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.

Over the sward and low grounds a thin film of mist was stealing like smoke, marking the distances with a transparent veil; and here and there we could see the river faintly flashing in the moonlight.

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.

Away off in the flaming sunshine, Cardiff Hill lifted its soft green sides through a shimmering veil of heat, tinted with the purple of distance; a few birds floated on lazy wing high in the air; no other living thing was visible but some cows, and they were asleep.

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…” —

This is what occurs at the very beginning of the Gospel of Mark, when John the Baptist baptizes Jesus in the River of Jordan. “Just as Jesus was coming up out of the water, he saw heaven being torn open and the spirit descending on him like a dove.” [Mark 1:10, NIV] When you awaken, when spirit descends, the veil of your dream state is torn apart, and all of a sudden you’re awakened to a new reality.

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.

Hel's kingdom seems to have been reserved for the common dead, especially those who were not slain by handheld weapons. Valhöll, however, welcomed the valiant. Originally located beneath the earth, the Hall of Warriors fallen in battle" was transported close to Asgard, the abode of the gods, and according to the Sayings of Grimnir, it occupied the fifth heavenly dwelling place, the World of Joy (Gladsheimr) There, every day, Odin chose the warriors who died in combat and shared them with Frigg (Freyja). It was believed that Valhöll had the Unique Warriors (Einherjar), the elite. It is easy to understand why the Germans dreaded to die bedridden; if they were at risk of this, they asked those close to them to mark their bodies with spears. In the Saga of Ynglingar (chapter 9) Snorri Sturluson says that the god Odin, seen here from a euhemeristic perspective, proceeded in this way, but it is surprising to see Njörd, a god of the third function, demanding to be marked with this martial sign.

Of the veil or unveiling, which is the most alienating, the most humiliating, the most insulting? The immense hypocrisy of all those who denounce the veil, but are quite at ease with universal pornography. In any event, the question goes far beyond the veil and the female condition. At issue is a culture of obscenity that cannot but tear away all veils - according to the imperative of transparency. At issue is the profound jealousy of a ragged culture at all the ceremonial cultures - those cultures whose signs enwrap them, whereas our culture is laid bare by its signs themselves. This is merely the beginning of a general de-signification, in which all distinctive marks will become anathema, suspect of masking or even, quite simply, signifying something, and hence potentially terroristic. At the end of the process all that will be left will be lightweight, inoffensive signs - advertising signs or marks of the disembodied fanaticism of fashion. That, no doubt, is where the story of the veil will end.

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.

Why do humans kill the Fae Marked?” I asked, a hush falling over the woods with my words. It was as if Caelum forgot to breathe for a moment, the tension claiming his body bleeding through to me. “What difference does it make to them if we’re dead or taken? Why isn’t that our choice to make?” He sighed, tilting his head down as we walked, and I felt his chin touch the top of my head. “Being mated makes the Fae even stronger. That’s what the Viniculum is—why it protects us. Somewhere, there’s a mate looking for us, seeking to claim us as theirs. The establishment of a mate bond increases a Fae’s power. If you can keep a Fae from their mate, you can keep them stagnant. Unable to increase their power, and if you do successfully manage to kill the mate, some Fae don’t survive.” I’d heard that mates strengthened their Fae, in whispers, but I’d thought them the dramatic whispers meant to cause fear. “They die with us?” I asked, staring up at him as he pulled his chin away from my head. “When it’s the final death? Sometimes,” he answered. “Sometimes they’re lost to madness. Sometimes they seem to go mad before they ever find their mate.” “Are mates ever other Fae? Or is it always humans?” I asked, peppering him with questions and not even caring that it implied I was more interested than I should have let on. All the rules of my past were null and void, now that being Marked was my reality. Knowledge was my only power.

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!

My brave husband came back from fighting the Turks and brought me a robe of silk and a necklace of human teeth. He sat up at night by his hearth telling tales of battle. Apparently the Turks are ten times more ferocious and fearless than the Scots. 'Perhaps we should invite them here to drive the Scots back,' I suggested, and he laughed, but he didn't kiss me. That's when I learned the truth about scars. A man with a battle scar is a veteran, a hero, given an honoured place at the fire. Small boys gaze up fascinated, dreaming of winning such badges of courage. Maids caress his thighs with their buttocks as they bend over to mull his ale. Women cluck and cosset, and if in time other men grow a little weary of that tale of honour, then they call for his cup to be filled again and again until he is fuddled and dozes quietly in the warmth of the embers. But a scarred woman is not encouraged to tell her story. Boys jeer and mothers cross themselves. Pregnant women will not come close for fear that if they look upon such a sight, the infant in their belly will be marked. You've heard of the tales of Beauty and the Beast no doubt. How a fair maid falls in love with a monster and sees the beauty of his soul beneath the hideous visage. But you've never heard the tale of the handsome man falling for the monstrous woman and finding joy in her love, because it doesn't happen, not even in fairytales. The truth is that the scarred woman's husband buys her a good thick veil and enquires about nunneries for the good of her health. He spends his days with his falcons and his nights instructing pageboys in their duties. For if nothing else, the wars taught him how to be a diligent master to such pretty lads.

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.

