Veil Mark Quotes

You heard me. A creature from another world, a dark world, lurks the halls of Hellgate, tormenting victims at will. A grotesque, gnarled, twisted creature, with thick iron stakes impaled into its body, whip marks across its chest and back-- the beast got inside my brain.

The veil deliberately marks women as private and restricted property, nonpersons. The veil sets women apart from men and apart from the world; it restrains them, confines them, grooms them for docility. A mind can be cramped just as a body may be, and a Muslim veil blinkers both your vision and your destiny. It is the mark of a kind of apartheid, not the domination of a race but of a sex.

She could hear in the traffic a white sound that threw veils across the present and allowed her to hold the scene to her the way that she held her own children—fighting time, conquered by it, ravished by it. For she believed that only through love can one feel the terrible pain of time, and then make it completely still.

Lovers, forget your love, And list to the love of these, She a window flower, And he a winter breeze. When the frosty window veil Was melted down at noon, And the caged yellow bird Hung over her in tune, He marked her through the pane, He could not help but mark, And only passed her by, To come again at dark. He was a winter wind, Concerned with ice and snow, Dead weeds and unmated birds, And little of love could know. But he sighed upon the sill, He gave the sash a shake, As witness all within Who lay that night awake. Perchance he half prevailed To win her for the flight From the firelit looking-glass And warm stove-window light. But the flower leaned aside And thought of naught to say, And morning found the breeze A hundred miles away.

The only question is this: Do you have enough empathy and yearning and desperation to connect to others outside yourself and scream into the void in four-part harmony? Enough brainpower and fine motor control and aesthetic ideation to look at feathers and stones and stuff that comes out of a worm’s more unpleasant holes and see gowns, veils, platform heels? Enough sheer style and excess energy to do something that provides no direct, material benefit to your personal survival, that might even mark you out from the pack as shiny, glittery prey, to do it for no other reason than that it rocks?

The being called God...bears every mark of a veil woven by philosophical conceit, to hide the ignorance of philosophers even from themselves. They borrow the threads of its texture from the anthropomorphism of the vulgar.

Each person is born with an unencumbered spot, free of expectation and regret, free of ambition and embarrassment, free of fear and worry; an umbilical spot of grace where we were each first touched by God. It is this spot of grace that issues peace. Psychologists call this spot the Psyche, Theologians call it the Soul, Jung calls it the Seat of the Unconscious, Hindu masters call it Atman, Buddhists call it Dharma, Rilke calls it Inwardness, Sufis call it Qalb, and Jesus calls it the Center of our Love. To know this spot of Inwardness is to know who we are, not by surface markers of identity, not by where we work or what we wear or how we like to be addressed, but by feeling our place in relation to the Infinite and by inhabiting it. This is a hard lifelong task, for the nature of becoming is a constant filming over of where we begin, while the nature of being is a constant erosion of what is not essential. Each of us lives in the midst of this ongoing tension, growing tarnished or covered over, only to be worn back to that incorruptible spot of grace at our core. When the film is worn through, we have moments of enlightenment, moments of wholeness, moments of Satori as the Zen sages term it, moments of clear living when inner meets outer, moments of full integrity of being, moments of complete Oneness. And whether the film is a veil of culture, of memory, of mental or religious training, of trauma or sophistication, the removal of that film and the restoration of that timeless spot of grace is the goal of all therapy and education. Regardless of subject matter, this is the only thing worth teaching: how to uncover that original center and how to live there once it is restored. We call the filming over a deadening of heart, and the process of return, whether brought about through suffering or love, is how we unlearn our way back to God

If learning lessons from history is a mark of enlightenment, so is breaking free from it.

The Muslim veil, the different sorts of masks and beaks and "burkas", are all gradations of mental slavery. (...) The veil deliberately marks women as private and restricted property, nonpersons. (...) I felt anger that this subjugation is silently tolerated (...) by so many Western societies where the equality of sexes is legally enshrined.

I can’t be responsible for losing you, the way I almost lost you tonight." The sense of vertigo is so bad now that Ryan seems fuzzy, as if I’m seeing him through a veil of light. ‘You’re already responsible,’ Ryan implores. ‘I’m a marked man. I could see it in his eyes when he looked at me. With you, or without you, I’m marked for death. And I’ll take my chances with you. In any life, given the same choice, I would choose you. Are you hearing me?

