Vast Beauty Quotes

Lovers and madmen have such seething brains, Such shaping fantasies, that apprehend More than cool reason ever comprehends. The lunatic, the lover and the poet Are of imagination all compact: One sees more devils than vast hell can hold, That is, the madman: the lover, all as frantic, Sees Helen's beauty in a brow of Egypt: The poet's eye, in fine frenzy rolling, Doth glance from heaven to earth, from earth to heaven; And as imagination bodies forth The forms of things unknown, the poet's pen Turns them to shapes and gives to airy nothing A local habitation and a name.

The lunatic, the lover, and the poet Are of imagination all compact: One sees more devils than vast hell can hold, That is, the madman: the lover, all as frantic, Sees Helen's beauty in a brow of Egypt: The poet's eye, in a fine frenzy rolling, Doth glance from heaven to earth, from earth to heaven, And as imagination bodies forth The forms of things unknown, the poet's pen Turns them to shapes and gives to airy nothing A local habitation and a name.

Benedicto: May your trails be crooked, winding, lonesome, dangerous, leading to the most amazing view. May your mountains rise into and above the clouds. May your rivers flow without end, meandering through pastoral valleys tinkling with bells, past temples and castles and poets towers into a dark primeval forest where tigers belch and monkeys howl, through miasmal and mysterious swamps and down into a desert of red rock, blue mesas, domes and pinnacles and grottos of endless stone, and down again into a deep vast ancient unknown chasm where bars of sunlight blaze on profiled cliffs, where deer walk across the white sand beaches, where storms come and go as lightning clangs upon the high crags, where something strange and more beautiful and more full of wonder than your deepest dreams waits for you -- beyond that next turning of the canyon walls.

When my husband died, because he was so famous and known for not being a believer, many people would come up to me-it still sometimes happens-and ask me if Carl changed at the end and converted to a belief in an afterlife. They also frequently ask me if I think I will see him again. Carl faced his death with unflagging courage and never sought refuge in illusions. The tragedy was that we knew we would never see each other again. I don't ever expect to be reunited with Carl. But, the great thing is that when we were together, for nearly twenty years, we lived with a vivid appreciation of how brief and precious life is. We never trivialized the meaning of death by pretending it was anything other than a final parting. Every single moment that we were alive and we were together was miraculous-not miraculous in the sense of inexplicable or supernatural. We knew we were beneficiaries of chance. . . . That pure chance could be so generous and so kind. . . . That we could find each other, as Carl wrote so beautifully in Cosmos, you know, in the vastness of space and the immensity of time. . . . That we could be together for twenty years. That is something which sustains me and it’s much more meaningful. . . . The way he treated me and the way I treated him, the way we took care of each other and our family, while he lived. That is so much more important than the idea I will see him someday. I don't think I'll ever see Carl again. But I saw him. We saw each other. We found each other in the cosmos, and that was wonderful.

Cosmetic surgery processes the bodies of woman-made women, who make up the vast majority of its patient pool, into man-made women.

The beginning of freedom is the realization that you are not “the thinker.” The moment you start watching the thinker, a higher level of consciousness becomes activated. You then begin to realize that there is a vast realm of intelligence beyond thought, that thought is only a tiny aspect of that intelligence. You also realize that all the things that truly matter – beauty, love, creativity, joy, inner peace – arise from beyond the mind. You begin to awaken.

When you touch the celestial in your heart, you will realize that the beauty of your soul is so pure, so vast and so devastating that you have no option but to merge with it. You have no option but to feel the rhythm of the universe in the rhythm of your heart.

Poets say science takes away from the beauty of the stars - mere globs of gas atoms. I too can see the stars on a desert night, and feel them. But do I see less or more? The vastness of the heavens stretches my imagination - stuck on this carousel my little eye can catch one - million - year - old light. A vast pattern - of which I am a part... What is the pattern, or the meaning, or the why? It does not do harm to the mystery to know a little about it. For far more marvelous is the truth than any artists of the past imagined it. Why do the poets of the present not speak of it? What men are poets who can speak of Jupiter if he were a man, but if he is an immense spinning sphere of methane and ammonia must be silent?

Only then (nearly out the door, so to speak) did I realize how unspeakably beautiful all of this was, how precisely engineered for our pleasure, and saw that I was on the brink of squandering a wondrous gift, the gift of being allowed, every day, to wander this vast sensual paradise, this grand marketplace lovingly stocked with every sublime thing.

In every important way we are such secrets from one another, and I do believe that there is a separate language in each of us, also a separate aesthetics and a separate jurisprudence. Every single one of us is a little civilization built on the ruins of any number of preceding civilizations, but with our own variant notions of what is beautiful and what is acceptable - which, I hasten to add, we generally do not satisfy and by which we struggle to live. We take fortuitous resemblances among us to be actual likeness, because those around us have also fallen heir to the same customs, trade in the same coin, acknowledge, more or less, the same notions of decency and sanity. But all that really just allows us to coexist with the inviolable, intraversable, and utterly vast spaces between us.

Somehow grasping at vanishing snowflakes is like grasping at happiness: an act of possession that instantly gives way to nothing. It reminded me that there was a world outside this house: a world of vastness and unimaginable beauty; a world that for now, remained out of my reach. That memory had repeatedly returned to me over the years. It's as if the misery that surrounded that brief moment of freedom made it burn even brighter: a tiny light surrounded by darkness.

You’re like a lighthouse shining beside the sea of humanity, motionless: all you can see is your own reflection in the water. You’re alone, so you think it’s a vast, magnificent panorama. You haven’t sounded the depths. You simply believe in the beauty of God’s creation. But I have spent all this time in the water, diving deep into the howling ocean of life, deeper than anyone. While you were admiring the surface, I saw the shipwrecks, the drowned bodies, the monsters of the deep

Surely education has no meaning unless it helps you understand the vast experience of life with all its subtleties, with its extraordinary beauty, its sorrows and joys. You may earn degrees, you may have a series of letters after your name and land a good job, but then what? What is the point of it all if in the process your mind becomes dull, weary, stupid?

Marginalia Sometimes the notes are ferocious, skirmishes against the author raging along the borders of every page in tiny black script. If I could just get my hands on you, Kierkegaard, or Conor Cruise O'Brien, they seem to say, I would bolt the door and beat some logic into your head. Other comments are more offhand, dismissive - Nonsense." "Please!" "HA!!" - that kind of thing. I remember once looking up from my reading, my thumb as a bookmark, trying to imagine what the person must look like who wrote "Don't be a ninny" alongside a paragraph in The Life of Emily Dickinson. Students are more modest needing to leave only their splayed footprints along the shore of the page. One scrawls "Metaphor" next to a stanza of Eliot's. Another notes the presence of "Irony" fifty times outside the paragraphs of A Modest Proposal. Or they are fans who cheer from the empty bleachers, Hands cupped around their mouths. Absolutely," they shout to Duns Scotus and James Baldwin. Yes." "Bull's-eye." "My man!" Check marks, asterisks, and exclamation points rain down along the sidelines. And if you have managed to graduate from college without ever having written "Man vs. Nature" in a margin, perhaps now is the time to take one step forward. We have all seized the white perimeter as our own and reached for a pen if only to show we did not just laze in an armchair turning pages; we pressed a thought into the wayside, planted an impression along the verge. Even Irish monks in their cold scriptoria jotted along the borders of the Gospels brief asides about the pains of copying, a bird singing near their window, or the sunlight that illuminated their page- anonymous men catching a ride into the future on a vessel more lasting than themselves. And you have not read Joshua Reynolds, they say, until you have read him enwreathed with Blake's furious scribbling. Yet the one I think of most often, the one that dangles from me like a locket, was written in the copy of Catcher in the Rye I borrowed from the local library one slow, hot summer. I was just beginning high school then, reading books on a davenport in my parents' living room, and I cannot tell you how vastly my loneliness was deepened, how poignant and amplified the world before me seemed, when I found on one page A few greasy looking smears and next to them, written in soft pencil- by a beautiful girl, I could tell, whom I would never meet- Pardon the egg salad stains, but I'm in love.

Our civilization has fallen out of touch with night. With lights, we drive the holiness and beauty of night back to the forests and the sea; the little villages, the crossroads even, will have none of it. Are modern folk, perhaps, afraid of night? Do they fear that vast serenity, the mystery of infinite space, the austerity of stars?

The sea is calm tonight. The tide is full, the moon lies fair Upon the straits;- on the French coast the light Gleams and is gone; the cliffs of England stand, glimmering and vast, out in the tranquil bay.