The Old Issue October 9, 1899 “HERE is nothing new nor aught unproven,” say the Trumpets, “Many feet have worn it and the road is old indeed. “It is the King—the King we schooled aforetime !” (Trumpets in the marshes—in the eyot at Runnymede!) “Here is neither haste, nor hate, nor anger,” peal the Trumpets, “Pardon for his penitence or pity for his fall. “It is the King!”—inexorable Trumpets— (Trumpets round the scaffold at the dawning by Whitehall!) “He hath veiled the Crown and hid the Sceptre,” warn the Trumpets, “He hath changed the fashion of the lies that cloak his will. “Hard die the Kings—ah hard—dooms hard!” declare the Trumpets, Trumpets at the gang-plank where the brawling troop-decks fill! Ancient and Unteachable, abide—abide the Trumpets! Once again the Trumpets, for the shuddering ground-swell brings Clamour over ocean of the harsh, pursuing Trumpets— Trumpets of the Vanguard that have sworn no truce with Kings! All we have of freedom, all we use or know— This our fathers bought for us long and long ago. Ancient Right unnoticed as the breath we draw— Leave to live by no man’s leave, underneath the Law. Lance and torch and tumult, steel and grey-goose wing Wrenched it, inch and ell and all, slowly from the King. Till our fathers ’stablished, after bloody years, How our King is one with us, first among his peers. So they bought us freedom—not at little cost Wherefore must we watch the King, lest our gain be lost, Over all things certain, this is sure indeed, Suffer not the old King: for we know the breed. Give no ear to bondsmen bidding us endure. Whining “He is weak and far”; crying “Time shall cure.”, (Time himself is witness, till the battle joins, Deeper strikes the rottenness in the people’s loins.) Give no heed to bondsmen masking war with peace. Suffer not the old King here or overseas. They that beg us barter—wait his yielding mood— Pledge the years we hold in trust—pawn our brother’s blood— Howso’ great their clamour, whatsoe’er their claim, Suffer not the old King under any name! Here is naught unproven—here is naught to learn. It is written what shall fall if the King return. He shall mark our goings, question whence we came, Set his guards about us, as in Freedom’s name. He shall take a tribute, toll of all our ware; He shall change our gold for arms—arms we may not bear. He shall break his judges if they cross his word; He shall rule above the Law calling on the Lord. He shall peep and mutter; and the night shall bring Watchers ’neath our window, lest we mock the King— Hate and all division; hosts of hurrying spies; Money poured in secret, carrion breeding flies. Strangers of his counsel, hirelings of his pay, These shall deal our Justice: sell—deny—delay. We shall drink dishonour, we shall eat abuse For the Land we look to—for the Tongue we use. We shall take our station, dirt beneath his feet, While his hired captains jeer us in the street. Cruel in the shadow, crafty in the sun, Far beyond his borders shall his teachings run. Sloven, sullen, savage, secret, uncontrolled, Laying on a new land evil of the old— Long-forgotten bondage, dwarfing heart and brain— All our fathers died to loose he shall bind again. Here is naught at venture, random nor untrue— Swings the wheel full-circle, brims the cup anew. Here is naught unproven, here is nothing hid: Step for step and word for word—so the old Kings did! Step by step, and word by word: who is ruled may read. Suffer not the old Kings: for we know the breed— All the right they promise—all the wrong they bring. Stewards of the Judgment, suffer not this King!

The presence of the girl had simply given him a veil of decency with which to clothe an act of violence

Mark my words, for wisdom I lend. Where edge meets abyss, your path will wend. With brawn and spell, the veil you’ll rend, to find the Illager King’s dark end.

It took only five minutes for Tessa to realize that she had found her painting style. The brush glided over the surface of the canvas, the sable hairs leaving delicate marks in the Naples yellow, letting light shine through from underneath. The color slipped on like a veil over the grisaille, revealing just enough gray to make it look like flesh.

THE RIGHT BLOW IN THE HEAD The blow, as with all other blows, with the right hand, almost never starts an attack. It follows a blow (mark or normal), deal with the first hand, a task that is to break down the opponent's guard and create the ability to deal a blow with his right hand. The left-hand position of the opponent's body, which is in the boxing position, naturally creates a veil for the chin from the side blows. In order to cause the opponent to unveil, punched blows are used in the torso, forcing the opponent to defend the trunk, and thus weaken the head defense. As a punctured punch, you can apply simple or left-left eros in the torso.

As an element in the world revealed by computer exploration, the strange attractor began as a mere possibility, marking a place where many great imaginations in the twentieth century had failed to go. Soon, when scientists saw what computers had to show, it seemed like a face they had been seeing everywhere, in the music of turbulent flows or in clouds scattered like veils across the sky. Nature was constrained. Disorder was channeled, it seemed, into patterns with some common underlying theme.

In fact, if Venezuelan president Nicolás Maduro passed this same law, Americans would properly see it as a thinly veiled attempt to squelch the political rights of Venezuelans and to entrench himself in power.”19 To be clear, it was not “the Senate,” but the Democrat Party.

The Beleth stirred in its quiet corner of the inter world, tucked away, a fold within the folds of time. It was a haven it had created for itself many centuries before, when the old Watchers had learned to hunt it within the veil. They had never found it here. It was a secret place where it could feed and recover.

Those bastards are born with the Mark,

Are our marks unique to the Fae?

Fae Mark buzzed with warmth,

His Fae Mark glowed a soft white in response, the

If he considered the wind to be a price paid for freedom, then the sky was part of the prize. Evar sat beside his sister and watched the stars. The night sky rewarded attention. Like most things, it revealed new depths the longer it was studied. Parts of the sky that Evar had thought empty would slowly offer up fainter stars buried in the blackness. Here and there lengthier observation would pull faint veils of light from the depths, wisps of coloured mist that might in themselves be made of yet more stars, innumerable, hauntingly distant. Evar felt himself at once both infinitesimal and yet woven into the vastness promised by the sky. A peace so great and enfolding that even the distant hunting call of a cratalac couldn’t shake him from it.