If learning lessons from history is a mark of enlightenment, so is breaking free from it. This applies equally to every religion, caste, creed and group.

He will suffer for every mark on your skin, every moment he frightened you, every tear you shed, before I finally put him out of his misery.

Diplomacy is not a veiling of the truth. It is the ability to be sensitive to the truth.

Any lack of balance in this respect, either too far below or too far above the mark, has an irritating effect upon the surroundings. To know if one has an inflation, a person has only to see if he or she gets on other people's nerves. If so, one is probably a bit overestimating one-self, or underestimating oneself for with an inflation a person may have feelings of either superiority or inferiority. Feelings of inferiority are just a veiled inflation. If one feels inferior, that's really ambition; a person wants to be more than one is. One wants to be a great person and knows one isn't. Inferiority is also inflation and, therefore, gets on people's nerves. Sometimes people come in and say, "Oh well, you know, I can't do it. How do you think I can do this? You know, I'm not capable, I'm so stupid, I can't think," and so on. Then I say, "Now stop that nonsense. Get on with your job." They are really making a conceited dance out of calling themselves inferior and incapable. (p. 73)

Samhain was considered to be a moment when the veil between this world and the otherworld was at its thinnest. Old gods had to be placated with gifts and sacrifice, and the trickery of fairies was an even greater risk than usual. This was a liminal moment in the calendar, a time between two worlds, between two phases of the year, when worshippers were about to cross a boundary but hadn’t yet done so. Samhain was a way of marking that ambiguous moment when you didn’t know who you were about to become, or what the future would hold. It was a celebration of limbo.

In the beginning we all feel a bit like imposters in our capes and veils and being called 'sister'. But don't worry about it -- just act like you think a nun should when you're not sure what to do, and you'll find that through grace and love you become one.

Mark my words," she said, eyes on me. "You will sing brigaki djilia by the time this is over. The songs of sorrow. The mulo will come for you, Sam of Wilds. The spirits of the dead will haunt you when this is said and done. You will live only to die alone with just the memories of your failures to usher you through the veil." "Yeah," Kevin said. "You seem like you'd be fun at parties.

Five members of the heretical sect of Quakers have been arrested,” he says, smiling blandly, “and more arrests are anticipated.” Two of the Quakers appear onscreen, a man and a woman. They look terrified, but they’re trying to preserve some dignity in front of the camera. The man has a large dark mark on his forehead; the woman’s veil has been torn off, and her hair falls in strands over her face. Both of them are about fifty.

(the pharmakon is neither remedy now poison, neither good nor evil, neither the inside nor the outside, neither speech nor writing; the supplement is neither a plus nor a minus, neither an outside nor the complement of an inside, neither accident nor essence, etc.; the hymen is neither confusion nor distinction, neither identity nor difference, neither consummation nor virginity, neither the veil nor unveiling, neither the inside nor the outside, etc.; the gram is neither a signifier nor a signified, neither a sign nor a thing, neither a presence nor an absence, neither a position nor a negation, etc.; spacing is neither space nor time; the incision is neither the incised integrity of a beginning, or of a simple cutting into, nor simple secondarity. Neither/nor, that is, simultaneously either or; the mark is also the marginal limit, the march, etc.)

I may say this is a deluded generation, veiled with ignorance, that tho[ugh] popery and slavery be riding in upon them, do not perceive it; tho[ugh] I am sure there was no man born marked of God above another, for none comes into the world with a saddle on his back, neither any booted and spurred to ride him.

Opportunity (from Machiavelli) "But who art thou, with curious beauty graced, O woman, stamped with some bright heavenly seal Why go thy feet on wings, and in such haste?" "I am that maid whose secret few may steal, Called Opportunity. I hasten by Because my feet are treading on a wheel, Being more swift to run than birds to fly. And rightly on my feet my wings I wear, To blind the sight of those who track and spy; Rightly in front I hold my scattered hair To veil my face, and down my breast to fall, Lest men should know my name when I am there; And leave behind my back no wisp at all For eager folk to clutch, what time I glide So near, and turn, and pass beyond recall." "Tell me; who is that Figure at thy side?" "Penitence. Mark this well that by decree Who lets me go must keep her for his bride. And thou hast spent much time in talk with me Busied with thoughts and fancies vainly grand, Nor hast remarked, O fool, neither dost see How lightly I have fled beneath thy hand.

