Verse Picture Quotes

Oh! why was I born with a different face? why was I not born like the rest of my race? when I look,each one starts! when I speak, I offend; then Im silent & passive & lose every friend. Then my verse I dishonour, my pictures despise, my person degrade & my temper chastise; and the pen is my terror, the pencil my shame; all my talents I bury, and dead is my fame. Im either too low or too highly prized; when elate I m envy'd, when meek Im despis'd

What is a book? A book seems, like a picture, to be a living being; and yet if we ask it something, it does not answer. Then we see that it is dead.In order to make the book into a living thing, he invented—happily for us—the Platonic dialogue, which forestalls the reader’s doubts and questions.

There is a terrible truthfulness about photography. The ordinary academician gets hold of a pretty model, paints her as well as he can, calls her Juliet, and puts a nice verse Shakespeare underneath, and the picture is admired beyond measure. The photographer finds the same pretty girl, he dresses her up and photographs her, and calls her Juliet, but somehow it is no good – it is still Miss Wilkins, the model. It is too true to be Juliet. George Bernard Shaw Wilson’s Photographic Magazine, LVI, 1909

It is not certain whether the effects of totalitarianism upon verse need be so deadly as its effects on prose. There is a whole series of converging reasons why it is somewhat easier for a poet than a prose writer to feel at home in an authoritarian society.[...]what the poet is saying- that is, what his poem "means" if translated into prose- is relatively unimportant, even to himself. The thought contained in a poem is always simple, and is no more the primary purpose of the poem than the anecdote is the primary purpose of the picture. A poem is an arrangement of sounds and associations, as a painting is an arrangement of brushmarks. For short snatches, indeed, as in the refrain of a song, poetry can even dispense with meaning altogether.

Baseball, in its quiet way, was an extravagantly harrowing game. Football, basketball, hockey, lacrosse--these were melee sports. You could make yourself useful by hustling and scrapping more than the other guy. You could redeem yourself through sheer desire. But baseball was different. Schwartz thought of it as Homeric--not a scrum but a series of isolated contests. Batter versus picture, field verses ball. You couldn't storm around, snorting and slapping people, the way Schwartz did while playing football. You stood and waited and tried to still your mind. When your moment came, you had to be ready, because if you fucked up, everyone would know whose fault it was. What other sport not only kept a stat as cruel as the error but posted it on the scoreboard for everyone to see?

This is the way in which he (poet) did his work. He used to go out with a pencil and a tablet and note what struck him...and make a picture out of it...But Nature does not allow an inventory to be made of her charms! He should have left his pencil behind, and gone forth in a meditative spirit; and, on a later day, he should have embodied in verse not all that he had noted but what he best remembered of the scene; and he would have then presented us with its soul, and not with the mere visual aspect of it.

...while hiding in plain sight in Belgrade, undercover as a New Age mountebank, Karadžić frequented a bar called Mad House - Luda kuća. Mad House offered weekly gusle-accompanied performances of Serbian epic poetry; wartime pictures of him and General Ratko Mladić, the Bosnian Serbs' military leader (now on trial in The Hague), proudly hung on the walls. A local newspaper claimed that, on at least one occasion, Karadžić performed an epic poem in which he himself featured as the main hero, undertaking feats of extermination. Consider the horrible postmodernism of the situation: an undercover war criminal narrating his own crimes in decasyllabic verse, erasing his personality so that he could assert it more forcefully and heroically.

When they saw the host of chameleon butterflies and the way they both clothed the girl Ayesha and provided her with her only solid food, these visitors were amazed, and retreated with confounded expectations, that is to say with a hole in their pictures of the world that they could not paper over.

A word verses a thousand pictures too.

To be lord of space, a man must be free of all bonds of place. To be heir of all things, his heart must have no things in it. He must be like him who makes things, not like one who would put everything in his pocket. He must stand on the upper, not the lower side of them. He must be as the man who makes poems, not the man who gathers books of verse. God, having made a sunset, lets it pass, and makes such a sunset no more. He has no picture-gallery, no library. What if in heaven men shall be so busy growing, that they have not time to write or to read!

When I was 4 years old, they tried to test my IQ. They showed me this picture of three oranges and a pear. They asked me, which one is different and does not belong? They taught me different is wrong.

The idea of attention or contemplation, of looking carefully at something and holding it before the mind, may be conveyed early on in childhood. 'Look, listen, isn't that nice?' Also, 'Don't touch!' This is moral training as well as preparation for a pleasurable life. It need not depend on words, but can also be learnt from patterns of behaviour which should in any case back up the words. The far reaching idea of respect is included in such teaching. The, as it might seem, sophisticated concept of a work of art may be acquired easily. Children, if they are lucky, are invited to attend to pictures or objects, or listen quietly to music or stories or verses, and readily understand in what spirit they are to treat these apparently dissimilar things. They may also be encouraged to contemplate works of nature, which are unlike works of art, yet also like them in being 'beautiful.

It is perhaps one of those imponderables of life that many people declare their dislike for poetry, yet it surrounds us in the lyrics of the songs and hymns we love, the catchy advertising jingles, in picture books, and remembered snippets from Shakespeare or remembered and much loved verses. " Jeanette O'Hagan 1 May 2017

Some writers, even some poets, become famous public figures, but writers as such have no social status, in the way that doctors and lawyers, whether famous or obscure, have. There are two reasons for this. Firstly, the so-called fine arts have lost the social utility they once had. Since the invention of printing and the spread of literacy, verse no longer has a utility value as a mnemonic, a devise by which knowledge and culture were handed on from one generation to the next, and, since the invention of the camera, the draughtsman and painter are no longer needed to provide visual documentation; they have, consequently, become “pure” arts, that is to say, gratuitous activities. Secondly, in a society governed by the values appropriate to Labor (capitalist America may well be more completely governed by these than communist Russia) the gratuitous is no longer regarded – most earlier cultures thought differently – as sacred, because, to Man the Laborer, leisure is not sacred but a respite from laboring, a time for relaxation and the pleasures of consumption. In so far such a society thinks about the gratuitous at all, it is suspicious of it – artists do not labor, therefore, they are probably parasitic idlers – or, at best, regards it as trivial – to write poetry or paint pictures is a harmless private hobby.