It’s curious that ghosts, spectres, and spirits are so often depicted as transparent when no one is more opaque to the living than are the dead. Biographers offer keyholes through which the most famous may be viewed. Historians poke peepholes through the veil of years. For most though, we have nothing but what dust might sift down from the attic of memory.

Death's Embrace - A Soliloquy by Stewart Stafford In sincere tongue, declare with heart: Art thou but a mimic, shadow of the art, Or standest thou bold, architect of the new, Crafting the morrow in thy vision true? Unburden me from this oppressive weight, I cannot bear this overwhelming force. Despair hath found its pinnacle in me, And I must peer into realms unknown, If cherished sight fails me at mine end, I shall renounce all chimeras of the light. But fall not tamely from Life’s precipice, Death presses hard on thy frail fingers, Hold on, cry, resist thy certain ruin! Trouble's court, may yet bestow thee favour. Dreams are but fancies giv’n swift wings, That soar beyond the bounds of reason; In minds that dare to fly unshackled, The dreamer becometh the vision. Love is both a journey and destination: Long and painful upon the path, Unsought, yet blissful when it is found. From dust conjur’d — to stars, we’re turned. Beware the self-righteous man, Whose pride does unseat the very world Before he sees his error. Piteous wounds of thine own hand, 'Tis easy to judge from afar Without walking with aching bones. If there be cause that yet remaineth here, It showeth their harshness and injustice To themselves and their loving others. Mourn their release with mercy and thanks Transient whispers guide along chance’s way. Weep not for those who have found Death’s embrace, They lament for us who tarry on old shores. Death but ushers a veiled dawn, not life's twilight, A metamorphosis of guise, not of the spirit's light. Though we must part for now, we shall be one again. For love’s wrought by flesh, yet holds not its chain. Time-worn age stoops; penitents depart. Pawned as one in vigilant trance But what a folly 'tis to mark the signs of our undoing; Memory's comet trails bequeathed to loved ones left, Contagion's rehearsal on the ephemeral stage. With luck, a stand-in may go on in thy stead. Ere thy final bow becomes unavoidable. With tyrant Death prowling public ways, I turn from mankind hence to seek delight. A chamber ceiling seen upon morn's wake, I say: “The sun does rise? Let's haste away!” Upon waking, a stone tomb's ashen lid, I would perchance say: “Alas!..mine eyes do grow heavy.” A life well-liv’d is not weigh’d by earthly goods Or the number of mourners at the grave. Numerous, deep laugh lines tell the tale, On the face of the person lying still in the crypt, Reveals threescore years and twelve’s true worth. Death is not the villain of the piece; It is the next phase of life, in strange attire. I accept my fate with grace and courage. For I have liv’d and lov’d and dream’d enough. © Stewart Stafford, 2024. All rights reserved.

The empty dishes on the kitchen table. A glass over the corner of a napkin. The liquid at its bottom, vibrating at the rhythm of my drumming. There it was, in all its splendour: Reality. All the mysteries and any possible revelation were in that domestic glass, sleeping under a veil. Every possible adventure, already taking place at the point where a gaze encounters an object, or a mind a thought. I looked at the shadow-lines that the table lamp cast on the napkin and followed their trajectory beyond their mark. I looked at the reflections on the glass and slid the back of my hand against its cold body. I wondered if it might feel me, the same as I felt it. If it was staring at me and receiving as silent an answer as the one I got from it. Maybe I was doing it wrong. I should have proceeded with order: cataloguing what I could see and all its qualities, while looking for a gap where my reason could break in. Or maybe I should have done the opposite: becoming pure awareness, staring at my surroundings devoid of any intentions, with the clear eye of a hanging mirror. The cigarette embers licked my fingers and I put it out in the ashtray. I had done that countless times already: looking and looking and finding nothing else than what I knew. I was surrounded by a library, encased within each speck of space and time, and yet I was blind to its words. I felt tired. The glass was still there. I closed my eyes to look for the image of it that I had impressed in my memory. I found it. I lost it. I found it again, and soon it faded. I stretched my legs under the table and I rested my head on the palm of my hands. The glass was still there in my memory. I found it. I lost it. I looked again.

New dress codes stigmatized Jews using the same colorful fabric or garments that marked prostitutes. For instance, in the fifteenth century, Roman Jewish women were required to wear a red overskirt that prostitutes also wore; Jewish women in other parts of Italy had to wear a yellow veil—a sign of the prostitute in Italian cities from the fourteenth through the sixteenth centuries.

New dress codes stigmatized Jews using the same colorful fabric or garments that marked prostitutes. For instance, in the fifteenth century, Roman Jewish women were required to wear a red overskirt that prostitutes also wore; Jewish women in other parts of Italy had to wear a yellow veil—a sign of the prostitute in Italian cities from the fourteenth through the sixteenth centuries. In 1397, Venetian law required Jews to wear a yellow badge, and a 1416 law required prostitutes and pimps to wear a yellow scarf. In Viterbo, any Jewish woman who dared appear on the streets without her yellow veil could be stripped naked by the first person to apprehend her—the same punishment prescribed in other cities for prostitutes who strayed from the districts where they were allowed to solicit customers.