One by one our skies go black. Stars are extinguished, collapsing into distances too great to breach. Soon, not even the memory of light will survive. Long ago, our manifold universes discovered futures would only expand. No arms of limit could hold or draw them back. Short of a miracle, they would continue to stretch, untangle and vanish – abandoned at long last to an unwitnessed dissolution. That dissolution is now. Final winks slipping over the horizons share what needs no sharing: There are no miracles. You might say that just to survive to such an end is a miracle in itself. We would agree. But we are not everyone. Even if you could imagine yourself billions of years hence, you would not begin to comprehend who we became and what we achieved. Yet left as you are, you will no more tremble before us than a butterfly on a windless day trembles before colluding skies, still calculating beyond one of your pacific horizons. Once we could move skies. We could transform them. We could make them sing. And when we fell into dreams our dreams asked questions and our skies, still singing, answered back. You are all we once were but the vastness of our strangeness exceeds all the light-years between our times. The frailty of your senses can no more recognize our reach than your thoughts can entertain even the vaguest outline of our knowledge. In ratios of quantity, a pulse of what we comprehend renders meaningless your entire history of discovery. We are on either side of history: yours just beginning, ours approaching a trillion years of ends. Yet even so, we still share a dyad of commonality. Two questions endure. Both without solution. What haunts us now will allways hunt you. The first reveals how the promise of all our postponements, ever longer, ever more secure – what we eventually mistook for immortality – was from the start a broken promise. Entropy suffers no reversals. Even now, here, on the edge of time’s end, where so many continue to vanish, we still have not pierced that veil of sentience undone. The first of our common horrors: Death. Yet we believe and accept that there is grace and finally truth in standing accountable before such an invisible unknown. But we are not everyone. Death, it turns out, is the mother of all conflicts. There are some who reject such an outcome. There are some who still fight for an alternate future. No matter the cost. Here then is the second of our common horrors. What not even all of time will end. What plagues us now and what will always plague you. War.

Oh!” she said, glancing out the side of her eye to where Jensen stared at me. “We tend to be more…open in our relationships. You should probably be ready to bathe him in piss if you want the other girls to know they aren’t able to take him for a ride,” she said, a teasing lilt coming into her voice. I didn’t have any desire to mark my territory. Okay, I did, but I didn’t want to have to. Any man who couldn’t be trusted to label himself as off-limits wasn’t worth my energy.

Sometimes it is the other way around. A white person is set down in our midst, but the contrast is just as sharp for me. For instance, when I sit in the drafty basement that is The New World Cabaret with a white person, my color comes. We enter chatting about any little nothing that we have in common and are seated by the jazz waiters. In the abrupt way that jazz orchestras have, this one plunges into a number. It loses no time in circumlocutions, but gets right down to business. It constricts the thorax and splits the heart with its tempo and narcotic harmonies. This orchestra grows rambunctious, rears on its hind legs and attacks the tonal veil with primitive fury, rending it, clawing it until it breaks through to the jungle beyond. I follow those heathen--follow them exultingly. I dance wildly inside myself; I yell within, I whoop; I shake my assegai above my head, I hurl it true to the mark yeeeeooww! I am in the jungle and living in the jungle way. My face is painted red and yellow and my body is painted blue. My pulse is throbbing like a war drum. I want to slaughter something--give pain, give death to what, I do not know. But the piece ends. The men of the orchestra wipe their lips and rest their fingers. I creep back slowly to the veneer we call civilization with the last tone and find the white friend sitting motionless in his seat, smoking calmly. "Good music they have here," he remarks, drumming the table with his fingertips. Music. The great blobs of purple and red emotion have not touched him. He has only heard what I felt. He is far away and I see him but dimly across the ocean and the continent that have fallen between us. He is so pale with his whiteness then and I am so colored.

One was a woman in a slim black dress, belted small under the armpits, with bulges like a cabbage in the middle of the sleeves, and a large black scoop-shovel bonnet with a black veil, and white slim ankles crossed about with black tape, and very wee black slippers, like a chisel, and she was leaning pensive on a tombstone on her right elbow, under a weeping willow, and her other hand hanging down her side holding a white handkerchief and a reticule, and underneath the picture it said “Shall I Never See Thee More Alas.

