatever else I might think of her, she really does care for Cardan. And as tears roll down my cheeks, to her astonishment, I think she realises I do, too. Much good it does him.

There is a time when the soul lives in God, and a time when God lives in the soul. What is appropriate to one state is inconsistent with the other. When God lives in the soul it ought to abandon itself entirely to his providence. When the soul lives in God it is obliged to procure for itself carefully and very regularly, every means it can devise by which to arrive at the divine union. The whole procedure is marked out; the readings, the examinations, the resolutions. The guide is always at hand and everything is by rule, even the hours for conversation. When God lives in the soul it has nothing left of self, but only that which the spirit which actuates it imparts to it at each moment. Nothing is provided for the future, no road is marked out . . . No more books with marked passages for such a soul; often enough it is even deprived of a regular directior, for God allows it no other support than that which he gives it himself. Its dwelling is in darkness, forgetfulness, abandonment, death and nothingness. . . Everything that others discover with great difficulty this soul finds in abandonment, and what they guard with care in order to be able to find it again, this soul receives at the moment there is occasion for it, and afterwards relinquishes so as to admit nothing but exactly what God desires it to have in order to live by him alone. The former soul undertakes an infinity of good works for the glory of God, the latter is often cast aside in a corner of the world like a bit of broken crockery, apparently of no use to anyone. There, this soul, forsaken by creatures but in the enjoyment of God by a very real, true, and active love (active though infused in repose), does not attempt anything by its own impulse; it only knows that it has to abandon itself and to remain in the hands of God to be used by him as he pleases. Often it is ignorant of its use, but God knows well. The world thinks it is useless, and appearances give colour to this judgment, but nevertheless it is very certain that in mysterious ways and by unknown channels, it spreads abroad an infinite amount of grace on persons who often have no idea of it, and of whom it never thinks . . . . . . Often they do not perceive the outflow of this virtue and even contribute nothing by cooperation: it is like a hidden balm, the perfume of which is exhaled without being recognized, and which knows not its own virtue.