Each individual carries a sacred story, marked by joy and sorrow alike, yet so many are hidden behind veils of silence. We often rush to label others as cold or distant without realizing that their hearts may be heavy with untold burdens. Let us embrace the notion that every encounter is a chance to meet the unspoken narratives, recognizing that beneath the exterior lies a profound need for connection and understanding.

He raised his hands, wielding the wood in the wall opposite and marking down four letters. “K for Kipling, I for Imai, N for Night, and G for Grus.” Wilbur jutted up his chin. “King’s Hollow this shall be, now and forevermore.

Time does not heal all wounds... some just become more complicated.

There was another price too, though again, Aisha had no way of knowing the full extent of it. The sight of her riding into Medina on Safwan’s camel had branded itself into the collective memory of the oasis, and that was the last thing Muhammad needed. In due course, another Quranic revelation dictated that from now on, his wives were to be protected by a thin muslin curtain from the prying eyes of any men not their kin. And since curtains could work only indoors, they would soon shrink into a kind of minicurtain for outdoors: the veil. The Revelation of the Curtain clearly applied only to the Proph et’s wives, but this in itself gave the veil high status. Over the next few decades it would be adopted by women of the new Islamic aristocracy—and would eventually be enforced by Islamic fundamentalists convinced that it should apply to all women. There can be little doubt that this would have outraged Aisha. One can imagine her shocking Muslim conservatives by tearing off her veil in indignation. She had accepted it as a mark of distinction—but as an attempt to force her into the background? The girl so used to high visibility had no intention of being rendered invisible.

Swinburne also straightened. “To monotheism, perhaps. A yearning for the advent of a new paganism. How I rue the One who casts his veil of grey over us, Richard; who bids us contemplate death when all around us are the bright colours and vibrancies of glorious life. We have allowed ourselves to be crushed by a despotic deity who demands of us a lifetime of toil and service and promises in return a harsh judgement for most, and ambiguous rewards only for those who enforce His rule. I place all my hopes in Darwin. His wonderful insight can teach a far greater satisfaction and reassurance than blind faith can offer—a simple pleasure gained from the sheer exuberance and tenacity of existence. The human species should revel in a permanent state of delighted astonishment at this world, but instead we allow ourselves to be yoked to a tiresome and unyielding fear of it.

How we react to the presidency of Donald Trump will be the first test of our preparedness. His administration in its infancy is already wracked with scandals. But the real scandal is that he is president at all. Yes, a few extra votes in key states might have changed the electoral college outcome. But a Democratic victory would not have masked the fact that it was a third force that surged from below to fill a vacuum and defeat both parties. There proved to be an untapped yearning to hear someone address America’s new challenges in a different key, someone willing to champion change and say without equivocation that America can be great. Trump offered an authoritarian snarl and an ever-changing string of bizarre spontaneous “positions,” not a political vision. But his demagogic skills were sufficient to move millions to applaud his race baiting, his misogyny, his hardly veiled threats of violence, his contempt for the press, and his contempt for the law.

Reframing what happens to us can be a healthy way to survive terrible things, or it can become a veil of denial that keeps us from moving on. Often, we simply have to trust that we will see the truth of things when we are strong enough and ready. Yet the danger in not seeing things as they are or were is that we can start to believe that in order to learn something we need someone to throw us off the boat, or out of the relationship. If we can't see the difference between the cruelty or hardship we experience and the wisdom waiting in our reflex to survive, we can find ourselves needing crisis and pain in order to learn. While much learning comes form crisis and pain, not all of it needs to. We don't need something to go wrong in order to change.

Something potent, something that fused them together, that made her beginning entwine with his end, passed between them. He'd marked her his. And she didn't want to fight it.

An image! A sign! The language of the Law is metaphorical. This is another proof that I hit the mark when I called you offspring of the jinn, not the daughters of human beings.” “What is the Law save words of advice from the jinn to the desert’s inhabitants?” “Really?” “Have you forgotten that Mandam, the desert people’s forefather, wasn’t expelled from Waw until the day his mouth devoured a fruit from the orchard?” “Oh . . . Mandam. . . .” “The mouth is the weak spot that led to our expulsion from the orchard and turned our world into a desert. Do you know the status of the mouth in customary law?” “I’m not a diviner; how would I know?” “A man’s mouth is comparable in every respect to the secret a woman conceals between her legs.