The writer of the book ascribed to Mark, in detailing the circumstances of the crucifixion, makes no mention of any earthquake, nor of the rocks rending, nor of the graves opening, nor of the dead men walking out. The writer of the book of Luke is silent also upon the same points. And as to the writer of the book of John, though he details all the circumstances of the crucifixion down to the burial of Christ, he says nothing about either the darkness — the veil of the temple — the earthquake — the rocks — the graves — nor the dead men.

Depression is a veil that dims not only our eyes but our spirit, making it hard to recall the beauty we once knew. Yet there is a grace that abides within us, patiently waiting until we find ourselves ready to breathe it in. When all else feels lost, may we trust in the quiet strength of this presence that neither leaves nor fails us.

In the first fright and horror of her situation, Miss Pross passed the body as far from it as she could, and ran down the stairs to call for fruitless help. Happily, she bethought herself of the consequences of what she did, in time to check herself and go back. It was dreadful to go in at the door again; but, she did go in, and even went near it, to get the bonnet and other things that she must wear. These she put on, out on the staircase, first shutting and locking the door and taking away the key. She then sat down on the stairs a few moments to breathe and to cry, and then got up and hurried away. By good fortune she had a veil on her bonnet, or she could hardly have gone along the streets without being stopped. By good fortune, too, she was naturally so peculiar in appearance as not to show disfigurement like any other woman. She needed both advantages, for the marks of gripping fingers were deep in her face, and her hair was torn, and her dress (hastily composed with unsteady hands) was clutched and dragged a hundred ways.

The Hindu doctrine teaches that a human cycle, to which it gives the name Manvantara, is divided into four periods marking so many stages during which the primordial spirituality becomes gradually more and more obscured; these are the same periods that the ancient traditions of the West called the Golden, Silver, Bronze, and Iron Ages. We are now in the fourth age, the Kali-Yuga or “dark age”, and have been so already, it is said, for more than six thousand years, that is to say since a time far earlier than any known to “classical” history. Since that time, the truths which were formerly within reach of all have become more and more hidden and inaccessible; those who possess them grow fewer and fewer, and although the treasure of “nonhuman” (that is, supra-human) wisdom that was prior to all the ages can never be lost, it nevertheless becomes enveloped in more and more impenetrable veils, which hide it from men’s sight and make it extremely difficult to discover. This is why we find everywhere, under various symbols, the same theme of something that has been lost—at least to all appearances and as far as the outer world is concerned—and that those who aspire to true knowledge must rediscover; but it is also said that what is thus hidden will become visible again at the end of the cycle, which, because of the continuity binding all things together, will coincide with the beginning of a new cycle. (The Dark Age, p. 3)

Even in death, some souls leave an intangible mark on the world. It is impossible not to feel them there, feel their presence just beyond the veil that separates the living from those already risen into the arms of the Lifegiver. Though I pray the loved ones I’ve lost have long since returned to the world in Laor’s infinite circle of rebirth, I cannot help but feel that some part of each of them remains yet with me, suspended between this old life I was a part of and the new one they must now enjoy. It is painful to feel that presence and the constant reminder it bears to mind, and yet it is simultaneously wondrously consoling to know that they are—even in some small way—still there to watch over and guide me…” —

The Woman Poet // Die Dichterin You hold me now completely in your hands. My heart beats like a frightened little bird's Against your palm. Take heed! You do not think A person lives within the page you thumb. To you this book is paper, cloth, and ink, Some binding thread and glue, and thus is dumb, And cannot touch you (though the gaze be great That seeks you from the printed marks inside), And is an object with an object's fate. And yet it has been veiled like a bride, Adorned with gems, made ready to be loved, Who asks you bashfully to change your mind, To wake yourself, and feel, and to be moved. But still she trembles, whispering to the wind: "This shall not be." And smiles as if she knew. Yet she must hope. A woman always tries, Her very life is but a single "You . . ." With her black flowers and her painted eyes, With silver chains and silks of spangled blue. She knew more beauty when a child and free, But now forgets the better words she knew. A man is so much cleverer than we, Conversing with himself of truth and lie, Of death and spring and iron-work and time. But I say "you" and always "you and I." This book is but a girl's dress in rhyme, Which can be rich and red, or poor and pale, Which may be wrinkled, but with gentle hands, And only may be torn by loving nails. So then, to tell my story, here I stand. The dress's tint, though bleached in bitter lye, Has not all washed away. It still is real. I call then with a thin, ethereal cry. You hear me speak. But do you hear me feel?