Mordecai allowed a smile to play across his face. “I have little doubt this ploy will try your patience. You must present Sir Percival as a gallant knight well-versed in chivalry and a favored champion in the tourneys. Perhaps a bit of poetry would be in order as well.” Dante rolled his eyes and sighed. “I shall be the very picture of chivalrous drivel.

But Beatrice Blaine! There was a woman! Early pictures taken on her father's estate at Lake Geneva, Wisconsin, or in Rome at the Sacred Heart Convent—an educational extravagance that in her youth was only for the daughters of the exceptionally wealthy—showed the exquisite delicacy of her features, the consummate art and simplicity of her clothes. A brilliant education she had—her youth passed in renaissance glory, she was versed in the latest gossip of the Older Roman Families; known by name as a fabulously wealthy American girl to Cardinal Vitori and Queen Margherita and more subtle celebrities that one must have had some culture even to have heard of. She learned in England to prefer whiskey and soda to wine, and her small talk was broadened in two senses during a winter in Vienna. All in all Beatrice O'Hara absorbed the sort of education that will be quite impossible ever again; a tutelage measured by the number of things and people one could be contemptuous of and charming about; a culture rich in all arts and traditions, barren of all ideas, in the last of those days when the great gardener clipped the inferior roses to produce one perfect bud.

Then one night, he came to me in a dream, Sasha: Mayakovsky himself. He quoted some lines of verse—beautiful, haunting lines that I had never heard before—about the bark of a birch tree glinting in the winter sun. Then he loaded his revolver with an exclamation point and put the barrel to his chest. When I awoke, I suddenly understood that this propensity for self-destruction was not an abomination, not something to be ashamed of or abhorred; it was our greatest strength. We turn the gun on ourselves not because we are more indifferent and less cultured than the British, or the French, or the Italians. On the contrary. We are prepared to destroy that which we have created because we believe more than any of them in the power of the picture, thepoem, the prayer, or the person.” Mishka shook his head. “Mark my words, my friend: We have not burned Moscow to the ground for the last time.

In the emerging picture of mankind in the universe, the future (if it exists) will surely entail discoveries about space and time which will open up whole new perspectives in the relationship between mankind, mind, and the uni-verse.… But what is now? There is no such thing in physics;it is not even clear that ‘now’ could ever be described, let alone explained, in terms of physics.… Notions such as ‘the past,’ ‘the present’ and ‘the future’ seem to be more linguistic than physical.… There is no universal now, but only a personal one—a ‘here and now.’ This strongly suggests that we look to the mind, rather than to the physical world, as the origin of the division of time into past, present, and future.…There is none of this in physics.… No physical experiment has ever been performed to detect the passage of time. As soon as the objective world of reality is considered, the passage of time disappears like a ghost into the night.

The Dead Man Walking They hail me as one living, But don't they know That I have died of late years, Untombed although? I am but a shape that stands here, A pulseless mould, A pale past picture, screening Ashes gone cold. Not at a minute's warning, Not in a loud hour, For me ceased Time's enchantments In hall and bower. There was no tragic transit, No catch of breath, When silent seasons inched me On to this death .... — A Troubadour-youth I rambled With Life for lyre, The beats of being raging In me like fire. But when I practised eyeing The goal of men, It iced me, and I perished A little then. When passed my friend, my kinsfolk, Through the Last Door, And left me standing bleakly, I died yet more; And when my Love's heart kindled In hate of me, Wherefore I knew not, died I One more degree. And if when I died fully I cannot say, And changed into the corpse-thing I am to-day, Yet is it that, though whiling The time somehow In walking, talking, smiling, I live not now.

To be lord of space, a man must be free of all bonds to place. To be heir of all things, his heart must have no THINGS in it. He must be like him who makes things, not like one who would put everything in his pocket. He must stand on the upper, not the lower side of them. He must be as the man who makes poems, not the man who gathers books of verse. God, having made a sunset, lets it pass, and makes such a sunset no more. He has no picture-gallery, no library. What if in heaven men shall be so busy growing, that they have not time to write or to read!

The Book Lover:- See how I have come up in the World, because of my books. I pull the covers agape, pages release their cargo and words fly like birds each with its own song. Listen, and vowels will breathe like flutes in your head, Consonants tick-tack like woodpeckers, and sibilants, sly as asps, bite the plosives that pop from our pressed lips. A picture worth a thousand words? You paint a score of trees, dark needled, stippled and stroked across your canvas: My book say ‘’forrest’’ (Feel that Pine green touch) You wash your paper with azures and turquoise, set ship after ship, sails wind-pregnant, As far as the daubed horizon: my books say ‘’armada’’. (Smell that sea-green scent) Art’s shape is their noun, its colour their objective, Its tone their adverb; my books match the grammar of landscapes. This book may say ‘Socrates’ secrets, Freud’s autopsy of actions or Heaney’s verses; Every idea dreamed by man caught, black stamped for all time, within its cardboard confines. Here the past speaks to us, as the future will, in the language of our senses. Step up book by book- In time, you will reach the stars.