Love and the Eyes A believer may come to know the reality of another person either through his or her face, or through his or her words. God says: And if We wish, We could show them to you, then you would recognise them by their mark. And you will certainly recognise them by [their] tone of speech, and God knows your deeds. (Muhammad, 47:30) And the Messenger of God (s.a.w.) said: ‘Beware the insight of the believer, for he [or she] sees by the light of God.’ [148] This is generally the case with the believers, but there is something special—a great mystery—about a person’s eyes which may: (1) express love; or (2) engender love in the beholder himself or herself [149] , or (3) engender love in the one who looks into their eyes. In other words, love may: (1) be seen by others in a person’s eyes; (2) ‘enter’ a person through his or her eyes into his or her soul and heart as they look at someone else, or (3) cause another person to love them as a result of a meeting of the eyes—of ‘eye-contact’. God alludes to all of this with His words: He knows the treachery of the eyes and what the breasts hide. (Ghafir, 40:19) Thus the eyes betray love in the soul and heart, and make it plain to see; and the eyes can also cause love to grow, when there is prolonged eye-contact. This allows us to understand the two Hadiths: Ibn Mas’ud and Hudhayfah both reported that the Messenger of God (s.a.w.) said: ‘The glance of the eye is a poison dart fired by Iblis [the Devil]; whosoever leaves it through fear of Me, I shall replace it for him with a faith whose sweetness he shall experience in his heart.’ [150] And ‘Ali bin Abi Talib (a.s.) reported that the Messenger of God (s.a.w.) said: ‘O ‘Ali, do not follow one glance with another, for you are permitted the first one but not the second.’ [151] Conversely, when Mughirah ibn Shu’bah wanted to ask for a woman’s hand in marriage, the Messenger of God (s.a.w.) said to him: ‘Look upon her, for it is more likely that you will bond with each other.’ [152] This explains the importance of lowering one’s gaze [153] , which God commands the believers to do, with His words: Tell believing men to lower their gaze and to guard their private parts. That is purer for them. Truly God is Aware of what they do. / And tell believing women to lower their gaze and to guard their private parts, and not to display their adornment except for what is apparent, and let them draw their veils over their bosoms and not reveal their adornment, except to their husbands or their fathers, or their husbands’ fathers, or their sons, or their husbands’ sons, or their brothers, or their brothers’ sons, or their sisters’ sons, or their women, or what their right hands own, or such men who are dependant, not possessing any sexual desire, or children who are not yet aware of women’s private parts. And do not let them thump with their feet to make known their hidden ornaments. And rally to God in repentance, O believers, so that you might be successful. (Al-Nur, 24:30-31) Similarly, God warns His Messenger (s.a.w.) as follows: And do not extend your glance toward what We have given to some pairs among them to enjoy, [as] the flower of the life of this world that We may try them thereby.

Though Pius acted discreetly, he did not hide Hitler's attack plan under the proverbial bushel basket. During the second week of January 1940, a general fear gripped Western diplomats in rome as the pope's aides warned them of the German offensive, which Hitler had just rescheduled for the 14th. On the 10th, a Vatican prelate warned the Belgian ambassador at the Holy See, Adrien Nieuwenhuys, that the Germans would soon attack in the West. ... Pius had in fact already shared the warning, while shielding the source. On 9 January, Cardinal Maglione directed the papal agent in Brussels, Monsignor Clemente Micara, to warn the Belgians about a coming German attack. Six days later, Maglione sent a similar message to his agent in The Hague, Monsignor Paolo Giobbe, asking him to warn the Dutch. That same month, Pius made a veiled feint toward public protest. He wrote new details on Polish atrocities into Radio Vatican bulletins. But when Polish clergy protested that the broadcasts worsened the persecutions, Pius recommitted to public silence and secret action.

April 19 MORNING “Behold, the veil of the temple was rent in twain from the top to the bottom.” — Matthew 27:51 NO mean miracle was wrought in the rending of so strong and thick a veil; but it was not intended merely as a display of power — many lessons were herein taught us. The old law of ordinances was put away, and like a worn-out vesture, rent and laid aside. When Jesus died, the sacrifices were all finished, because all fulfilled in Him, and therefore the place of their presentation was marked with an evident token of decay. That rent also revealed all the hidden things of the old dispensation: the mercy-seat could now be seen, and the glory of God gleamed forth above it. By the death of our Lord Jesus we have a clear revelation of God, for He was “not as Moses, who put a veil over his face.” Life and immortality are now brought to light, and things which have been hidden since the foundation of the world are manifest in Him. The annual ceremony of atonement was thus abolished. The atoning blood which was once every year sprinkled within the veil, was now offered once for all by the great High Priest, and therefore the place of the symbolical rite was broken up. No blood of bullocks or of lambs is needed now, for Jesus has entered within the veil with his own blood. Hence access to God is now permitted, and is the privilege of every believer in Christ Jesus. There is no small space laid open through which we may peer at the mercy-seat, but the rent reaches from the top to the bottom. We may come with boldness to the throne of the heavenly grace. Shall we err if we say that the opening of the Holy of Holies in this marvellous manner by our Lord’s expiring cry was the type of the opening of the gates of paradise to all the saints by virtue of the Passion? Our bleeding Lord hath the key of heaven; He openeth and no man shutteth; let us enter in with Him into the heavenly places, and sit with Him there till our common enemies shall be made His footstool.

A Sunset I love the evenings, passionless and fair, I love the evens, Whether old manor-fronts their ray with golden fulgence leavens, In numerous leafage bosomed close; Whether the mist in reefs of fire extend its reaches sheer, Or a hundred sunbeams splinter in an azure atmosphere On cloudy archipelagos. Oh, gaze ye on the firmament! A hundred clouds in motion, Up-piled in the immense sublime beneath the winds' commotion, Their unimagined shapes accord: Under their waves at intervals flame a pale levin through, As if some giant of the air amid the vapors drew A sudden elemental sword. The sun at bay with splendid thrusts still keeps the sullen fold; And momently at distance sets, as a cupola of gold, The thatched roof of a cot a-glance; Or on the blurred horizon joins his battle with the haze; Or pools the blooming fields about with inter-isolate blaze, Great moveless meres of radiance. Then mark you how there hangs athwart the firmament's swept track, Yonder a mighty crocodile with vast irradiant back, A triple row of pointed teeth? Under its burnished belly slips a ray of eventide, The flickerings of a hundred glowing clouds in tenebrous side With scales of golden mail ensheathe. Then mounts a palace, then the air vibrates--the vision flees. Confounded to its base, the fearful cloudy edifice Ruins immense in mounded wrack; Afar the fragments strew the sky, and each envermeiled cone Hangeth, peak downward, overhead, like mountains overthrown When the earthquake heaves its hugy back. These vapors, with their leaden, golden, iron, bronz¨¨d glows, Where the hurricane, the waterspout, thunder, and hell repose, Muttering hoarse dreams of destined harms, 'Tis God who hangs their multitude amid the skiey deep, As a warrior that suspendeth from the roof-tree of his keep His dreadful and resounding arms! All vanishes! The Sun, from topmost heaven precipitated, Like a globe of iron which is tossed back fiery red Into the furnace stirred to fume, Shocking the cloudy surges, plashed from its impetuous ire, Even to the zenith spattereth in a flecking scud of fire The vaporous and inflam¨¨d spaume. O contemplate the heavens! Whenas the vein-drawn day dies pale, In every season, every place, gaze through their every veil? With love that has not speech for need! Beneath their solemn beauty is a mystery infinite: If winter hue them like a pall, or if the summer night Fantasy them starre brede.