There was some that they called crayons, which one of the daughters which was dead made her own self when she was only fifteen years old. They was different from any pictures I ever see before—blacker, mostly, than is common. One was a woman in a slim black dress, belted small under the armpits, with bulges like a cabbage in the middle of the sleeves, and a large black scoop-shovel bonnet with a black veil, and white slim ankles crossed about with black tape, and very wee black slippers, like a chisel, and she was leaning pensive on a tombstone on her right elbow, under a weeping willow, and her other hand hanging down her side holding a white handkerchief and a reticule, and underneath the picture it said “Shall I Never See Thee More Alas.” Another one was a young lady with her hair all combed up straight to the top of her head, and knotted there in front of a comb like a chair-back, and she was crying into a handkerchief and had a dead bird laying on its back in her other hand with its heels up, and underneath the picture it said “I Shall Never Hear Thy Sweet Chirrup More Alas.” There was one where a young lady was at a window looking up at the moon, and tears running down her cheeks; and she had an open letter in one hand with black sealing wax showing on one edge of it, and she was mashing a locket with a chain to it against her mouth, and underneath the picture it said “And Art Thou Gone Yes Thou Art Gone Alas.” These was all nice pictures, I reckon, but I didn’t somehow seem to take to them, because if ever I was down a little they always give me the fan-tods. Everybody was sorry she died, because she had laid out a lot more of these pictures to do, and a body could see by what she had done what they had lost. But I reckoned that with her disposition she was having a better time in the graveyard.

them flouncing into the pool, drinking, tossing up their heads, drinking again, the water dribbling from their lips in silver threads. There was another flounce, and they came out of the pond, and turned back again towards the farm. She looked further around. Day was just dawning, and beside its cool air and colours her heated actions and resolves of the night stood out in lurid contrast. She perceived that in her lap, and clinging to her hair, were red and yellow leaves which had come down from the tree and settled silently upon her during her partial sleep. Bathsheba shook her dress to get rid of them, when multitudes of the same family lying round about her rose and fluttered away in the breeze thus created, "like ghosts from an enchanter fleeing." There was an opening towards the east, and the glow from the as yet unrisen sun attracted her eyes thither. From her feet, and between the beautiful yellowing ferns with their feathery arms, the ground sloped downwards to a hollow, in which was a species of swamp, dotted with fungi. A morning mist hung over it now—a fulsome yet magnificent silvery veil, full of light from the sun, yet semi-opaque—the hedge behind it being in some measure hidden by its hazy luminousness. Up the sides of this depression grew sheaves of the common rush, and here and there a peculiar species of flag, the blades of which glistened in the emerging sun, like scythes. But the general aspect of the swamp was malignant. From its moist and poisonous coat seemed to be exhaled the essences of evil things in the earth, and in the waters under the earth. The fungi grew in all manner of positions from rotting leaves and tree stumps, some exhibiting to her listless gaze their clammy tops, others their oozing gills. Some were marked with great splotches, red as arterial blood, others were saffron yellow, and others tall and attenuated, with stems like macaroni. Some were leathery and of richest browns. The hollow seemed a nursery of pestilences small and great, in the immediate neighbourhood of comfort and health, and Bathsheba arose with a tremor at the thought of having passed the night on the brink of so dismal a place.

This is the mark of a soul in pursuit of Jesus: we recognize him. He’s there in the stuff of the soul, the tendrils of the spirit. We’re like those who dream of home, but, like Anna, we know—the truth is there in our hearts the whole time. We see glimpses of him, and we have a holy hunch. He drifts like smoke or storms in like flashes of lightning insight or takes our breath when he appears even as a tiny baby in our own temples. We have these moments of transcendence, as if the thin veil between heaven and earth is fluttering in the most normal and ordinary moments of our lives, and then we can’t breathe for the loveliness of the world and each other, and just like that, our souls remember something; we recognize him here.

Beyond the borders of the land that was his lay the wilderness that was its own. The upthrust stone, the shoulders of the Bighorns, reddish gray where they stood near to the homestead and blue where they stood far—bluer, dissipating veils of blue lost against an indistinct horizon. The pale gold of autumn grass like the rough hide of an animal, wind-riffled down the mountain’s flank. The low trough where the river ran, a score mark in wet clay—dark, shadow-and-green, redolent of moving water, of soil that never went dry. And the infinite sweep of the prairie, yellow shaded with folds of violet until, a hundred miles away or more, the whole plain was swallowed by color and consumed, taken up by the lower edge of a sagging purple sky.