Something happen inside me as I looked out into the vast universe. Through that telescope, the world was closer and larger than I'd ever imagined. And it was all so beautiful and overwhelming and- I don't know- it make me aware that there was something inside of me that mattered.

He found himself in habiting the vast, empty plateau where most people live, between boredom and contentment.

The vast open sea at night is a song being written; a rhyme, a mysterious and gentle arpeggiated work of Beethoven. It's sung by the waves as they travel on the face of the ocean, and their lyrics are the rhythm of the pounding surf.

Paris was a universe whole and entire unto herself, hollowed and fashioned by history; so she seemed in this age of Napoleon III with her towering buildings, her massive cathedrals, her grand boulevards and ancient winding medieval streets--as vast and indestructible as nature itself. All was embraced by her, by her volatile and enchanted populace thronging the galleries, the theaters, the cafes, giving birth over and over to genius and sanctity, philosophy and war, frivolity and the finest art; so it seemed that if all the world outside her were to sink into darkness, what was fine, what was beautiful, what was essential might there still come to its finest flower. Even the majestic trees that graced and sheltered her streets were attuned to her--and the waters of the Seine, contained and beautiful as they wound through her heart; so that the earth on that spot, so shaped by blood and consciousness, had ceased to be the earth and had become Paris.

My life which I dream will be so beautiful, so poetic, so vast, so filled with love will turn out to be like everybody else's - monotonous, sensible, stupid.

That such a final, tragic, and awful thing is suicide can exist in the midst of remarkable beauty is one of the vastly contradictory and paradoxical aspects of life and art.

Maybe love, too, is beautiful because it has a wildness that cannot be tamed. I don't know. All I know is that passion can take you up like a house of cards in a tornado, leaving destruction in its wake. Or it can let you alone because you've built a stone wall against it, set out the armed guards to keep it from touching you. The real trick is not to let it in, but to hold on. To understand that the heart is as wide and vast as the universe, but that we come to know it best from here, this place is gravity and stability, where out feet can still touch ground.

An 'impersonal God'-well and good. A subjective God of beauty, truth and goodness, inside our own heads-better still. A formless life-force surging through us, a vast power which we can tap-best of all. But God himself, alive, pulling at the other end of the cord, perhaps approaching at an infinite speed, the hunter, King, husband-that is quite another matter.

As we live longer and longer, the vast majority of us will travel back and forth across these realms, spending much of our lives somewhere in between. These are the terms of our existence. The idea of striving for some beautiful, perfect state of wellness? It mires us in eternal dissatisfaction, a goal forever out of reach. To be well now is to learn to accept whatever body and mind I currently have.

I have an immoderate passion for water; for the sea, though so vast, so restless, so beyond one's comprehension; for rivers, beautiful, yet fugitive and elusive; but especially for marshes, teeming with all that mysterious life of the creatures that haunt them. A marsh is a whole world within a world, a different world, with a life of its own, with its own permanent denizens, its passing visitors, its voices, its sounds, its own strange mystery.

Soon enough his head would be swimming with tales of derring-do and high adventure, tales of beautiful maidens kissed, of evildoers shot with pistols or fought with swords, of bags of gold, of diamonds as big as the tip of your thumb, of lost cities and of vast mountains, of steam-trains and clipper ships, of pampas, oceans, deserts, tundra.

Let it all out. If only I could. Letting it all out would involve me exploding like a firework, a beautiful riot of rainbow sparks bouncing around the car and lighting up the entire lot.

Look," Peter said. To the north was a series of vast grassy plains, and there, just looking like specks at first, was a herd of horses, a species that in Neverland had never been tamed. They were beautiful, flashes of brown and black and tan, their coats gleaming. There was no reason for them to be running that Tiger Lily could see. It was likely that they just loved to run. "That's what I want my life to be," Peter said, staring down at the horses. Tiger Lily sank against him and watched the herd, and thought that was what she wanted too.

There is much that is immortal in this medieval lady. The dragons have gone, and so have the knights, but still she lingers in our midst. She reigned in many an early Victorian castle, and was Queen of much early Victorian song. It is sweet to protect her in the intervals of business, sweet to pay her honour when she has cooked our dinner well. But alas! the creature grows degenerate. In her heart also there are springing up strange desires. She too is enamoured of heavy winds, and vast panoramas, and green expanses of the sea. She has marked the kingdom of this world, how full it is of wealth, and beauty, and war--a radiant crust, built around the central fires, spinning towards the receding heavens. Men, declaring that she inspires them to it, move joyfully over the surface, having the most delightful meetings with other men, happy, not because they are masculine, but because they are alive. Before the show breaks up she would like to drop the august title of the Eternal Woman, and go there as her transitory self.

I never again looked at the sky and saw only vastness and beauty. From that afternoon on I saw that death was also and always there.

Both the grand and the intimate aspects of nature can be revealed in the expressive photograph. Both can stir enduring affirmations and discoveries, and can surely help the spectator in his search for identification with the vast world of natural beauty and wonder surrounding him.

And then Serafina understood something for which the witches had no word: it was the idea of pilgrimage. She understood why these beings would wait for thousands of years and travel vast distances in order to be close to something important, and how they would feel differently for the rest of time, having been briefly in its presence. That was how these creatures looked now, these beautiful pilgrims of rarefied light, standing around the girl with the dirty-face and the tartan skirt and the boy with the wounded hand who was frowning in his sleep.

You have a color of your own- Dark chocolate, You have a culture your own- Hip pop, You have a revival of your own- Harlem Renaissance, You are the spot on a ladybug that adds its beauty, You are the pupil of an eye, You are the vastness of space, You are the richness of soil, You are the sweetness of dark chocolate, You are the mystery in nature, Blessed Black chocolate, God has made You to rule the Land, that made You a slave.

I don’t know. What do people see when they gaze at the sky? Inspiration? Beauty?” She heard him sigh. “Truth be told, this view always intimidated me. The sky’s so vast. I can’t help but feel it has expectations of me. Ones I’m already failing.” He was silent for a long moment. “It reminds me of your eyes.

Science has revealed a universe that is vast, ancient, violent, strange, and beautiful, a universe of almost infinite variety and possibility one in which time can end in a black hole, and conscious beings can evolve from a soup of minerals.

God’s palette of shifting hues is vast, subtle, and beyond our comprehension. We humans are like those colors. Subtle, shifting, unique. Non-binary. Unable to be labeled or singled out. Beautiful and one-of-a-kind, and seen by God’s eyes alone.

There was something heartbreakingly beautiful about the lights of distant ships, I thought. It was something that touched both on human achievement and the vastness against which those achievements seemed so frail. It was the same thing whether the lights belonged to a caravel battling the swell on a stormy horizon or a diamond-hulled starship which had just sliced its way through interstellar space.

Courtesy is a silver lining around the dark clouds of civilization; it is the best part of refinement and in many ways, an art of heroic beauty in the vast gallery of man’s cruelty and baseness.

All health, beauty, intelligence, and social grace has been teased from a vast butcher’s yard of unbounded carnage, requiring incalculable eons of massacre to draw forth even the subtlest of advantages. This is not only a matter of the bloody grinding mills of selection, either, but also of the innumerable mutational abominations thrown up by the madness of chance, as it pursues its directionless path to some negligible preservable trait, and then — still further — of the unavowable horrors that ‘fitness’ (or sheer survival) itself predominantly entails. We are a minuscule sample of agonized matter, comprising genetic survival monsters, fished from a cosmic ocean of vile mutants, by a pitiless killing machine of infinite appetite. (This is still, perhaps, to put an irresponsibly positive spin on the story, but it should suffice for our purposes here.)

But at my back I always hear Time’s wingèd chariot hurrying near; And yonder all before us lie Deserts of vast eternity. Thy beauty shall no more be found; Nor, in thy marble vault, shall sound My echoing song; then worms shall try That long-preserved virginity, And your quaint honour turn to dust, And into ashes all my lust; The grave’s a fine and private place, But none, I think, do there embrace.

Your love is different from mine. What I mean is, when you close your eyes, for that moment, the center of the universe comes to reside within you. And you become a small figure within that vastness, which spreads without limit behind you, and continues to expand at tremendous speed, to engulf all of my past, even before I was born, and every word I've ever written, and each view I've seen, and all the constellations, and the darkness of outer space that surrounds the small blue ball that is earth. Then, when you open your eyes, all that disappears. I anticipate the next time you are troubled and must close your eyes again. The way we think may be completely different, but you and I are an ancient, archetypal couple, the original man and woman. We are the model for Adam and Eve. For all couples in love, there comes a moment when a man gazes at a woman with the very same kind of realization. It is an infinite helix, the dance of two souls resonating, like the twist of DNA, like the vast universe. Oddly, at that moment, she looked over at me and smiled. As if in response to what I'd been thinking, she said, "That was beautiful. I'll never forget it.