The phrase "son of God" marks a frame or inclusio around the entire gospel, and provides another large example of Mark's use of irony. Mark 1:1 tells us that Jesus is God's son. In the course of the gospel, demons recognize Him as the "son of God" (3:11; 5:7; cf. 1:34), but as soon as they say it, Jesus silences them. The disciples don't confess that Jesus is Son of God, not even Peter, who says only that Jesus is the "Christ" (8:29). As readers, we know from the first verse that Jesus is the "Son of God"; we see that the demons know who Jesus is. As we read along, we hope that one of the disciples will catch on. Finally, just as Jesus dies, and because of the way He dies, the person confessing Jesus as the Son is not a disciple, but a Roman centurion (15:33–39). Though no other human being confesses Jesus as the "son of God," God the Father uses this title in a few places. The first is at the beginning of the gospel in the baptism scene. Jesus is baptized and called the "beloved Son." In the same passage, Mark tells us that the heavens are "opened." The Greek word here is schizo, and the use of this word to describe the opening of the heavens at the baptism is unique to Mark. It is used regularly in the Old Testament to describe the Lord's coming by rending the heavens (Is. 64:1; Ps. 18:9). At the baptism, the Father shows that He has torn open the sky to come to deliver His people. Jesus' arrival is the sign that the heavens have been opened. Later, Mark uses the same verb for the rending of the temple veil (15:38), just before the centurion confesses Jesus. Heavens rent, and the Father identifies His Son; the temple curtain is divided, and a Gentile echoes the Father's words.

His blood was boiling in his veins and a red veil had drifted over his vision. The urge to make her his permanently, to mark her and bond her until he never had to worry about losing her was so strong he had to turn away again.

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.” He leaned forward, brushing his lips against the corner of my mouth. Not quite a kiss, not quite not.

Seven to reach beyond the veil… …while six hold lights ot mark the trail. Five to bend both heart and mind… …Four to seek, but three to find. At the heart lies life eternal— —Machine and blood complete the circle. Two’s false division shall be undone— Without the Force all are made one. Wake the spark beneath the flesh… …And then, at last, lay death to rest.

I’m one walker that’s stood way up and looked way down acrost aplenty of pretty sights in all their veiled and nakedest season. Thumbing it. Hitching it. Walking and talking it. Chalking it. Marking it. Sighting it and hearing it. Seeing and feeling and breathing and smelling it in, sucking down me, rubbing it all in the pores of my skin, and the wind between my eyes knocking honey in my comb….

I turned to look, finding four beautiful music boxes sitting on the table along the line of the scorch mark, each one engraved with a star sign linked to a Guild Stone.

A mark of false spiritual leadership is people who, in their effort to look good, lie. They don’t talk straight. They rarely say what they mean, and because of that, some of their followers may actually sense that these people are hard to trust. In conversations, everything seems somehow veiled, or hidden, or else people are told they are not spiritual enough to understand teachings or decisions of the leaders. The leaders sound pious enough, even spiritual. But we are left with the vague sense that something is missing. They will give you the “right” answer, but rarely will you get the “real” answer. Everything has a double meaning. One result is that you cannot confront them or pin anything down. It will be hard to know where you stand.

He gathered his strength, pushed pain to the back of his mind and shifted his weight, easing off the monstrous hard-on she couldn’t fail to notice. It took her a moment to look up from kneading his calves. Her hands stopped abruptly and he heard her shocked inhale. He rolled over, needing to see her face— her eyes. She shoved back away from him, her eyes widening, the long lashes veiling her expression. As she went to pull away, she held up her hands, palms out, defensively, as if warding him off. Long-buried, maybe even unknown instincts took over. His hand whipped up, pushing air toward her left palm. Sparks danced between them, silver and gold, like tiny fireflies. She cried out and cradled her hand to her, that little frown drawing his attention to her soft mouth. “Let me see.” “What did you do?” “I don’t know. Let me see.” Her gaze dropped to his heavy erection and her eyes grew stormy. “Just put that away.” There it was again— that urge to smile. “It’s not a weapon. And you put it there. You take it away.” “Well, we found out one thing out about you, didn’t we?” She snatched the blanket and flung it over him, tenting his monstrosity of a hard-on. “You haven’t had sex in a long time.” She was close so he caught her wrist and turned her injured palm over, drawing her hand closer for his inspection. Two faint marks, circles intertwined one through the other. He pressed the pad of his thumb over the marks and rubbed in a circular motion. “If you think I brought you home so you could have sex, you picked the wrong person. I don’t do that sort of thing with just anyone.” His fingers tightened around her hand. “I’m glad to hear that.