Anything Bunny wrote was bound to be alarmingly original, since he began with such odd working materials and managed to alter them further by his befuddled scrutiny, but the John Donne paper must have been the worst of all the bad papers he ever wrote (ironic, given that it was the only thing he ever wrote that saw print. After he disappeared, a journalist asked for an excerpt from the missing young scholar's work and Marion gave him a copy of it, a laboriously edited paragraph of which eventually found its way into People magazine). Somewhere, Bunny had heard that John Donne had been acquainted with Izaak Walton, and in some dim corridor of his mind this friendship grew larger and larger, until in his mind the two men were practically interchangeable. We never understood how this fatal connection had established itself: Henry blamed it on Men of Thought and Deed, but no one knew for sure. A week or two before the paper was due, he had started showing up in my room about two or three in the morning, looking as if he had just narrowly escaped some natural disaster, his tie askew and his eyes wild and rolling. 'Hello, hello,' he would say, stepping in, running both hands through his disordered hair. 'Hope I didn't wake you, don't mind if I cut on the lights, do you, ah, here we go, yes, yes…' He would turn on the lights and then pace back and forth for a while without taking off his coat, hands clasped behind his back, shaking his head. Finally he would stop dead in his tracks and say, with a desperate look in his eye: 'Metahemeralism. Tell me about it. Everything you know. I gotta know something about metahemeralism.' 'I'm sorry. I don't know what that is.' 'I don't either,' Bunny would say brokenly. 'Got to do with art or pastoralism or something. That's how I gotta tie together John Donne and Izaak Walton, see.' He would resume pacing. 'Donne. Walton. Metahemeralism. That's the problem as I see it.' 'Bunny, I don't think "metahemeralism" is even a word.' 'Sure it is. Comes from the Latin. Has to do with irony and the pastoral. Yeah. That's it. Painting or sculpture or something, maybe.' 'Is it in the dictionary?' 'Dunno. Don't know how to spell it. I mean' – he made a picture frame with his hands – 'the poet and the fisherman. Parfait. Boon companions. Out in the open spaces. Living the good life. Metahemeralism's gotta be the glue here, see?' And so it would go, for sometimes half an hour or more, with Bunny raving about fishing, and sonnets, and heaven knew what, until in the middle of his monologue he would be struck by a brilliant thought and bluster off as suddenly as he had descended. He finished the paper four days before the deadline and ran around showing it to everyone before he turned it in. 'This is a nice paper, Bun -,' Charles said cautiously. 'Thanks, thanks.' 'But don't you think you ought to mention John Donne more often? Wasn't that your assignment?' 'Oh, Donne,' Bunny had said scoffingly. 'I don't want to drag him into this.' Henry refused to read it. 'I'm sure it's over my head, Bunny, really,' he said, glancing over the first page. 'Say, what's wrong with this type?' 'Triple-spaced it,' said Bunny proudly. 'These lines are about an inch apart.' 'Looks kind of like free verse, doesn't it?' Henry made a funny little snorting noise through his nose. 'Looks kind of like a menu,' he said. All I remember about the paper was that it ended with the sentence 'And as we leave Donne and Walton on the shores of Metahemeralism, we wave a fond farewell to those famous chums of yore.' We wondered if he would fail.

There is no one to speak to about my headache and stomachache when I leave my bedroom and encounter this beautiful prison that my parents have built, when I see pictures of me on the walls and side tables that bear no resemblance to the me they cannot see. Sometimes I stare at the family that owns me and I wish I were a different person, with white skin and the ability to tell my mother and my father, especially my father, to fuck off without consequence, and sometimes I stare at the white cards of the Bible verses Reverend Olumide has gifted me and think that there is still a chance to change my ways.

Girls, I was dead and down in the Underworld, a shade, a shadow of my former self, nowhen. It was a place where language stopped, a black full stop, a black hole Where the words had to come to an end. And end they did there, last words, famous or not. It suited me down to the ground. So imagine me there, unavailable, out of this world, then picture my face in that place of Eternal Repose, in the one place you’d think a girl would be safe from the kind of a man who follows her round writing poems, hovers about while she reads them, calls her His Muse, and once sulked for a night and a day because she remarked on his weakness for abstract nouns. Just picture my face when I heard - Ye Gods - a familiar knock-knock at Death’s door. Him. Big O. Larger than life. With his lyre and a poem to pitch, with me as the prize. Things were different back then. For the men, verse-wise, Big O was the boy. Legendary. The blurb on the back of his books claimed that animals, aardvark to zebra, flocked to his side when he sang, fish leapt in their shoals at the sound of his voice, even the mute, sullen stones at his feet wept wee, silver tears. Bollocks. (I’d done all the typing myself, I should know.) And given my time all over again, rest assured that I’d rather speak for myself than be Dearest, Beloved, Dark Lady, White Goddess etc., etc. In fact girls, I’d rather be dead. But the Gods are like publishers, usually male, and what you doubtless know of my tale is the deal. Orpheus strutted his stuff. The bloodless ghosts were in tears. Sisyphus sat on his rock for the first time in years. Tantalus was permitted a couple of beers. The woman in question could scarcely believe her ears. Like it or not, I must follow him back to our life - Eurydice, Orpheus’ wife - to be trapped in his images, metaphors, similes, octaves and sextets, quatrains and couplets, elegies, limericks, villanelles, histories, myths… He’d been told that he mustn’t look back or turn round, but walk steadily upwards, myself right behind him, out of the Underworld into the upper air that for me was the past. He’d been warned that one look would lose me for ever and ever. So we walked, we walked. Nobody talked. Girls, forget what you’ve read. It happened like this - I did everything in my power to make him look back. What did I have to do, I said, to make him see we were through? I was dead. Deceased. I was Resting in Peace. Passé. Late. Past my sell-by date… I stretched out my hand to touch him once on the back of the neck. Please let me stay. But already the light had saddened from purple to grey. It was an uphill schlep from death to life and with every step I willed him to turn. I was thinking of filching the poem out of his cloak, when inspiration finally struck. I stopped, thrilled. He was a yard in front. My voice shook when I spoke - Orpheus, your poem’s a masterpiece. I’d love to hear it again… He was smiling modestly, when he turned, when he turned and he looked at me. What else? I noticed he hadn’t shaved. I waved once and was gone. The dead are so talented. The living walk by the edge of a vast lake near, the wise, drowned silence of the dead.