Then, O King! the God, so saying, Stood, to Pritha's Son displaying All the splendour, wonder, dread Of His vast Almighty-head. Out of countless eyes beholding, Out of countless mouths commanding, Countless mystic forms enfolding In one Form: supremely standing Countless radiant glories wearing, Countless heavenly weapons bearing, Crowned with garlands of star-clusters, Robed in garb of woven lustres, Breathing from His perfect Presence Breaths of every subtle essence Of all heavenly odours; shedding Blinding brilliance; overspreading- Boundless, beautiful- all spaces With His all-regarding faces; So He showed! If there should rise Suddenly within the skies Sunburst of a thousand suns Flooding earth with beams undeemed-of, Then might be that Holy One's Majesty and radiance dreamed of!

I saw the whole universe laid out before me, a vast shining machine of indescribable beauty and complexity. Its design was too intricate for me to understand, and I knew I could never begin to grasp more than the smallest idea of its purpose. But I sensed that every part of it, from quark to quasar, was unique and - in some mysterious way - significant.

As artist Nature splashes color across the vast canvas of the sky with the radiance and splendor of sunrise and sunset. She arches rainbows against the passing storm, creates flowers and foliage, sets autumn woods on fire with the beauty of turning leaves and touches mountaintops with snow crystals.

My head reeled at the sheer and startling beauty, the wide, bare openness of it. The sense of space, the vastness of the sky above and on either side made my heart race, I would have travelled a thousand miles to see this. I had never imagined such a place.

I erupt from the dark, crushing tunnel into a flash of light and noise. A new kind of air surrounds me, dry and cold, as they wipe the last smears of home off my skin. I feel a sharp pain as they snip something, and suddenly I am less. I am no one but myself, tiny and feeble and utterly alone. I am lifted and swungthrough great heights across yawning distances, and given to Her. She wraps around me, so much bigger and softer than I ever imagined from inside,and I strain my eyes open. I see Her. She is immense, cosmic. She is the world. The world smiles down on me, and when She speaks it’s the voice of God, vast and resonant with meaning, but words unknowable, ringing gibberish in my blank white mind.

But the great fact was the land itself, which seemed to overwhelm the little beginnings of human society that struggled in its sombre wastes. It was from facing this vast hardness that the boy's mouth had become so bitter; because he felt that men were too weak to make any mark here, that the land wanted to be let alone, to preserve its own fierce strength, its peculiar, savage kind of beauty, its uninterrupted mournfulness.

I rose to standing, like Lars upon the barbican, the dark city spread at my feet. Lights twinkled in tavern windows, bobbed at the Wolfstoot Bridge construction. Once I had been suspended over this vast space, hanging and helpless, at a dragon’s mercy. Once I had feared that telling the truth would be like falling, that love would be like hitting the ground, but here I was, my feet firmly planted, standing on my own. We were all monsters and bastards, and we were all beautiful.

For when it comes to strength and goodness and brilliance and gentleness and grandneur of spirit so vast that it takes one's breath away, beauty is nothing, beauty is a mote of a mountain, beauty is a mere straw alight beside a barn on fire.

I find one vast garden spread out all over the universe. All plants, all human beings, all higher mind bodies are about in this garden in various ways, each has his own uniqueness and beauty. Their presence and variety give me great delight. Every one of you adds with his special feature to the glory of the garden.

Long accustomed to a life of self-indulgent solitude, he began to yearn for the beauty of giving himself to others. The nobility of the word 'sacrifice' became clear to him. He took satisfaction in the feeling of his own littleness as a single seed whose purpose was to carry forward from the past into the future the life of the species called humanity. He even sympathized with the thought that the human species, together with the various kinds of minerals and plants, was no more than a small pillar that helped support a single vast organism adrift in the cosmos-- and with the thought that it was no more precious than the other animals and plants.

A woman's body is a sacred temple. A work of art, and a life-giving vessel. And once she becomes a mother, her body serves as a medicine cabinet for her infant. From her milk she can nourish and heal her own child from a variety of ailments. And though women come in a wide assortment as vast as the many different types of flowers and birds, she is to reflect divinity in her essence, care and wisdom. God created a woman's heart to be a river of love, not to become a killing machine.

Our fantastic civilization has fallen out of touch with many aspects of nature, and with none more completely than with night. Primitive folk, gathered at a cave mouth round a fire, do not fear night; they fear, rather, the energies and creatures to whom night gives power; we of the age of the machines, having delivered ourselves of nocturnal enemies, now have a dislike of night itself. With lights and ever more lights, we drive the holiness and beauty of night back to the forests and the sea; the little villages, the crossroads even, will have none of it. Are modern folk, perhaps, afraid of night? Do they fear that vast serenity, the mystery of infinite space, the austerity of stars? Having made themselves at home in a civilization obsessed with power, which explains its whole world in terms of energy, do they fear at night for their dull acquiescence and the pattern of their beliefs? Be the answer what it will, to-day's civilization is full of people who have not the slightest notion of the character or the poetry of night, who have never even seen night. Yet to live thus, to know only artificial night, is as absurd and evil as to know only artificial day.

Quite a number of people are able to feel the beauty of the world profoundly and vastly, and to carry high, noble images in their souls, but they are unable to exteriorize these images, to create them for the enjoyment of others, to communicate them.

What man most passionately wants is his living wholeness and his living unison, not his own isolate salvation of his "soul." Man wants his physical fulfillment first and foremost, since now, once and once only, he is in the flesh and potent. For man, the vast marvel is to be alive. For man, as for flower and beast and bird, the supreme triumph is to be most vividly, most perfectly alive. Whatever the unborn and the dead may know, they cannot know the beauty, the marvel of being alive in the flesh. The dead may look after the afterwards. But the magnificent here and now of life in the flesh is ours, and ours alone, and ours only for a time. We ought to dance with rapture that we should be alive and in the flesh, and part of the living, incarnate cosmos. I am part of the sun as my eye is part of me. That I am part of the earth my feet know perfectly, and my blood is part of the sea. My soul knows that I am part of the human race, my soul is an organic part of the great human soul, as my spirit is part of my nation. In my own very self, I am part of my family. There is nothing of me that is alone and absolute except my mind, and we shall find that the mind has no existence by itself, it is only the glitter of the sun on the surface of the waters.

To His Coy Mistress Had we but world enough and time, This coyness, lady, were no crime. We would sit down, and think which way To walk, and pass our long love’s day. Thou by the Indian Ganges’ side Shouldst rubies find; I by the tide Of Humber would complain. I would Love you ten years before the flood, And you should, if you please, refuse Till the conversion of the Jews. My vegetable love should grow Vaster than empires and more slow; An hundred years should go to praise Thine eyes, and on thy forehead gaze; Two hundred to adore each breast, But thirty thousand to the rest; An age at least to every part, And the last age should show your heart. For, lady, you deserve this state, Nor would I love at lower rate. But at my back I always hear Time’s wingèd chariot hurrying near; And yonder all before us lie Deserts of vast eternity. Thy beauty shall no more be found; Nor, in thy marble vault, shall sound My echoing song; then worms shall try That long-preserved virginity, And your quaint honour turn to dust, And into ashes all my lust; The grave’s a fine and private place, But none, I think, do there embrace. Now therefore, while the youthful hue Sits on thy skin like morning dew, And while thy willing soul transpires At every pore with instant fires, Now let us sport us while we may, And now, like amorous birds of prey, Rather at once our time devour Than languish in his slow-chapped power. Let us roll all our strength and all Our sweetness up into one ball, And tear our pleasures with rough strife Thorough the iron gates of life: Thus, though we cannot make our sun Stand still, yet we will make him run.

No matter what the universe has in store, it cannot take away from the fact that you were born. You’ll have some joy and some pain, and all the other experiences that make up what it’s like to be a tiny part of a grand cosmos. No matter what happens next, you were here. And even when any record of our individual lives is lost to the ages, that won’t detract from the fact that we were. We lived. We were part of the enormity. All the great and terrible parts of being alive, the shocking sublime beauty and heartbreak, the monotony, the interior thoughts, the shared pain and pleasure. It really happened. All of it. On this little world that orbits a yellow star out in the great vastness. And that alone is cause for celebration.