Hence the need for living daily and hourly and every moment at the very place of beginnings, ever as a child depending upon Him, and ever as one of the weakest of those who love Him, abiding in Him. It is a glorious thing to know that my cleansing and illumination depend upon Him, and that the whole of my responsibility in this matter is marked by my maintaining personal relationship with Him. This, however, is inexorable. Daily personal communion there must be, and the means of such, study of His word, waiting upon Him in prayer, the cultivation of close fellowship, by telling Him everything—joys as well as sorrows—and the periods of silence in which the soul simply waits and listens in the stillness for His voice, these cannot be neglected without a film, a veil, a cloud, a darkness coming between the soul and Himself, and so hindering the possibility of advancement.

An Atheopagan Prayer by Mark Green Praise to the wide spinning world Unfolding each of all the destined tales compressed In the moment of your catastrophic birth Wide to the fluid expanse, blowing outward Kindling in stars and galaxies, in bright pools Of Christmas-colored gas; cohering in marbles hot And cold, ringed, round, gray and red and gold and dun And blue Pure blue, the eye of a child, spinning in a veil of air, Warm island, home to us, kind beyond measure: the stones And trees, the round river flowing sky to deepest chasm, salt And sweet. Praise to Time, enormous and precious, And we with so little, seeing our world go as it will Ruing, cheering, the treasured fading, precious arriving, Fear and wonder, Fear and wonder always. Praise O black expanse of mostly nothing Though you do not hear, you have no ear nor mind to hear Praise O inevitable, O mysterious, praise Praise and thanks be a wave Expanding from this tiny temporary mouth this tiny dot Of world a bubble Going out forever meeting everything as it goes All the great and infinitesimal Gracious and terrible All the works of blessed Being. May it be so. May it be so. May our hearts sing to say it is so.

OLYMPAS: There is one doubt. When souls attain Such an unimagined gain Shall not others mark them, wise Beyond mere mortal destinies? MARSYAS: Such are not the perfect saints. While the imagination faints Before their truth, they veil it close As amid the utmost snows The tallest peaks most straitly hide With clouds their lofty heads. Divide The planes! Be ever as you can A simple honest gentleman! Body and manners be at ease. Not bloat with blazoned sanctities! Who fights as fights the soldier-saint? And see the artist-adept paint! Weak are those souls that fear the stress Of earth upon their holiness! The fast, they eat fantastic food, They prate of beans and brotherhood, Wear sandals, and long hair, and spats, And think that makes them Arhats! How shall man still his spirit-storm? Rational Dress and Food Reform! OLYMPAS: I know such saints. MARSYAS:                     An easy vice: So wondrous well they advertise! O their mean souls are satisfied With wind of spiritual pride. They're all negation. "Do not eat; What poison to the soul is meat! Drink not; smoke not; deny the will! Wine and tobacco make us ill." Magic is life; the Will to Live Is one supreme Affirmative. These things that flinch from Life are worth No more to Heaven than to Earth. Affirm the everlasting Yes! OLYMPAS: Those saints at least score one success: Perfection of their priggishness! MARSYAS: Enough. The soul is subtlier fed With meditation's wine and bread. Forget their failings and our own; Fix all our thoughts on Love alone!