Ode to the West Wind I O wild West Wind, thou breath of Autumn’s being, Thou, from whose unseen presence the leaves dead Are driven, like ghosts from an enchanter fleeing, Yellow, and black, and pale, and hectic red, Pestilence-stricken multitudes: O thou, Who chariotest to their dark wintry bed The winged seeds, where they lie cold and low, Each like a corpse within its grave, until Thine azure sister of the Spring shall blow Her clarion o’er the dreaming earth, and fill (Driving sweet buds like flocks to feed in air) With living hues and odours plain and hill: Wild Spirit, which art moving everywhere; Destroyer and preserver; hear, oh hear! II Thou on whose stream, mid the steep sky’s commotion, Loose clouds like earth’s decaying leaves are shed, Shook from the tangled boughs of Heaven and Ocean, Angels of rain and lightning: there are spread On the blue surface of thine aëry surge, Like the bright hair uplifted from the head Of some fierce Maenad, even from the dim verge Of the horizon to the zenith’s height, The locks of the approaching storm. Thou dirge Of the dying year, to which this closing night Will be the dome of a vast sepulchre, Vaulted with all thy congregated might Of vapours, from whose solid atmosphere Black rain, and fire, and hail will burst: oh hear! III Thou who didst waken from his summer dreams The blue Mediterranean, where he lay, Lull’d by the coil of his crystàlline streams, Beside a pumice isle in Baiae’s bay, And saw in sleep old palaces and towers Quivering within the wave’s intenser day, All overgrown with azure moss and flowers So sweet, the sense faints picturing them! Thou For whose path the Atlantic’s level powers Cleave themselves into chasms, while far below The sea-blooms and the oozy woods which wear The sapless foliage of the ocean, know Thy voice, and suddenly grow gray with fear, And tremble and despoil themselves: oh hear! IV If I were a dead leaf thou mightest bear; If I were a swift cloud to fly with thee; A wave to pant beneath thy power, and share The impulse of thy strength, only less free Than thou, O uncontrollable! If even I were as in my boyhood, and could be The comrade of thy wanderings over Heaven, As then, when to outstrip thy skiey speed Scarce seem’d a vision; I would ne’er have striven As thus with thee in prayer in my sore need. Oh, lift me as a wave, a leaf, a cloud! I fall upon the thorns of life! I bleed! A heavy weight of hours has chain’d and bow’d One too like thee: tameless, and swift, and proud. V Make me thy lyre, even as the forest is: What if my leaves are falling like its own! The tumult of thy mighty harmonies Will take from both a deep, autumnal tone, Sweet though in sadness. Be thou, Spirit fierce, My spirit! Be thou me, impetuous one! Drive my dead thoughts over the universe Like wither’d leaves to quicken a new birth! And, by the incantation of this verse, Scatter, as from an unextinguish’d hearth Ashes and sparks, my words among mankind! Be through my lips to unawaken’d earth The trumpet of a prophecy! O Wind, If Winter comes, can Spring be far behind?

Everything old people say about time is true. For starters, it flies. As a kid living through semi-eternal summer vacations, this is hard to believe. But as an adult? Get married. Have children. And then sit back, stunned, watching an absolute roar of gorgeous moments and hilarious moments and exhausting moments disappear—quickly and in tragedy or marching off at the traditional pace, but disappear they must. Snap a photo or two. Read verses about futility. Watching one’s small humans age and grow up packs a serious punch. It’s like being stuck in a dream unable to speak, like being a ghost that can see but not touch, like standing on a huge grate while a storm rains oiled diamonds, like collecting feathers in a storm. Parents in love with their kids are all amnesiacs, trying to remember, trying to cherish moments, ghosts trying to hold the world. Being mortals, having a finite mind when surrounded by joy that is perpetually rolling back into the rear view is like always having something important on the tips of our tongues, something on the tips of our fingers, always slipping away, always ducking our embrace. No matter how many pictures we take, no matter how many scrapbooks we make, no matter how many moments we invade with a rolling camera, we will die. We will vanish. We cannot grab and hold.

The verse is about slippage, fall, reversal of fortune, the casting down of the great by the great: around the throne thunder rolls, circa regna tonat; even as he sits under his canopy of estate, the king hears it, he feels it shudder in the stone flags, he feels its reverberation in the bone. He pictures the bolts, hurled by the gods, falling through the crystal spheres where angels sit and pick the fleas from their wings: hurtling, spinning and plunging till, with a roar of white flame, they crash down on Whitehall and fire the roofs; tills they rattle the skeleton teeth of the abbey's dead, melt the glass in the workshops of Southwark, and fry the fish in the Thames.

O Come, O Come, Emmanuel “T hey shall call his name Immanuel” (which means, God with us)” (Matthew 1:23 ESV). This is perhaps our oldest Christmas carol. Historians say its roots go back to the 8th century. In its earliest form, it was a “plain song” or a chant and the monks sang it a cappella. It was sung or chanted in Latin during the seven days leading up to Christmas. Translated into English by John Mason Neale in 1851, we sing it to the tune “Veni, Emmanuel,” a 15th-century melody. Many churches sing it early in the Advent season because of its plaintive tone of expectant waiting. Traditionally Advent centers on the Old Testament preparation for the coming of the Messiah who will establish his kingdom on the earth. When the words form a prayer that Christ will come and “ransom captive Israel,” we ought to remember the long years of Babylonian captivity. Each verse of this carol features a different Old Testament name or title of the coming Messiah: “O come, O come, Emmanuel.” “O come, Thou Wisdom from on high.” “O come, Thou Rod of Jesse.” “O come, Thou Day-spring.” “O come, Thou Key of David.” “O come, Thou Lord of Might.” “O come, Desire of Nations.” This carol assumes a high level of biblical literacy. That fact might argue against singing it today because so many churchgoers don’t have any idea what “Day-spring” means or they think Jesse refers to a wrestler or maybe to a reality TV star. But that argument works both ways. We ought to sing this carol and we ought to use it as a teaching tool. Sing it—and explain it! We can see the Jewish roots of this carol in the refrain: Rejoice! Rejoice! Emmanuel Shall come to thee, O Israel. But Israel’s Messiah is also our Savior and Lord. What Israel was waiting for turns out to be the long-expected Jesus. So this carol rightly belongs to us as well. The first verse suggests the longing of the Jewish people waiting for Messiah to come: O come, O come, Emmanuel And ransom captive Israel That mourns in lonely exile here Until the Son of God appears The second verse pictures Christ redeeming us from hell and death: O come, Thou Rod of Jesse, free Thine own from Satan’s tyranny From depths of Hell Thy people save And give them victory o’er the grave This verse reminds us only Christ can take us home to heaven: O come, Thou Key of David, come, And open wide our heavenly home; Make safe the way that leads on high, And close the path to misery. Rejoice! Rejoice! Emmanuel Shall come to thee, O Israel. Let’s listen as Selah captures the Jewish flavor of this carol. Lord, we pray today for all those lost in the darkness of sin. We pray for those who feel there is no hope. May the light of Jesus shine in their hearts today. Amen.

The quest for knowledge is what makes humans survive, even if it hurts.” I have trouble imagining that this éminence grise was once a sixteen-year-old Hungarian boy in a death camp. “There’s a troublesome verse from Ecclesiastes about this,” he tells me. “It says that the more we know, the more pain we have. But because we are human beings, this must be. Otherwise we become objects rather than subjects.” He pauses for a moment to let this sink in. “Of course, it hurts when we see pictures of people throwing themselves out of windows, children who are orphaned, the widows,” Wiesel says. “But there is no way out of what we’ve seen.” “And how do we live with what we know?” I ask “How can we live with not knowing?