In Vienna there are shadows. The city is black and everything is done by rote. I want to be alone. I want to go to the Bohemian Forest. May, June, July, August, September, October. I must see new things and investigate them. I want to taste dark water and see crackling trees and wild winds. I want to gaze with astonishment at moldy garden fences, I want to experience them all, to hear young birch plantations and trembling leaves, to see light and sun, enjoy wet, green-blue valleys in the evening, sense goldfish glinting, see white clouds building up in the sky, to speak to flowers. I want to look intently at grasses and pink people, old venerable churches, to know what little cathedrals say, to run without stopping along curving meadowy slopes across vast plains, kiss the earth and smell soft warm marshland flowers. And then I shall shape things so beautifully: fields of colour…

The truth was that Jay Gatsby, of West Egg, Long Island, sprang from his Platonic conception of himself. He was a son of God—a phrase which, if it means anything, means just that—and he must be about His Father’s Business, the service of a vast, vulgar and meretricious beauty.

As I lay there, listening to the soft slap of the sea, and thinking these sad and strange thoughts, more and more and more stars had gathered, obliterating the separateness of the Milky Way and filling up the whole sky. And far far away in that ocean of gold, stars were silently shooting and falling and finding their fates, among these billions and billions of merging golden lights. And curtain after curtain of gauze was quietly removed, and I saw stars behind stars behind stars, as in the magical Odeons of my youth. And I saw into the vast soft interior of the universe which was slowly and gently turning itself inside out. I went to sleep, and in my sleep I seemed to hear a sound of singing.

When I looked through the telescope, Dante began explaining what I was looking at. I didn’t hear a word. Something happened inside me as I looked out into the vast universe. Through that telescope, the world was closer and larger than I’d ever imagined. And it was all so beautiful and overwhelming and—I don’t know—it made me aware that there was something inside of me that mattered.

WEAN YOURSELF Little by little, wean yourself. This is the gist of what I have to say. From an embryo, whose nourishment comes in the blood, move to an infant drinking milk, to a child on solid food, to a searcher after wisdom, to a hunter of more invisible game. Think how it is to have a conversation with an embryo. You might say, "The world outside is vast and intricate. There are wheatfields and mountain passes, and orchards in bloom. At night there are millions of galaxies, and in sunlight the beauty of friends dancing at a wedding." You ask the embryo why he, or she, stays cooped up in the dark with eyes closed. Listen to the answer. There is no "other world." I only know what I've experienced. You must be hallucinating.

Like the ocean, the native state of the feminine is to flow with great power and no single direction. The masculine builds canals, dams, and boats to unite with the power of the feminine ocean and go from point A to point B. But the feminine moves in many directions at once. The masculine chooses a single goal and moves in that direction. Like a ship cutting through a vast ocean, the masculine decides on a course and navigates the direction: the feminine energy itself is undirected but immense, like the wind and deep currents of the ocean, ever changing, beautiful, destructive, and the source of life.

I just believe that us as women— should not criticize nor pull down other women. And why? Because we’re all just trying our best to be beautiful! We all just want to be loved, we want to be beautiful, we’re all trying to leave our own legacy! The good news is that the universe is unending and that means there is enough space for each woman on earth to leave her own mark and to be her own legacy. To be her own kind of beautiful. So why spend even a second on trying to take away from another woman? Trying to steal, trying to criticize, trying to oppress? There is enough space for every woman and every kind of beautiful, in this vast cosmos! When you waste any amount of time trying to take what is another’s— you are wasting your huge chunk of a galaxy that’s already been given to you!

You mean stop thinking altogether? No, I can’t, except maybe for a moment or two. Then the mind is using you. You are unconsciously identified with it, so you don’t even know that you are its slave. It’s almost as if you were possessed without knowing it, and so you take the possessing entity to be yourself. The beginning of freedom is the realization that you are not the possessing entity — the thinker. Knowing this enables you to observe the entity. The moment you start watching the thinker, a higher level of consciousness becomes activated. You then begin to realize that there is a vast realm of intelligence beyond thought, that thought is only a tiny aspect of that intelligence. You also realize that all the things that truly matter — beauty, love, creativity, joy, inner peace — arise from beyond the mind. You begin to awaken.

Is the beauty of the Whole really enhanced by our agony? And is the Whole really beautiful? And what is beauty? Throughout all his existence man has been striving to hear the music of the spheres, and has seemed to himself once and again to catch some phrase of it, or even a hint of the whole form of it. Yet he can never be sure that he has truly heard it, nor even that there is any such perfect music at all to be heard. Inevitably so, for if it exists, it is not for him in his littleness. But one thing is certain. Man himself, at the very least, is music, a brave theme that makes music also of its vast accompaniment, its matrix of storms and stars. Man himself in his degree is eternally a beauty in the eternal form of things. It is very good to have been man. And so we may go forward together with laughter in our hearts, and peace, thankful for the past, and for our own courage. For we shall make after all a fair conclusion to this brief music that is man.

Sexual satisfaction eases the stranglehold of materialism, since status symbols no longer look sexual, but irrelevant. Product lust weakens where emotional and sexual lust intensifies. The price we pay for artificially buoying up this market is our heart's desire. The beauty myth keeps a gap of fantasy between men and women. That gap is made with mirrors; no law of nature supports it. It keeps us spending vast sums of money and looking distractedly around us, but its smoke and reflection interfere with our freedom to be sexually ourselves.

For once I didn't look away immediately. I forced myself to meet her contemptuous gaze. I allowed myself be swept away by it, to drown in it - the way I'd done so many times before. The way I would willingly do again. Because at least she was here to hate me. At least I had that. I watched my daughter conjure up the filthiest look in her vast arsenal before she turned away with complete disdain. I didn't mind that so much. It meant I could watch her, drink her in without her protest. Look at our daughter, Callum. Isn't she beautiful, so very beautiful? She laughs like me, but when she smiles... Oh Callum, when she smiles, it's picnics in Celebration Park and sunsets on our beach and our very first kiss all over again. When Callie Rose smiles at me, she lights up my life. When Callie Rose smiles at me.

It is a great and beautiful spectacle to see a man somehow emerging from oblivion by his own efforts, dispelling with the light of his reason the shadows in which nature had enveloped him, rising above himself, soaring in his mind right up to the celestial regions, moving, like the sun, with giant strides through the vast extent of the universe, and, what is even greater and more difficult, returning to himself in order to study man there and learn of his nature, his obligations, and his end.

(Golden Globe acceptance speech in the style of Jane Austen's letters): "Four A.M. Having just returned from an evening at the Golden Spheres, which despite the inconveniences of heat, noise and overcrowding, was not without its pleasures. Thankfully, there were no dogs and no children. The gowns were middling. There was a good deal of shouting and behavior verging on the profligate, however, people were very free with their compliments and I made several new acquaintances. Miss Lindsay Doran, of Mirage, wherever that might be, who is largely responsible for my presence here, an enchanting companion about whom too much good cannot be said. Mr. Ang Lee, of foreign extraction, who most unexpectedly apppeared to understand me better than I undersand myself. Mr. James Schamus, a copiously erudite gentleman, and Miss Kate Winslet, beautiful in both countenance and spirit. Mr. Pat Doyle, a composer and a Scot, who displayed the kind of wild behavior one has lernt to expect from that race. Mr. Mark Canton, an energetic person with a ready smile who, as I understand it, owes me a vast deal of money. Miss Lisa Henson -- a lovely girl, and Mr. Gareth Wigan -- a lovely boy. I attempted to converse with Mr. Sydney Pollack, but his charms and wisdom are so generally pleasing that it proved impossible to get within ten feet of him. The room was full of interesting activitiy until eleven P.M. when it emptied rather suddenly. The lateness of the hour is due therefore not to the dance, but to the waiting, in a long line for horseless vehicles of unconscionable size. The modern world has clearly done nothing for transport. P.S. Managed to avoid the hoyden Emily Tomkins who has purloined my creation and added things of her own. Nefarious creature." "With gratitude and apologies to Miss Austen, thank you.

How I'm rushing through this! How much each sentence in this brief story contains. "The stars are made of the same atoms as the earth." I usually pick one small topic like this to give a lecture on. Poets say science takes away from the beauty of the stars—mere globs of gas atoms. Nothing is "mere." I too can see the stars on a desert night, and feel them. But do I see less or more ? The vastness of the heavens stretches my imagina-tion—stuck on this carousel my little eye can catch one-million-year-old light. A vast pattern—of which I am a part—perhaps my stuff was belched from some forgotten star, as one is belching there. Or see them with the greater eye of Palomar, rushing all apart from some common starting point when they were perhaps all together. What is the pattern, or the meaning, or the why ? It does not do harm to the mystery to know a little about it. For far more marvelous is the truth than any artists of the past imagined! Why do the poets of the present not speak of it ? What men are poets who can speak of Jupiter if he were like a man, but if he is an immense spinning sphere of methane and ammonia must be silent?