I’ve always said I didn’t want an ordinary life. Nothing average or mundane for me. But as I stared at the rather ample naked derriere wiggling two inches from my face today, I realized I should have been more specific with my goals. Definitely not ordinary, but not exactly what I had in mind. The Texas-flag tattoo emblazoned across the left cheek waved at me as she shifted her weight from foot to foot. The flag was distorted and stretched, as was the large yellow rose on the right cheek, both tattoos dotted with dimples and pock marks. An uneven script scrawled out “The Yellow Rose of Texas” across the top of her rump. Her entire bridal party—her closest friends and relatives, mind you—had left her high and dry. They’d stormed off the elevator as I tried to enter it, a flurry of daffodil-yellow silk, spouting and sputtering about their dear loved one, Tonya the bride. “That’s it! We’re done!” They sounded off in a chorus of clucking hens. “We ain’t goin’ back in there. She can get ready on her own!” “Yeah, she can get ready on her own!” “Known her since third grade and she’s gonna talk to me like that?” “Third grade? She’s my first cousin. I’ve known her since the day she was born. She’s always been that way. I don’t know why y’all acting all surprised.” I felt more than a little uneasy about what all this meant for our schedule. The ceremony was supposed to start in fifteen minutes. The bride should have already been downstairs and loaded in the carriage to make her way to the hotel’s beach. My unease grew to panic when I knocked on Tonya’s door and she opened it clad only in a skimpy little satin robe. “Honey, you’re supposed to be dressed and downstairs already.” I tried to say it as sweetly as possible, but I’m sure my panic came through. My Southern accent kicked in thick, which usually only happens when I’m panicked or frustrated. Or pissed. Or drunk. “Do you think I don’t know that?” she asked, arching a perfectly drawn-on eyebrow. “Do you think somehow when I booked this wedding and had invitations printed and planned the entire damned event, I somehow didn’t realize what time the ceremony started? And just who the hell are you anyway?” Well, alrighty then. Obviously this was going to be a fun day. “Um, I’m Tyler Warren. I’m assisting Lillian with your wedding today.” “Fine. Those bitches left me with my nails wet.” She held up both hands to show me the glossy, fresh manicure. “How the hell am I supposed to get dressed with wet nails?” she asked, arching both eyebrows now and glaring at me like I was somehow responsible for this. “Oh.” My mind spun with the limited time frame I had available, the amount of clothing she still needed to put on, and the amount of time it would take to get her in the carriage and to the ceremony. “Give me just a second to let Lillian know we’ll be down shortly.” I smiled what I hoped was my sweetest smile and stepped backward into the hallway. She slammed the door as I frantically dialed Lillian’s cell. “You’d better be calling to tell me she is in the carriage and on her way,” Lillian said. “It is hotter than Hades out here. I have several people looking like they’re about to faint, and I may possibly dunk a cranky, tuxedoed five-year-old

When you hear the lovers’ words, think them not a mistake You don’t recognize these words, the error must be your take. The here and hereafter cannot tame my spirit and soul Praise God for all the intrigue in my mind that is at stake. I know not who resides within my heart Though I am silent, he must shake and quake. My heart went through the veil, play a song Hark, my fate, this music I must make. I paid no heed, worldly affairs I forsake It is for your beauty, beauty of the world I partake. My heart is on fire, I am restless and awake To the tavern to cure my hundred day headache. My bleeding heart has left its mark in the temple You have every right to wash my body in a wine lake. In the abode of the Magi, I am welcome because The fire that never dies, in my heart is awake. What was the song the minstrel played? My life is gone, but breathing, I still fake! Within me last night, the voice of your love did break

Oft When Somber shadows veil the human laughter,and lowly made depression its doom above us sink,from agonal mind with grief that drive's and batter mark'd by the sails of lonely hours that steep to think.

CONTIMENT’S END At the equinox when the earth was veiled in a late rain, wreathed with wet poppies, waiting spring, The ocean swelled for a far storm and beat its boundary, the ground-swell shook the beds of granite. I gazing at the boundaries of granite and spray, the established sea-marks, felt behind me Mountain and plain, the immense breadth of the continent, before me the mass and doubled stretch of water. I said: You yoke the Aleutian seal-rocks with the lava and coral sowings that flower the south, Over your flood the life that sought the sunrise faces ours that has followed the evening star. The long migrations meet across you and it is nothing to you, you have forgotten us, mother. You were much younger when we crawled out of the womb and lay in the sun’s eye on the tideline. It was long and long ago; we have grown proud since then and you have grown bitter; life retains Your mobile soft unquiet strength; and envies hardness, the insolent quietness of stone. The tides are in our veins, we still mirror the stars, life is your child, but there is in me Older and harder than life and more impartial, the eye that watched before there was an ocean. That watched you fill your beds out of the condensation of thin vapor and watched you change them, That saw you soft and violent wear your boundaries down, eat rock, shift places with the continents. Mother, though my song’s measure is like your surf-beat’s ancient rhythm I never learned it of you. Before there was any water there were tides of fire, both our tones flow from the older fountain.

All that matters is to be on a path, to be constantly moving toward the top—one measured, controlled, and strictly supervised step at a time—passing diligently through specific “abodes and stations” along the Way, each of which is marked by an ineffable experience of spiritual evolution, until one finally reaches the end of the journey: that moment of enlightenment in which the veil of reality is stripped away, the ego obliterated, and the self utterly consumed by God.