Never will the world be conscious of how much it owes to them, nor above all of what they have suffered in order to bestow their gifts on it. We enjoy fine music, beautiful pictures, a thousand exquisite things, but we do not know what they cost those who wrought them in sleeplessness, tears, spasmodic laughter, rashes, asthma, epilepsy a terror of death which is worse than any of these, and which you perhaps have felt... Heaven only knows what the disease was of which you thought you had detected the symptoms. And you were not mistaken; they were there. Neurosis has an absolute genius for malingering. There is no illness which it cannot counterfeit perfectly. It will produce life-like imitations of the dilatations of dyspepsia, the sicknesses of pregnancy, the broken rhythm of the cardiac, the feverishness of the consumptive. If it is capable of deceiving the doctor how should it fail to deceive the patient? No, no; you mustn’t think I’m making fun of your sufferings. I should not undertake to heal them unless I understood them thoroughly. And, well, they say there’s no good confession unless it’s mutual. I have told you that without nervous trouble there can be no great artist. What is more,"..."there can be no great scientist either. I will go further, and say that, unless he himself is subject to nervous trouble, he is not, I won’t say a good doctor, but I do say the right doctor to treat nervous troubles. In nervous pathology a doctor who doesn’t say too many foolish things is a patient half-cured, just as a critic is a poet who has stopped writing verse and a policeman a burglar who has retired from practice.

And the Lord God formed man from the dust of the ground and breathed into his nostrils the breath of life, and man became a living being” (2:7). When I heard that verse as a child, I imagined Adam lying on the ground, perfectly formed but not yet alive, with God leaning over him and performing a sort of mouth-to-mouth resuscitation. Now I picture that scene differently. I assume that Adam was already biologically alive—the other animals needed no special puff of oxygen, nitrogen, and carbon dioxide to start them breathing, so why should man? The breath of God now symbolizes for me a spiritual reality. I see Adam as alive, but possessing only an animal vitality. Then God breathes into him a new spirit, and infills him with His own image. Adam becomes a living soul, not just a living body. God’s image is not an arrangement of skin cells or a physical shape, but rather an inbreathed spirit.

The Spirit’s Direction, INTERCESSION. This promise carries deep instruction. We dare not suppose we can truly intercede effectively on the sole basis of our perspective or understanding. Since we never really thoroughly know how to pray as we ought, we must exercise the humility and faith to wait on God and let the Holy Spirit direct us. Presumption—supposing we already know how to intercede for others—will not only hinder maximum effectiveness, it will also cause us to miss the thrilling sense of adventure God wants to bless us with as we receive His insight and enablement for intercessory prayer. How do we know without infinite minds whether God wants to move through us with weeping, travailing, wrestling, fasting, the gifts of the Holy Spirit, dreams, visions, mental pictures, impressions, verses of Scripture quickened to us, or silence? Only by waiting on God and giving Him time to move on and through us. Ps. 62:5 teaches this wisdom: “My soul, wait silently for God alone, for my expectation is from Him.

Advice to a Young Poet Don’t spend yourself in the small copper coins of complaint and accusation. Don’t answer those in authority, those who fancy themselves all-powerful, with grubby, fingered words for which you’ll be picked up at three in the morning. Answer with pictures that no one has ever painted, answer with thoughts which no one has ever thought, answer with verses which no one has ever fashioned, answer with a language which no one has ever uttered. Not with the sword, poet, will you sly tyranny but with the freshness of spring and autumn’s maturity. Beaten and blood-stained, strike your gold coins, heavy with the destiny of your age, heavy with your own destiny, golden coins bearing your own likeness, reflecting mankind’s suffering against the background of man’s two million years upon our planet. Such coins shall stay in circulation even after ten thousand years, valid like life’s rebellious spring, like life repeating itself, ever-youthful— while the coins with the theatrical, proud and imperial gestures— the measure of pride reflecting stupidity— will long have lain dead in the museum show-cases under artificial light, shunning the sun, dead for a thousand years.

Seven P.M. Half an hour to go until we started the laborious task of getting kitted up again. It would take us at least an hour. By the end no part of our bodies or faces would be visible. We would be transformed into cocooned figures, huddled, awaiting our fate. I reached into the top pouch of my backpack and pulled out a few crumpled pages wrapped in plastic. I had brought them just for this moment. Even the youths shall faint and be weary, and the young men shall utterly fall. But those who wait upon the Lord shall renew their strength. They shall mount up with wings like eagles. They shall run and not be weary. They shall walk and not faint. Isaiah 40:29-31. I felt that this was all I really had up here. There’s no one else with enough extra strength to keep you safe. It really is just you and your Maker. No pretense, no fluff--no plan B. Over the next twenty-four hours, there would be a one in six chance of dying. That focuses the mind. And the bigger picture becomes important. It was time to look death in the eye. Time to acknowledge that fear, hold the hand of the Almighty, and climb on. And those simple Bible verses would ring round my head for the next night and day, as we pushed on ever higher.

Metahemeralism. Tell me about it. Everything you know. I gotta know something about metahemeralism." "I'm sorry. I don't know what that is." "I don't either," Bunny would say brokenly. "Got to do with art or pastoralism or something. That's how I gotta tie together John Donne and Izaak Walton, see." He would resume pacing. "Donne. Walton. Metahemeralism. That's the problem as I see it." "Bunny, I don't think "metahemeralism" is even a word." "Sure it is. Comes from the Latin. Has to do with irony and the pastoral. Yeah. That's it. Painting or sculpture or something, maybe." "Is it in the dictionary?" "Dunno. Don't know how to spell it. I mean" — he made a picture frame with his hands — "the poet and the fisherman. Parfait. Boon companions. Out in the open spaces. Living the good life. Metahemeralism's gotta be the glue here, see?" And so it would go on, for sometimes half an hour or more, with Bunny raving about fishing, and sonnets, and heaven knew what, until in the middle of his monologue he would be struck by a brilliant thought and bluster off as suddenly as he had descended. He finished the paper four days before the deadline and ran around showing it to everyone before he turned it in. "This is a nice paper, Bun — ," Charles said cautiously. "Thanks, thanks." "But don't you think you ought to mention John Donne more often? Wasn't that your assignment?" "Oh, Donne," Bunny had said scoffingly. "I don't want to drag him into this." Henry had refused to read it. "I'm sure it's over my head, Bunny, really," he said, glancing over the first page. "Say, what's wrong with this type?" "Tripled spaced it," said Bunny proudly. "These lines are about an inch apart." "Looks kind of like free verse, doesn't it?" Henry made a funny little snorting noise through his nose. "Looks kind of like a menu," he said. All I remember about the paper was that it ended with the sentence "And as we leave Donne and Walton on the shores of Metahemeralism, we wave a fond farewell to those famous chums of yore.