The crowd is his element, as the air is that of birds and water of fishes. His passion and his profession are to become one flesh with the crowd. For the perfect flâneur, for the passionate spectator, it is an immense joy to set up house in the heart of the multitude, amid the ebb and flow of movement, in the midst of the fugitive and the infinite. To be away from home and yet to feel oneself everywhere at home; to see the world, to be at the centre of the world, and yet to remain hidden from the world - impartial natures which the tongue can but clumsily define. The spectator is a prince who everywhere rejoices in his incognito. The lover of life makes the whole world his family, just like the lover of the fair sex who builds up his family from all the beautiful women that he has ever found, or that are or are not - to be found; or the lover of pictures who lives in a magical society of dreams painted on canvas. Thus the lover of universal life enters into the crowd as though it were an immense reservoir of electrical energy. Or we might liken him to a mirror as vast as the crowd itself; or to a kaleidoscope gifted with consciousness, responding to each one of its movements and reproducing the multiplicity of life and the flickering grace of all the elements of life.

In the first movement, our infancy as a species, we felt no separation from the natural world around us. Trees, rocks, and plants surrounded us with a living presence as intimate and pulsing as our own bodies. In that primal intimacy, which anthropologists call "participation mystique," we were as one with our world as a child in the mother's womb. Then self-consciousness arose and gave us distance on our world. We needed that distance in order to make decisions and strategies, in order to measure, judge and to monitor our judgments. With the emergence of free-will, the fall out of the Garden of Eden, the second movement began -- the lonely and heroic journey of the ego. Nowadays, yearning to reclaim a sense of wholeness, some of us tend to disparage that movement of separation from nature, but it brought us great gains for which we can be grateful. The distanced and observing eye brought us tools of science, and a priceless view of the vast, orderly intricacy of our world. The recognition of our individuality brought us trial by jury and the Bill of Rights. Now, harvesting these gains, we are ready to return. The third movement begins. Having gained distance and sophistication of perception, we can turn and recognize who we have been all along. Now it can dawn on us: we are our world knowing itself. We can relinquish our separateness. We can come home again -- and participate in our world in a richer, more responsible and poignantly beautiful way than before, in our infancy.

I can't bear it that some man, even with a lofty heart and the highest mind, should start from the ideal of the Madonna and end with the ideal of Sodom. It's even more fearful when someone who already has the ideal of Sodom in his soul does not deny the ideal of the Madonna either, and his hear burns with it, verily, verily burns, as in his young, blameless years. No, man is broad, even too broad, I would narrow him down. Devil knows even what to make of him, that's the thing! What's shame for the mind is beauty all over for the heart. Can there be beauty in Sodom? Believe me, for the vast majority of people, that's just where beauty lies--did you know that secret? The terrible thing is that beauty is not only fearful but also mysterious. Here the devil is struggling with God, and the battlefield is the human heart. But, anyway, why kick against the pricks?

Just like God, a woman is not a problem to be solved but a vast wonder to be enjoyed. This is so true of her sexuality. Few women can or even want to “just do it.” Foreplay is crucial to her heart, the whispering and loving and exploring of one another that culminates in intercourse. That is a picture of what it means to love her soul. She yearns to be known and that takes time and intimacy. It requires an unveiling. As she is sought after, she reveals more of her beauty. As she unveils her beauty, she draws us to know her more deeply.

How can I number the worlds to which the eye gives me entry? - the world of light, of colour, of shape, of shadow: of mathematical precision in the snowflake, the ice formation, the quartz crystal, the patterns of stamen and petal: of rhythm in the fluid curve and plunging line of the mountain faces. Why some blocks of stone, hacked into violent and tortured shapes, should so profoundly tranquillise the mind I do not know. Perhaps the eye imposes its own rhythm on what is only a confusion: one has to look creatively to see this mass of rock as more than jag and pinnacle - as beauty. Else why did men for so many centuries think mountains repulsive? A certain kind of consciousness interacts with the mountain-forms to create this sense of beauty. Yet the forms must be there for the eye to see. And forms of a certain distinction: mere dollops won't do it. It is, as with all creation, matter impregnated with mind: but the resultant issue is a living spirit, a glow in the consciousness, that perishes when the glow is dead. It is something snatched from non-being, that shadow which creeps in on us continuously and can be held off by continuous creative act. So, simply to look on anything, such as a mountain, with the love that penetrates to its essence, is to widen the domain of being in the vastness of non-being. Man has no other reason for his existence.

In April, millions of tiny flowers spread over the blackjack hills and vast prairies in the Osage territory of Oklahoma. There are Johnny-jump-ups and spring beauties and little bluets. The Osage writer John Joseph Mathews observed that the galaxy of petals makes it look as if the “gods had left confetti.” In May, when coyotes howl beneath an unnervingly large moon, taller plants, such as spiderworts and black-eyed Susans, begin to creep over the tinier blooms, stealing their light and water. The necks of the smaller flowers break and their petals flutter away, and before long they are buried underground. This is why the Osage Indians refer to May as the time of the flower-killing moon.

Powerful winds that crack the boughs of November! - and the bright calm sun, untouched by the furies of the earth, abandoning the earth to darkness, and wild forlornness, and night, as men shiver in their coats and hurry home. And then the lights of home glowing in those desolate deeps. There are the stars, though! - high and sparkling in a spiritual firmament. We will walk in the windsweeps, gloating in the envelopment of ourselves, seeking the sudden grinning intelligence of humanity below these abysmal beauties. Now the roaring midnight fury and the creaking of our hinges and windows, now the winder, now the understanding of the earth and our being on it: this drama of enigmas and double-depths and sorrows and grave joys, these human things in the elemental vastness of the windblown world.

I am now going to make an admission. I confess, I agree, that all these good people who protested, who laughed, who did not perceive what we perceived, were in a quite legitimate position. Their opinion was quite in order. One must not be afraid to say that the kingdom of letters is only a province of the vast empire of entertainment. One picks up a book, one puts it aside; and even when one cannot put it down one very well understands that this interest is related to the facility of pleasure. That is to say that every effort of a creator of beauty or of fantasy should be bent, by the very essence of his work, on contriving for the public pleasure which demands no effort, or almost none. It is through the public that he should deduce what touches, moves, soothes, animates or enchants the public. There are however several publics; amongst whom it is not impossible to find some people who do not conceive of pleasure without pain, who do not like to enjoy themselves without paying, and who are not happy if their happiness is not in some part their own contrivance through which they wish to realize what it costs them.

In a vast space left free between the crowd and the fire, a young girl was dancing. Whether this young girl was a human being, a fairy, or an angel, is what Gringoire, sceptical philosopher and ironical poet that he was, could not decide at the first moment, so fascinated was he by this dazzling vision. She was not tall, though she seemed so, so boldly did her slender form dart about. She was swarthy of complexion, but one divined that, by day, her skin must possess that beautiful golden tone of the Andalusians and the Roman women. Her little foot, too, was Andalusian, for it was both pinched and at ease in its graceful shoe. She danced, she turned, she whirled rapidly about on an old Persian rug, spread negligently under her feet; and each time that her radiant face passed before you, as she whirled, her great black eyes darted a flash of lightning at you. All around her, all glances were riveted, all mouths open; and, in fact, when she danced thus, to the humming of the Basque tambourine, which her two pure, rounded arms raised above her head, slender, frail and vivacious as a wasp, with her corsage of gold without a fold, her variegated gown puffing out, her bare shoulders, her delicate limbs, which her petticoat revealed at times, her black hair, her eyes of flame, she was a supernatural creature.

[E]verything is fiction. When you tell yourself the story of your life, the story of your day, you edit and rewrite and weave a narrative out of a collection of random experiences and events. Your conversations are fiction. Your friends and loved ones—they are characters you have created. And your arguments with them are like meetings with an editor—please, they beseech you, you beseech them, rewrite me. You have a perception of the way things are, and you impose it on your memory, and in this way you think, in the same way that I think, that you are living something that is describable. When of course, what we actually live, what we actually experience—with our senses and our nerves—is a vast, absurd, beautiful, ridiculous chaos.