One cannot learn from history, a posteriori, because causal relationships are deceptively veiled from our perception

You are fascinated with the girls,” Huma said. Lada snapped her attention back to the older woman. She had assumed Huma was so absorbed in her consumption of food that Lada had let her mind and gaze wander. “Why do they veil their faces? Does your god hate even the sight of women?” Huma laughed. “You misunderstand. Women should veil their bodies, yes. But veiling the face is a symbol of status. Only women who are so well provided for they can afford not to do menial labor may wear a veil. These girls have earned their veils. It is a mark of privilege.” “Privilege? They are slaves!” Huma laughed. “So am I, dearest. I was sold as a very young girl, brought to the harem as a servant as well.” Lada scowled. “You should have fought them. You should have escaped.” “To where? I was angry, for many years. And frightened. But there are many ways to be powerful. There is power in stillness. There is power in watching, waiting, saying the right thing at the right time to the right person. There is power in being a woman—oh yes, power in these bodies you gaze upon with derision.” Huma ran one hand down her ample breasts, over her stomach, and rested it on her hip. “When you have something someone else wants, there is always an element of power.” “But it can be taken from you.” Lada had seen enough of men and the world to know that a woman’s body was not an object of power. “Or it can be given in exchange for more important things. These girls, my servants, understand that. The smart ones, anyhow. They will spend years climbing, trying to get in a position where they have some measure of control. The ones who are clever will do better than the ones who are merely beautiful.” Her gaze was so pointed, Lada felt herself blush. She dropped the pieces of ripped flatbread onto the plate in front of her. She felt awkward, ungainly, and uglier than she had ever considered herself before. It had not bothered her, most of her life, knowing that she was not beautiful, would never gain admiration for her looks alone. But Huma used her face as a weapon and a tool in a way Lada never could. Lada had never realized that simply by being attractive, she might have gained more threads of power.

Uncle Mark?” Zelda’s voice, so quiet he almost didn’t hear it. “I knew you’d think I was crazy.” His body stiffened and his eyes clamped tight. As the boiling pasta grew soggy, Maya’s words echoed in his thoughts, clearer than he wanted to admit. “The veil festers and widens.” “Ajar… A jar… J’harr.” Because how could you tell someone the improbable? The impossible? Something your entire reality had been built on denying? Trust, he realized.

O fleeting stars, that softly mark my way, Through distant lands and years that gently fade, My heart, unyielding, holds thy name alone. Each quiet hour, in shadows of my soul, I muse on days when we might meet once more. In crowded halls, where laughter veils the truth, I wore a smile, yet thou wert ever near— A thought unspoken, woven in my mind, That stirred amidst the mirth I scarce believed. No word confessed it, yet my spirit knew. But soft, what fault have I, in blindness, sown? With her, my gentle love, I strayed amiss— A careless step, a moment’s frail misdeed. Now, in this stillness, sorrow clouds my breast, And whispers low: what grace have I undone?

O fleeting stars, that softly mark my way, Through distant lands and years that gently fade, My heart, unyielding, holds thy name alone. Each quiet hour, in shadows of my soul, I muse on days when we might meet once more. In crowded halls, where laughter veils the truth, I wore a smile, yet thou wert ever near— A thought unspoken, woven in my mind, That stirred amidst the mirth I scarce believed. No word confessed it, yet my spirit knew. But soft, what fault have I, in blindness, sown? With her, my gentle love, I strayed amiss— A careless step, a moment’s frail misdeed. Now, in this stillness, sorrow clouds my breast, And whispers low: what grace have I undone?

O fleeting stars, that softly mark my way, Through distant lands and years that gently fade, My heart, unyielding, holds thy name alone. Each quiet hour, in shadows of my soul, I muse on days when we might meet once more. In crowded halls, where laughter veils the truth, I wore a smile, yet thou wert ever near— A thought unspoken, woven in my mind, That stirred amidst the mirth I scarce believed. No word confessed it, yet my spirit knew. But soft, what fault have I, in blindness, sown? With her, my gentle love, I strayed amiss— A careless step, a moment’s frail misdeed. Now, in this stillness, sorrow clouds my breast, And whispers low: what grace have I undone?

You wear the mark of a traitor so well.

Oriental charm and mystery and tropic deliciousness. Nothing is quite satisfyingly Oriental that lacks the somber and impressive qualities of mystery and antiquity. I find that, as a rule, when a thing is a wonder to us, it is not because of what we see in it, but because of what others have seen in it. We get almost all our wonders at second hand. We are eager to see any celebrated thing. In the Himalayas, I got a pipe and a few blankets and sat for two hours at the window and saw the sun drive away the veiling gray and touch up the snow-peaks one after another with pale pink splashes and delicate washes of gold and finally flood the whole mighty convulsion of snow mountains with a deluge of rich splendors. It was not true, but the story had value for me, for it made me nervous and nervousness wakes a person up and makes him alive and alert and heightens the thrill of a new and doubtful experience. It was a sudden and immense exaltation, a mixed ecstasy of deadly fright and unimaginable joy. I believe that this combination makes the perfection of human delight. The Taj - the stage in which the architect ends and the jeweler begins, It was a fine elephant, affable, gentlemanly, educated and I was not afraid of it. I even rode it with confidence through the crowded lanes of the native city, where it scared all the horses out of their senses and where children were always just escaping its feet. It took the middle of the road in a fine independent way and left it to the world to get out of the way or take the consequences. There were camels about, but they go on velvet feet and were proper to the silence and serenity of the surroundings.

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