Fine art galleries are the excellent setups for exhibiting art, generally aesthetic art such as paints, sculptures, and digital photography. Basically, art galleries showcase a range of art designs featuring contemporary and traditional fine art, glass fine art, art prints, and animation fine art. Fine art galleries are dedicated to the advertising of arising artists. These galleries supply a system for them to present their jobs together with the works of across the country and internationally popular artists. The UNITED STATE has a wealth of famous art galleries. Lots of villages in the U.S. show off an art gallery. The High Museum of Fine art, Alleged Gallery, Henry Art Gallery, National Gallery of Art Gallery, Washington Gallery of Modern Art, Agora Gallery, Rosalux Gallery, National Portrait Gallery, The Alaska House Gallery, and Anchorage Gallery of History and Art are some of the renowned fine art galleries in the United States. Today, there are on the internet fine art galleries showing initial artwork. Several famous fine art galleries show regional pieces of art such as African fine art, American art, Indian fine art, and European art, in addition to individual fine art, modern-day and modern fine art, and digital photography. These galleries collect, show, and keep the masterpieces for the coming generations. Many famous art galleries try to entertain and educate their local, nationwide, and international audiences. Some renowned fine art galleries focus on specific areas such as pictures. A great variety of well-known fine art galleries are had and run by government. The majority of famous fine art galleries supply an opportunity for site visitors to buy outstanding art work. Additionally, they organize many art-related tasks such as songs shows and verse readings for kids and grownups. Art galleries organize seminars and workshops conducted by prominent artists. Committed to quality in both art and solution, most well-known fine art galleries provide you a rich, exceptional experience. If you wish to read additional information, please visit this site

22. Giving up Distraction Week #4 Saturday Scripture Verses •Hebrews 12:1–2 •Mark 1:35 •John 1:14–18 Questions to Consider •What distracts you from being present with other people around you? •What distracts you from living out God’s agenda for your life? •What helps you to focus and be the most productive? •How does Jesus help us focus on what is most important in any given moment? Plan of Action •At your next lunch, have everyone set their phone facing down at the middle of the table. The first person who picks up their phone pays for the meal. •Challenge yourself that the first thing you watch, read, or listen to in the morning when you wake up is God’s Word (not email or Facebook). •Do a digital detox. Turn off everything with a screen for 24 hours. Tomorrow would be a great day to do it, since there is no “40 Things Devotion” on Sunday. Reflection We live in an ever connected world. With smart phones at the tip of our fingers, we can instantly communicate with people on the other side of the world. It is an amazing time to live in. I love the possibilities and the opportunities. With the rise of social media, we not only connect with our current circle of friends and family, but we are also able to connect with circles from the past. We can build new communities in the virtual world to find like-minded people we cannot find in our physical world. Services like Facebook, Twitter, YouTube, and Instagram all have tremendous power. They have a way of connecting us with others to shine the light of Jesus. While all of these wonderful things open up incredible possibilities, there are also many dangers that lurk. One of the biggest dangers is distraction. They keep us from living in the moment and they keep us from enjoying the people sitting right across the room from us. We’ve all seen that picture where the family is texting one another from across the table. They are not looking at each other. They are looking at the tablet or the phone in front of them. They are distracted in the moment. Today we are giving up distraction and we are going to live in the moment. Distraction doesn’t just come from modern technology. We are distracted by our work. We are distracted by hobbies. We are distracted by entertainment. We are distracted by busyness. The opposite of distraction is focus. It is setting our hearts and our minds on Jesus. It’s not just putting him first. It’s about him being a part of everything. It is about making our choices to be God’s choices. It is about letting him determine how we use our time and focus our attention. He is the one setting our agenda. I saw a statistic that 80% of smartphone users will check their phone within the first 15 minutes of waking up. Many of those are checking their phones before they even get out of bed. What are they checking? Social media? Email? The news of the day? Think about that for a moment. My personal challenge is the first thing I open up every day is God’s word. I might open up the Bible on my phone, but I want to make sure the first thing I am looking at is God’s agenda. When I open up my email, my mind is quickly set to the tasks those emails generate rather than the tasks God would put before me. Who do I want to set my agenda? For me personally, I know that if God is going to set the agenda, I need to hear from him before I hear from anyone else. There is a myth called multitasking. We talk about doing it, but it is something impossible to do. We are very good at switching back and forth from different tasks very quickly, but we are never truly doing two things at once. So the challenge is to be present where God has planted you. In any given moment, know what is the one most important thing. Be present in that one thing. Be present here and now.

2 Samuel 7:1–17 What does David want to build (verses 1–2)? But what does God want to build (verse 11)? What has God already done for David (verse 8)? What does he promise to do in the future (verses 9–11)? How do these promises echo the promises made to Abraham in Genesis 12:1–3? What does God promise concerning the coming king (verses 12–16)? How does Jesus fulfil these promises? (See Matthew 1:1; Mark 12:35–37; John 2:18–22; Acts 2:24–36; Romans 1:1–4.) What implications does this have for our understanding of Jesus? our relationship with Jesus?

The picture has no religion, no caste, no name, And the best part about it is that the picture stays the same.