Thank you for inviting me here today " I said my voice sounding nothing like me. "I'm here to testify about things I've seen and experienced myself. I'm here because the human race has become more powerful than ever. We've gone to the moon. Our crops resist diseases and pests. We can stop and restart a human heart. And we've harvested vast amounts of energy for everything from night-lights to enormous super-jets. We've even created new kinds of people, like me. "But everything mankind" - I frowned - "personkind has accomplished has had a price. One that we're all gonna have to pay." I heard coughing and shifting in the audience. I looked down at my notes and all the little black words blurred together on the page. I just could not get through this. I put the speech down picked up the microphone and came out from behind the podium. "Look " I said. "There's a lot of official stuff I could quote and put up on the screen with PowerPoint. But what you need to know what the world needs to know is that we're really destroying the earth in a bigger and more catastrophic was than anyone has ever imagined. "I mean I've seen a lot of the world the only world we have. There are so many awesome beautiful tings in it. Waterfalls and mountains thermal pools surrounded by sand like white sugar. Field and field of wildflowers. Places where the ocean crashes up against a mountainside like it's done for hundreds of thousands of years. "I've also seen concrete cities with hardly any green. And rivers whose pretty rainbow surfaces came from an oil leak upstream. Animals are becoming extinct right now in my lifetime. Just recently I went through one of the worst hurricanes ever recorded. It was a whole lot worse because of huge worldwide climatic changes caused by... us. We the people." .... "A more perfect union While huge corporations do whatever they want to whoever they want and other people live in subway tunnels Where's the justice of that Kids right here in America go to be hungry every night while other people get four-hundred-dollar haircuts. Promote the general welfare Where's the General welfare in strip-mining toxic pesticides industrial solvents being dumped into rivers killing everything Domestic Tranquility Ever sleep in a forest that's being clear-cut You'd be hearing chain saws in your head for weeks. The blessings of liberty Yes. I'm using one of the blessings of liberty right now my freedom of speech to tell you guys who make the laws that the very ground you stand on the house you live in the children you tuck in at night are all in immediate catastrophic danger.

All those summer drives, no matter where I was going, to a person, a project, an adventure, or home, alone in the car with my social life all before and behind me, I was suspended in the beautiful solitude of the open road, in a kind of introspection that only outdoor space generates, for inside and outside are more intertwined than the usual distinctions allow. The emotion stirred by the landscape is piercing, a joy close to pain when the blue is deepest on the horizon or the clouds are doing those spectacular fleeting things so much easier to recall than to describe. Sometimes I thought of my apartment in San Francisco as only a winter camp and home as the whole circuit around the West I travel a few times a year and myself as something of a nomad (nomads, contrary to current popular imagination, have fixed circuits and stable relationships to places; they are far from beign the drifters and dharma bums that the word nomad often connotes nowadays). This meant that it was all home, and certainly the intense emotion that, for example, the sequence of mesas alongside the highway for perhaps fifty miles west of Gallup, N.M., and a hundred miles east has the power even as I write to move me deeply, as do dozens of other places, and I have come to long not to see new places but to return and know the old ones more deeply, to see them again. But if this was home, then I was both possessor of an enchanted vastness and profoundly alienated.

what is the expression which the age demands? the age demands no expression whatever. we have seen photographs of bereaved asian mothers. we are not interested in the agony of your fumbled organs. there is nothing you can show on your face that can match the horror of this time. do not even try. you will only hold yourself up to the scorn of those who have felt things deeply. we have seen newsreels of humans in the extremities of pain and dislocation. you are playing to people who have experienced a catastrophe. this should make you very quiet. speak the words, convey the data, step aside. everyone knows you are in pain. you cannot tell the audience everything you know about love in every line of love you speak. step aside and they will know what you know because you know it already. you have nothing to teach them. you are not more beautiful than they are. you are not wiser. do not shout at them. do not force a dry entry. that is bad sex. if you show the lines of your genitals, then deliver what you promise. and remember that people do not really want an acrobat in bed. what is our need? to be close to the natural man, to be close to the natural woman. do not pretend that you are a beloved singer with a vast loyal audience which has followed the ups and downs of your life to this very moment. the bombs, flame-throwers, and all the shit have destroyed more than just the trees and villages. they have also destroyed the stage. did you think that your profession would escape the general destruction? there is no more stage. there are no more footlights. you are among the people. then be modest. speak the words, convey the data, step aside. be by yourself. be in your own room. do not put yourself on. do not act out words. never act out words. never try to leave the floor when you talk about flying. never close your eyes and jerk your head to one side when you talk about death. do not fix your burning eyes on me when you speak about love. if you want to impress me when you speak about love put your hand in your pocket or under your dress and play with yourself. if ambition and the hunger for applause have driven you to speak about love you should learn how to do it without disgracing yourself or the material. this is an interior landscape. it is inside. it is private. respect the privacy of the material. these pieces were written in silence. the courage of the play is to speak them. the discipline of the play is not to violate them. let the audience feel your love of privacy even though there is no privacy. be good whores. the poem is not a slogan. it cannot advertise you. it cannot promote your reputation for sensitivity. you are students of discipline. do not act out the words. the words die when you act them out, they wither, and we are left with nothing but your ambition. the poem is nothing but information. it is the constitution of the inner country. if you declaim it and blow it up with noble intentions then you are no better than the politicians whom you despise. you are just someone waving a flag and making the cheapest kind of appeal to a kind of emotional patriotism. think of the words as science, not as art. they are a report. you are speaking before a meeting of the explorers' club of the national geographic society. these people know all the risks of mountain climbing. they honour you by taking this for granted. if you rub their faces in it that is an insult to their hospitality. do not work the audience for gasps ans sighs. if you are worthy of gasps and sighs it will not be from your appreciation of the event but from theirs. it will be in the statistics and not the trembling of the voice or the cutting of the air with your hands. it will be in the data and the quiet organization of your presence. avoid the flourish. do not be afraid to be weak. do not be ashamed to be tired. you look good when you're tired. you look like you could go on forever. now come into my arms. you are the image of my beauty.

I first read The Lord of the Rings and The Hobbit when I was eighteen. It felt as though the author had taken every element I'd ever want in a story and woven them into one huge, seamless narrative; but more important, for me, Tolkien had created a place, a vast, beautiful, awesome landscape, which remained a resource long after the protagonists had finished their battles and gone their separate ways. In illustrating The Lord of the Rings I allowed the landscapes to predominate. In some of the scenes the characters are so small they are barely discernible. This suited my own inclinations and my wish to avoid, as much as possible, interfering with the pictures being built up in the reader's mind, which tends to be more closely focussed on characters and their inter-relationships. I felt my task lay in shadowing the heroes on their epic quest, often at a distance, closing in on them at times of heightened emotion but avoiding trying to re-create the dramatic highpoints of the text. With The Hobbit, however, it didn't seem appropriate to keep such a distance, particularly from the hero himself. I don't think I've ever seen a drawing of a Hobbit which quite convinced me, and I don't know whether I've gotten any closer myself with my depictions of Bilbo. I'm fairly happy with the picture of him standing outside Bag End, before Gandalf arrives and turns his world upside-down, but I've come to the conclusion that one of the reasons Hobbits are so quiet and elusive is to avoid the prying eyes of illustrators.

What frightens you? What makes the hair on your arms rise, your palms sweat, the breath catch in your chest like a wild thing caged? Is it the dark? A fleeting memory of a bedtime story, ghosts and goblins and witches hiding in the shadows? Is it the way the wind picks up just before a storm, the hint of wet in the air that makes you want to scurry home to the safety of your fire? Or is it something deeper, something much more frightening, a monster deep inside that you've glimpsed only in pieces, the vast unknown of your own soul where secrets gather with a terrible power, the dark inside? If you will listen I will tell you a story-one whose ghost cannot be banished by the comfort of a roaring fire, I will tell you the story of how we found ourselves in a realm where dreams are formed, destiny is chosen, and magic is as real as your handprint in the snow. I will tell you how we unlocked the Pandora's box of ourselves, tasted freedom, stained our souls with blood and choice, and unleashed a horror on the world that destroyed its dearest Order. These pages are a confession of all that has led to this cold, gray dawn. What will be now, I cannot say. Is your heart beating faster? Do the clouds seem to be gathering on the horizons? Does the skin on your neck feel stretched tight, waiting for a kiss you both fear and need? Will you be scared? Will you know the truth? Mary Dowd, April 7, 1871

All are architects of Fate, Working in these walls of Time; Some with massive deeds and great, Some with ornaments of rhyme. Nothing useless is, or low; Each thing in its place is best; And what seems but idle show Strengthens and supports the rest. For the structure that we raise, Time is with materials filled; Our todays and yesterdays Are the blocks with which we build. Truly shape and fashion these; Leave no yawning gaps between; Think not, because no man sees, Such things will remain unseen. In the elder days of Art, Builders wrought with greatest care Each minute and unseen part; For the gods see everywhere. Let us do our work as well, Both the unseen and the seen; Make the house where gods may dwell Beautiful, entire, and clean. Else our lives are incomplete, Standing in these walls of Time, Broken stairways, where the feet Stumble, as they seek to climb. Build today, then, strong and sure, With a firm and ample base; And ascending and secure Shall tomorrow find its place. Thus alone can we attain To those turrets, where the eye Sees the world as one vast plain, And one boundless reach of sky.