Desire is… " Desire is the glow of bathing lunatics. Starlight is the liquid used to power a whispering machine. Humming is the music of a forest moving in unison with your eyes. * A slip of the tongue and the hummingbird’s empty throne make the acquaintance of the word frenzy, which in turn adopts the phrase: “I am closest to you when we are furthest apart,” and together they follow the anxious doorway that leads far out of the city, where travelers always meet, alone and abandoned with only their mysteries to guide them… and when the sun bleeds out of the dampness of the earth, like pale limbs entwined and exhausted, they all pause in their own fashion to reflect not upon themselves but on the white wolves in the garden shivering like mist, in the mirror hiding your face. * The nature of movement is an image lost between the objects of an eclipse fervently scratched into the face of a sleeping woman when she approaches the liquid state of a circle, wandering aimlessly in search of lucidity and those moments of inarticulate suspicion… when the riddle is only half solved and the alphabet is still adding letters according to the human motors that have not yet arrived, as a species, scintillating in the grass, burning time. Not far from your name there is always a question mark, followed by silent paws… * It is not without the mask of the Enchanter’s dance of unreason, that joy follows the torment of seductive shapes, and sudden appearances in the whisper of long corridors. Tribal veils rising out of fingerprints on invisible entrances in the middle of the landscape, assume the form of her shoulders and the intimacy of her bones making dust, taking flight. * The axis of revolt and the nobility of a springtime stripped of its flowers, expertly balanced with a murmur of the heart on the anvil of chance. Your voice arcing between the two points of day and night, where the oracle of water spinning rapidly above, that is your city of numerology, mixes with the flux of a long voyage more stone-like and absurdly graceful then either milkweed or deadly nightshade, when it acclimatizes the elements of transparency in the host of purity. * The dream birds of a lost language are growing underground in the bed of sorcery. It is all revealed in the arms of your obsession, Arachne, (crawling to kiss) pale Ariadne, (kneeling to feed) in a pool of light that exceeds the dimensions of the loveliest crime. She turns into your evidence, gaining speed and recognition, becoming a brightness never solved, and a clarity that makes crystals. * The early morning hours share their nakedness with those who bare fruit and corset fireflies in long slender bath-like caresses. “Your serum, Sir Moor’s Head, follows the grand figures of the sea, ignites them, throws them like vessels out of fire, raising the sand upwards into oddly repetitive enchantments. Drown me in flight, daughter of wonder…

... we decided to create a Nothing Place in the living room, it seemed necessary, because there are times when one needs to disappear while in the living room, and sometimes one simply wants to disappear, we made this zone slightly larger so that one of us could lie down in it, it was a rule that you never would look at that rectangle of space, it didn't exist, and when you were in it, neither did you, for a while that was enough, but only for a while, we required more rules, on our second anniversary we marked off the entire guest room as a Nothing Place, it seemed like a good idea at the time, sometimes a small patch at the foot of the bed or a rectangle in the living room isn't enough privacy, the side of the door that faced the guest room was Nothing, the side that faced the hallway was Something, the knob that connected them was neither Something nor Nothing. The walls of the hallway were Nothing, even pictures need to disappear, especially pictures, but the hallway itself was Something, the bathtub was Nothing, the bathwater was Something, the hair on our bodies was Nothing, of course, but once it collected around the drain it was Something, we were trying to make our lives easier, trying, with all of our rules, to make life effortless. But a friction began to arise between Nothing and Something, in the morning the Nothing vase cast a Something shadow, like the memory of someone you've lost, what can you say about that, at night the Nothing light from the guest room spilled under the Nothing door and stained the Something hallway, there's nothing to say. It became difficult to navigate from Something to Something without accidentally walking through Nothing, and when Something—a key, a pen, a pocketwatch—was accidentally left in a Nothing Place, it never could be retrieved, that was an unspoken rule, like nearly all of our rules have been. There came a point, a year or two ago, when our apartment was more Nothing than Something, that in itself didn't have to be a problem, it could have been a good thing, it could have saved us. We got worse. I was sitting on the sofa in the second bedroom one afternoon, thinking and thinking and thinking, when I realized I was on a Something island. "How did I get here," I wondered, surrounded by Nothing, "and how can I get back?" The longer your mother and I lived together, the more we took each other's assumptions for granted, the less was said, the more misunderstood, I'd often remember having designated a space as Nothing when she was sure we had agreed that it was Something, our unspoken agreements led to disagreements, to suffering, I started to undress right in front of her, this was just a few months ago, and she said, "Thomas! What are you doing!" and I gestured, "I thought this was Nothing," covering myself with one of my daybooks, and she said, "It's Something!" We took the blueprint of our apartment from the hallway closet and taped it to the inside of the front door, with an orange and a green marker we separated Something from Nothing. "This is Something," we decided. "This is Nothing." "Something." "Something." "Nothing." "Something." "Nothing." "Nothing." "Nothing." Everything was forever fixed, there would be only peace and happiness, it wasn't until last night, our last night together, that the inevitable question finally arose, I told her, "Something," by covering her face with my hands and then lifting them like a marriage veil. "We must be." But I knew, in the most protected part of my heart, the truth.