Hebrews 4:12–16 Guilt is part of the human condition in this broken world. And once you become a Christian, you don’t stop sinning, so you need to deal with the guilt that comes from your continuing struggle with sin. Hebrews 4:12–16 gives a clear picture of how Jesus has freed us from our guilt. These verses are both sobering and encouraging. We will give an account one day because we are accountable, and there is a standard. God is the one before whom we are accountable, and our lives will be compared against his perfect character. This is why we feel guilty, because deep down we know we are guilty. What can free us from our guilt? God himself frees us. He sent his one and only Son, Jesus, to die a terrible and undeserved death for us. Jesus is our Great High Priest who offered himself and became the sacrifice for our sins. The answer to our guilt is found in his life, death, and resurrection. “But God demonstrates his own love for us in this: While we were still sinners, Christ died for us” (Romans 5:8). Jesus came and died in our place. He was our substitute. Because he was without sin, he was able to pay the penalty for our sins. His death for us means we can be free from guilt and reconciled to God. Jesus’ death is the only real answer to our guilt. Timothy S. Lane

Seesaw [Intro] With you x11 [Chorus] Seesaw - up and down I'm on a seesaw - up and down Up and down with you Seesaw - up and down I'm on a seesaw - up and down Up and down with you [Verse 1] I see pictures in my mind I feel fingers up my spine I saw my heart break in two I saw her walking with you With you [Chorus] Seesaw - up and down I'm on a seesaw - up and down Up and down with you With you (x12) [Verse 2] I can see it in your eyes I see through your thin disguise She was always my best friend I saw you and her again [Verse 1] I see pictures in my mind I feel fingers up my spine I saw my heart break in two I saw her walking with you [Outro] With you (x4)

s a child, I was so shy I once hid in a closet at my own birthday party! But again and again, over the years, God has confronted me with opportunities to step outside of myself to touch others. And you know what? Saying yes to God is always a hopeful endeavor. If someone asked me 40 years ago whether I'd ever write a book or speak in front of a large audience, I'd have told her she was crazy. But that's what my ministry became! And as I've matured in the Lord, my hope has grown too. These days I'm far from a hopeless romantic. I'm not a hopeless anything. I'm a wide-eyed child of God eagerly waiting to see what He has in mind for me next. hese troubling days are the perfect time to enjoy the company of old and dear friends. You can share your sorrows, rejoice at God's love, and reminisce about good times. Through all life's seasons friends add so much depth and meaning. Don't think you have to fill every minute with activities. Spend time talking, listening, and enjoying companionship. Gather around a table of great food and soak up the warmth of years of friendship. Share a verse of Scripture and a time of prayer. The Bible says, "Be joyful always; pray continually; give thanks in all circumstances, for this is God's will for you in Christ Jesus" (1 Thessalonians 5:16-18). ver the years I've put together a "This Is Your Life" scrapbook for every one of my children. The books are filled with birth announcements, birthday party pictures, graduation memories-everything imaginable. Report cards, favorite Bible verses, photos of friends, even letters they wrote from camp. My kids have so enjoyed their special books-their own personal history. I love the scripture in Proverbs that says: "The

Modern readers accustomed to interpreting biblical texts as discourse addressing the private individual will find this image of a corporate sacrifice a strange picture, but it is fundamental to Paul’s understanding of his mission. For instance, in Romans 15:14–19, he invokes the metaphor of himself as a priest presenting “the offering of the Gentiles” to God; this “offering” (prosphora) is then explicated as “the obedience of the Gentiles” (v. 18). In this passage, Paul is the metaphorical “priest” presenting the offering, whereas in Romans 12:1–2 the community performs the act of self-presentation. In both cases, however, the content of the sacrifice is the community’s corporate obedience. That Paul has the community explicitly in mind in Romans 12 is confirmed by the fact that he immediately reintroduces the “one body in Christ” metaphor in verses 4–8, again emphasizing, as in 1 Corinthians 12, the complementarity of different gifts for the common good.

Picture, for example, in 1077, the humbled Henry IV, supreme head of the Holy Roman Empire and heir to Charlemagne (whom Pope Leo III had crowned emperor in 800), crossing the Alps and forced to wait, in penitence, barefoot in a haircloth shirt in the snow outside the castle at Canossa to make his peace with Gregory VII! Claiming to be "King of kings," Gregory, because of a quarrel with Henry, had declared: "On the part of God omnipotent, I forbid Henry to govern the kingdoms of Italy and Germany. I absolve all subjects from every oath they have taken and I excommunicate every person who shall serve him as king." Henry had no defense against that superweapon of the popes. Thus was established that magnificent "whore" portrayed by John in Revelation 17—headquartered in a city located upon seven hills (verse 9) and which "reigneth over the kings of the earth" (verse 18). One eighteenth-century

Prayer is conversation with God. ~ Shirley Tye         What Is A Prayer Partner?     “And pray in the Spirit on all occasions with all kinds of prayers and requests. With this in mind, be alert and always keep on praying for all the saints” (Ephesians 6:18).     As a teenager, I read Dale Carnegie’s book, How To Win Friends and Influence People. His simple advice to win friends by becoming genuinely interested in them intrigued me. To show interest all you needed to do was to ask questions and listen to their responses.   But for me, even better than being listened to is being prayed for. I am delighted to have formal prayer partners and to be a member of prayer groups.   One such partner is JoAnn. We met briefly at a 3-day women’s conference. When we first arrived at this conference, the organizers took our photos. On the last day, we were given the picture of another woman – our prayer partner. I keep a picture of her beside my computer. She is posed in front of a stone fireplace with a shy smile. On the back of the photo, I have written her name and address with the names of her husband and two grown children. Although I have not talked to JoAnn in many years, I still pray for her and I am confident that she prays for me.   I am also a member of a Christian writers’ group, The Word Guild. I have joined a smaller team within this group, aptly called the Prayer Team. Members of the Guild submit their prayer requests via email, and we pray for these people. On top of that, the organizer picks four specific members to pray for each week. Many of these people I may never meet and may know nothing more than their names. But I pray for them regularly and I am confident that they pray for me.   Lastly, at my church, a program called Secret Sisters has been introduced. I filled out an information form, including my favourite scripture verse, and submitted it to the organizer. In return, I received the name of a church “sister” to pray for over the next year. At the end of the year, we will reveal ourselves to our secret sisters. I pray for my sister regularly and am confident that she prays for me.   I hold these partners in high esteem and count them as some of my best friends. There is power in prayer. If you are not already praying for someone specific, I challenge you to seek out a partner.       Prayer is talking to Him and listening to Him, too. Sweet communion! ~ Pat Gerbrandt        

Renewed Strength But those who hope in the LORD will renew their strength. They will soar on wings like eagles; they will run and not grow weary, they will walk and not be faint. ISAIAH 40:31 NIV Several times throughout scripture, the Lord had the writers use the eagle as a comparison to His people. Moses, speaking to the children of Israel just before his death, draws a beautiful picture of the eagle caring for her young. He then compares it to the Lord’s leading in our lives. “He found them in a desert, a windy, empty land. He surrounded them and brought them up, guarding them as those he loved very much. He was like an eagle building its nest that flutters over its young. It spreads its wings to catch them and carries them on its feathers. The LORD alone led them, and there was no foreign god helping him” (Deuteronomy 32:10–12 NCV). Isaiah carries that metaphor a bit further in Isaiah 40. Women seem to be most involved in nurturing their children, and as a result we tire easily. Starting in verse 27 in the Isaiah passage, Isaiah wonders how God’s people can say that God is too busy or tired to care for His people. Instead he turns it around and says that even young men and children get tired. Only those who hope in the Lord will He carry on His wings, renewing their strength. Father, thank You for these comparisons that show Your loving heart in caring for Your children. I praise You for enabling us to do the work You have called us to do.