A seagull was flying over a beach, when it saw a mouse. It flew down and asked the mouse: “Where are your wings?” Each animal speaks its own language, and so the mouse didn’t under stand the question, but stared at the two strange, large things attached to the other creature’s body. “It must have some illness,” thought the mouse. The seagull noticed the mouse staring at its wings and thought: “Poor thing. It must have been attacked by monsters that left it deaf and took away its wings.” Feeling sorry for the mouse, the seagull picked it up in its beak and took it for a ride in the skies. “It’s probably homesick,” the seagull thought while they were flying. Then, very carefully, it deposited the mouse once more on the ground. For some months afterward, the mouse was sunk in gloom; it had known the heights and seen a vast and beautiful world. However, in time, it grew accustomed to being just a mouse again and came to believe that the miracle that had occurred in its life was nothing but a dream.

Style still matters, for at least three reasons. First, it ensures that writers will get their message across, sparing readers from squandering their precious moments on earth deciphering opaque prose. When the effort fails, the result can be calamitous-as Strunk and White put it, "death on the highway caused by a badly worded road sign, heartbreak among lovers caused by a misplaced phrase in a well-intentioned letter, anguish of a traveler expecting to be met at a railroad station and not being met because of a slipshod telegram." Governments and corporations have found that small improvements in clarity can prevent vast amounts of error, frustration, and waste, and many countries have recently made clear language the law of the land. Second, style earns trust. If readers can see that a writer cares about consistency and accuracy in her prose, they will be reassured that the writer cares about those virtues in conduct they cannot see as easily. Here is how one technology executive explains why he rejects job applications filled with errors of grammar and punctuation: "If it takes someone more than 20 years to notice how to properly use it's, then that's not a learning curve I'm comfortable with." And if that isn't enough to get you to brush up your prose, consider the discovery of the dating site OkCupid that sloppy grammar and spelling in a profile are "huge turn-offs." As one client said, "If you're trying to date a woman, I don't expect flowery Jane Austen prose. But aren't you trying to put your best foot forward?" Style, not least, adds beauty to the world. To a literate reader, a crisp sentence, an arresting metaphor, a witty aside, an elegant turn of phrase are among life's greatest pleasures. And as we shall see in the first chapter, this thoroughly impractical virtue of good writing is where the practical effort of mastering good writing must begin.

The addict’s reliance on the drug to reawaken her dulled feelings is no adolescent caprice. The dullness is itself a consequence of an emotional malfunction not of her making: the internal shutdown of vulnerability. From the latin word vulnerare, ‘to wound’, vulnerability is our susceptibility to be wounded. This fragility is part of our nature and cannot be escaped. The best the brain can do is to shut down conscious awareness of it when pain becomes so vast or unbearable that it threatens to overwhelm our capacity to function. The automatic repression of painful emotions is a helpless child’s prime defence mechanism and can enable the child to endure trauma that would otherwise be catastrophic. The unfortunate consequence is a wholesale dulling of emotional awareness. ‘Everybody knows there is no fineness or accuracy of suppression,’ wrote the American novelist Saul Bellow in The Adventures of Augie March; ‘if you hold down one thing you hold down the adjoining.’ Intuitively we all know that it’s better to feel than not to feel. Beyond their energizing subjective change, emotions have crucial survival value. They orient us, interpret the world for us and offer us vital information. They tell us what is dangerous and what is benign, what threatens our existence and what will nurture our growth. Imagine how disabled we would be if we could not see or hear or taste or sense heat or cold or physical pain. Emotional shutdown is similar. Our emotions are an indispensable part of our sensory apparatus and an essential part of who we are. They make life worthwhile, exciting, challenging, beautiful and meaningful. When we flee our vulnerability, we lose our full capacity for feeling emotion. We may even become emotional amnesiacs, not remembering ever having felt truly elated or truly sad. A nagging void opens, and we experience it as alienation, as profound as ennui, as the sense of deficient emptiness…

I've just come to my room, Livy darling, I guess this was the memorable night of my life. By George, I never was so stirred since I was born. I heard four speeches which I can never forget... one by that splendid old soul, Col. Bob Ingersoll, — oh, it was just the supremest combination of English words that was ever put together since the world began... How handsome he looked, as he stood on that table, in the midst of those 500 shouting men, and poured the molten silver from his lips! What an organ is human speech when it is played by a master! How pale those speeches are in print, but how radiant, how full of color, how blinding they were in the delivery! It was a great night, a memorable night. I doubt if America has seen anything quite equal to it. I am well satisfied I shall not live to see its equal again... Bob Ingersoll’s music will sing through my memory always as the divinest that ever enchanted my ears. And I shall always see him, as he stood that night on a dinner-table, under the flash of lights and banners, in the midst of seven hundred frantic shouters, the most beautiful human creature that ever lived... You should have seen that vast house rise to its feet; you should have heard the hurricane that followed. That's the only test! People might shout, clap their hands, stamp, wave their napkins, but none but the master can make them get up on their feet. {Twain's letter to his wife, Livy, about friend Robert Ingersoll's incredible speech at 'The Grand Banquet', considered to be one of the greatest oratory performances of all time}

Look everywhere. There are miracles and curiosities to fascinate and intrigue for many lifetimes: the intricacies of nature and everything in the world and universe around us from the miniscule to the infinite; physical, chemical and biological functionality; consciousness, intelligence and the ability to learn; evolution, and the imperative for life; beauty and other abstract interpretations; language and other forms of communication; how we make our way here and develop social patterns of culture and meaningfulness; how we organise ourselves and others; moral imperatives; the practicalities of survival and all the embellishments we pile on top; thought, beliefs, logic, intuition, ideas; inventing, creating, information, knowledge; emotions, sensations, experience, behaviour. We are each unique individuals arising from a combination of genetic, inherited, and learned information, all of which can be extremely fallible. Things taught to us when we are young are quite deeply ingrained. Obviously some of it (like don’t stick your finger in a wall socket) is very useful, but some of it is only opinion – an amalgamation of views from people you just happen to have had contact with. A bit later on we have access to lots of other information via books, media, internet etc, but it is important to remember that most of this is still just opinion, and often biased. Even subjects such as history are presented according to the presenter’s or author’s viewpoint, and science is continually changing. Newspapers and TV tend to cover news in the way that is most useful to them (and their funders/advisors), Research is also subject to the decisions of funders and can be distorted by business interests. Pretty much anyone can say what they want on the internet, so our powers of discernment need to be used to a great degree there too. Not one of us can have a completely objective view as we cannot possibly have access to, and filter, all knowledge available, so we must accept that our views are bound to be subjective. Our understanding and responses are all very personal, and our views extremely varied. We tend to make each new thing fit in with the picture we have already started in our heads, but we often have to go back and adjust the picture if we want to be honest about our view of reality as we continually expand it. We are taking in vast amounts of information from others all the time, so need to ensure we are processing that to develop our own true reflection of who we are.

What are you thinking of, Katharine?" he asked suspiciously, noticing her tone of dreaminess and the inapt words. "I was thinking of you--yes, I swear it. Always of you, but you take such strange shapes in my mind. You've destroyed my loneliness. Am I to tell you how I see you? No, tell me--tell me from the beginning." Beginning with spasmodic words, he went on to speak more and more fluently, more and more passionately, feeling her leaning towards him, listening with wonder like a child, with gratitude like a woman. She interrupted him gravely now and then. "But it was foolish to stand outside and look at the windows. Suppose William hadn't seen you. Would you have gone to bed?" He capped her reproof with wonderment that a woman of her age could have stood in Kingsway looking at the traffic until she forgot. "But it was then I first knew I loved you!" she exclaimed. "Tell me from the beginning," he begged her. "No, I'm a person who can't tell things," she pleaded. "I shall say something ridiculous--something about flames--fires. No, I can't tell you." But he persuaded her into a broken statement, beautiful to him, charged with extreme excitement as she spoke of the dark red fire, and the smoke twined round it, making him feel that he had stepped over the threshold into the faintly lit vastness of another mind, stirring with shapes, so large, so dim, unveiling themselves only in flashes, and moving away again into the darkness, engulfed by it.

You must know, my loved one, that there are beings in the elements which almost appear like mortals, and which rarely allow themselves to become visible to your race. Wonderful salamanders glitter and sport in the flames; lean and malicious gnomes dwell deep within the earth; spirits, belonging to the air, wander through the forests; and a vast family of water spirits live in the lakes and streams and brooks. In resounding domes of crystal, through which the sky looks in with its sun and stars, these latter spirits find their beautiful abode; lofty trees of coral with blue and crimson fruits gleam in their gardens; they wander over the pure sand of the sea, and among lovely variegated shells, and amid all exquisite treasures of the old world, which the present is no longer worthy to enjoy; all these the floods have covered with their secret veils of silver, and the noble monuments sparkle below, stately and solemn, and bedewed by the loving waters which allure from them many a beautiful moss-flower and entwining cluster of sea grass. Those, however, who dwell there, are very fair and lovely to behold, and for the most part, are more beautiful than human beings. Many a fisherman has been so fortunate as to surprise some tender mermaid, as she rose above the waters and sang. He would then tell afar of her beauty, and such wonderful beings have been given the name of Undines. You, however, are now actually beholding an Undine.

Why the devil couldn’t it have been blue?” I said to myself. And this thought—one of the most profound ever made since the discovery of butterflies—consoled me for my misdeed and reconciled me with myself. I stood there, looking at the corpse with, I confess, a certain sympathy. The butterfly had probably come out of the woods, well-fed and happy, into the sunlight of a beautiful morning. Modest in its demands on life, it had been content to fly about and exhibit its special beauty under the vast cupola of a blue sky, al sky that is always blue for those that have wings. It flew through my open window, entered by room, and found me there. I suppose it had never seen a man; therefore it did not know what a man was. It described an infinite number of circles about my body and saw that I moved, that I had eyes, arms, legs, a divine aspect, and colossal stature. Then it said to itself, “This is probably the maker of butterflies.” The idea overwhelmed it, terrified it; but fear, which is sometimes stimulating, suggested the best way for it to please its creator was to kiss him on the forehead, and so it kissed me on the forehead. When I brushed it away, it rested on the windowpane, saw from there the portrait of my father, and quite possibly perceived a half-truth, i.e., that the man in the picture was the father of the creator of butterflies, and it flew to beg his mercy. Then a blow from a towel ended the adventure. Neither the blue sky’s immensity, nor the flowers’ joy, nor the green leaves’ splendor could protect the creature against a face towel, a few square inches fo cheap linin. Note how excellent it is to be superior to butterflies! For, even if it had been blue, its life would not have been safe; I might have pierced it with a pin and kept it to delight my eyes. It was not blue. This last thought consoled me again. I placed the nail of my middle finger against my thumb, gave the cadaver a flip, and it fell into the garden. It was high time; the provident ants were already gathering around…Yes, I stand by my first idea: I think that it would have been better for the butterfly if it had been born blue.

Why we write. Because art blows life into the lifeless, death into the deathless. Because art's lie is preferable, in truth, to life's beautiful terror. Because as time does not pass (nothing, as Beckett tells us, passes) it passes the time. Because Death, our mirthless master, is somehow amused by epitaphs. Because epitaphs well struck give Death, our vorcious master, heartburn. Because fiction imitates life's beauty, thereby inventing the beauty life lacks. Because fiction is the best position, at once exotic and familiar, for fucking the world. Because fiction, mediating paradox, celebrates it. Because fiction, mothered by love, loves love as a mother might her unloving child. Because fiction speaks, hopelessly, beautifully, as the world speaks. Because God, created in the storyteller's image, can be destroyed only by its maker. Because in its perversity, art harmonizes the disharmonious, and because in its profanity, fiction sanctifies life. Because, in its terrible isolation, writing is a path to brotherhood. Because in the beginning was the gesture and in the end the come, as well in between what we have are words. Because of all arts, only fiction can unmake the myths that unman men. Because of its endearing futility, its outrageous pretentions. Because the pen, though short, casts a long shadow upon (it must be said) no surface. Because the world is reinvented every day and this is how it is done. Because there is nothing new under the sun except its expression. Because truth, that illusive joker, hides himself in fictions and must therefore be sought there. Because writing, in all spaces unimaginable vastness, is still the greatest adventure of all. And because, alas, what else?

My Floating Sea" "Pastel colors reflect in my opening eyes and draw my gaze to a horizon where the waters both begin and end. This early in the day I can easily stare without blinking. The pale sea appears calm, but it is stormy just as often. I awe at the grandeur, how it expands beyond my sight to immeasurable depths. In every direction that I twist my neck, a beauteous blue is there to console me. Flowing, floating ribbons of mist form on these pale waters. In harmony they pirouette, creating a stretch of attractive, soft swirls. Swoosh! The wind, its strength in eddies and twisters, smears the art of dancing clouds, and the white disperses like startled fairies fleeing into the forest. Suddenly all is brilliant blue. The waters calm and clear. It warms me. Pleases me. Forces my eyes to close at such vast radiance. My day is spent surrounded by this ethereal sea, but soon enough the light in its belly subsides. Rich colors draw my gaze to the opposite horizon where the waters both begin and end. I watch the colors bleed and deepen. They fade into black. Yawning, I cast my eyes at tiny gleams of life that drift within the darkened waters. I extend my reach as if I could will my arm to stretch the expanse between me and eons. How I would love to brush a finger over a ray of living light, but I know I cannot. Distance deceives me. These little breathing lights floating in blackness would truly reduce me to the tiniest size, like a mountain stands majestic over a single wild flower. I am overwhelmed by it all and stare up, in love with the floating sea above my head.

At that moment the universe appeared to me a vast machine constructed only to produce evil. I almost doubted the goodness of God, in not annihilating man on the day he first sinned. "The world should have been destroyed," I said, "crushed as I crush this reptile which has done nothing in its life but render all that it touches as disgusting as itself." I had scarcely removed my foot from the poor insect when, like a censoring angel sent from heaven, there came fluttering through the trees a butterfly with large wings of lustrous gold and purple. It shone but a moment before my eyes; then, rising among the leaves, it vanished into the height of the azure vault. I was mute, but an inner voice said to me, "Let not the creature judge his Creator; here is a symbol of the world to come. As the ugly caterpillar is the origin of the splendid butterfly, so this globe is the embryo of a new heaven and a new earth whose poorest beauty will infinitely exceed your mortal imagination. And when you see the magnificent result of that which seems so base to you now, how you will scorn your blind presumption, in accusing Omniscience for not having made nature perish in her infancy. God is the god of justice and mercy; then surely, every grief that he inflicts on his creatures, be they human or animal, rational or irrational, every suffering of our unhappy nature is only a seed of that divine harvest which will be gathered when, Sin having spent its last drop of venom, Death having launched its final shaft, both will perish on the pyre of a universe in flames and leave their ancient victims to an eternal empire of happiness and glory.

Do not laugh! But once upon a time (my crest has long since fallen) I had a mind to make a body of more or less connected legend, ranging from the large and cosmogonic, to the level of romantic fairy-story – the larger founded on the lesser in contact with the earth, the lesser drawing splendour from the vast backcloths – which I could dedicate simply to: to England; to my country. It should possess the tone and quality that I desired, somewhat cool and clear, be redolent of our ‘air’ (the clime and soil of the North West, meaning Britain and the hither parts of Europe: not Italy or the Aegean, still less the East), and, while possessing (if I could achieve it) the fair elusive beauty that some call Celtic (though it is rarely found in genuine ancient Celtic things), it should be ‘high’, purged of the gross, and fit for the more adult mind of a land long now steeped in poetry. I would draw some of the great tales in fullness, and leave many only placed in the scheme, and sketched. The cycles should be linked to a majestic whole, and yet leave scope for other minds and hands, wielding paint and music and drama. Absurd. Of course, such an overweening purpose did not develop all at once. The mere stories were the thing. They arose in my mind as ‘given’ things, and as they came, separately, so too the links grew. An absorbing, though continually interrupted labour (especially since, even apart from the necessities of life, the mind would wing to the other pole and spend itself on the linguistics): yet always I had the sense of recording what was already ‘there’, somewhere: not of ‘inventing’. Of course, I made up and even wrote lots of other things (especially for my children). Some escaped from the grasp of this branching acquisitive theme, being ultimately and radically unrelated: Leaf by Niggle and Farmer Giles, for instance, the only two that have been printed. The Hobbit, which has much more essential life in it, was quite independently conceived: I did not know as I began it that it belonged. But it proved to be the discovery of the completion of the whole, its mode of descent to earth, and merging into ‘history’. As the high Legends of the beginning are supposed to look at things through Elvish minds, so the middle tale of the Hobbit takes a virtually human point of view – and the last tale blends them.