Fox bought a novel of mine, Thieves’ Market. They didn’t want to use the original title because San Francisco objected to it. So, it became Thieves’ Highway. I said okay. Then the director, Julie Dassin, says, ‘For the prostitute, I want Valentina Cortesa, so rewrite it for her.’ He was going with her. We were going to have Shelley Winters, who would have been perfect. But I rewrote it. And we go to the meeting with Zanuck. The first thing Zanuck says is, ‘I want a new beginning. I want the father still alive. He’s crippled. That’s why the kid’s trucking.’ Now in my story the father is dead at the beginning. The kid starts trucking because he’s trying to make his father’s life valid. I only knew that story from my life. But that didn’t matter. I said, ‘Yes, Mr. Zanuck.’ I wrote another beginning. So the picture didn’t do real well. Oh, I tell you, once you give in a little bit, you’re finished.” A. I. BEZZERIDES in Lee Server’s Screenwriter: Words Become Pictures

Hours of insanity and escape . . . in which I write inadequate verse, read, rage . . . record anecdotes which fade into the page like stains . . . beat time with my pencil’s business end . . . nip at the loose skin on the side of my hand with my teeth . . . cast schemes and tropes like horoscopes . . . practice catachresis as though it were croquet . . . grrrowl . . . kick wastebaskets into corners . . . realize that when I picture my methods of construction all the images are architectural, but when I dream of the ultimate fiction—that animal entity, the made-up syllabic self—I am trying to energize old, used-up, stolen organs like Dr. Frankenstein . . . grrrind . . . throw wet wads of Kleenex from a spring or winter cold into the corner where they mainly miss the basket . . . O . . . Ohio: I hear howling from both Os . . . play ring agroan the rosie . . . pace . . . put an angry erection back in my pants . . . rhyme . . . Then occasionally perceive beneath me on the page a few lines which . . . while I was elsewhere must have . . . yes, a few lines which have . . . which have the sound . . . the true whistle of the spirit. Wait’ll they read that, I say, perhaps even aloud, over the water running in the kitchen sink, over the noise of my writing lamp, coffee growing cold in the cup, the grrowl of my belly. Yet when I raise my right palm from the paper where, in oath, I’ve put it, the whistle in those words is gone, and only the lamp sings. Till I pull its chain like a john.

Zechariah paints a wonderful picture in this song, that of a visitation from on high. In verse 78, he describes it as being like a wonderful sunrise, bringing light into darkness, banishing the fearful shadows of death and bringing instead lasting peace. The depiction is of God turning his face and the light of his countenance upon this world in mercy. This is in the very nature of the God of the Bible.

I don’t think she’s really gone…’ Robert hesitates. ‘I just think we can’t see her any more.’ ‘What do you mean?’ He straightens up, then hunches forward on his knees. ‘I was reading this thing by St Augustine…’ ‘I didn’t know you’re religious.’ ‘I’m not, really. But he wrote some pretty good stuff. There’s this bit where he’s talking about time, and how it’s just an illusion.’ Ella frowns. ‘Then what are clocks doing?’ ‘They’re measuring the teeth on a cog, or the number of times a pendulum has gone back and forth…’ He looks at Ella’s frown. ‘I don’t know, it’s hard to explain. But what he’s saying is, there’s no such thing as the past or the future, just this big, eternal now.’ Ella tries to get her head around this, craning her neck so she’s looking right up through the gaps in the clouds. The stars flicker. ‘Nope, I don’t get it.’ ‘Well, he compares it to a poem…but you could imagine it like a record.’ ‘A record?’ ‘Yeah, imagine a seventy-eight.’ Ella closes her eyes and pictures the record. ‘So, you put it on the turntable and listen to the first verse of the song, then there’s a chorus, then another verse. While you’re listening to the second verse, the first verse is still there, spinning around on the record, but you’re not listening to it any more. St Augustine said that the record is like a human life, or all of human history.’ Ella thinks for a moment. The idea is starting to take shape in her head as she imagines the shiny black disc, spinning on its axis. She’s not sure if it makes sense or not, but the idea is attractive. She thinks of all the people who have gone before them, their lives still spinning through infinity like silent songs. ‘So where’s Rene, in this metaphor?’ ‘She’s like…’ Robert thinks for a moment. ‘She’s like a clarinet solo in the first verse. A beautiful solo, harmonizing with the melody. And then she stops, and she doesn’t repeat again for the rest of the song…but she’s still there, on the record.

Ossian more properly pictures the opinions of his race in Ireland and Scotland, though they are rather negative than affirmative. He, doubtless, never entered the esoteric circle of Druidism, and is very far from displaying any tincture of mysticism in his verses.

A rhyming Nativity narrative. "The donkey who carried Mary to the Nativity calmly focuses on feelings of wonderment surrounding the child’s birth. With huge eyes...the little donkey is utterly adorable. Lines like “a bit of tingle-my-toes. / That’s how the evergreen / smelled to me, / a bit of fresh pine to my nose” offer opportunities for caregivers to extend the reading to sensory activities, though the scent of pine doesn’t seem historically accurate. An uncluttered stable features friendly, curious barn animals that greet baby Jesus along with the three Wise Men. Told in verse, the tale evokes a tender, pleasant mood. ...“I lifted my head / above His hay bed // …and sang of this morning of grace.” Jesus, referred to as “the Baby” and “the Babe,” is tan-skinned, as are his parents. Two of the Wise Men are light-skinned, while one is darker-skinned. A gentle, spare tale, part bedtime story, part Christmas fare. (Picture book. 2-5)" Kirkus Reviews

I have a hearty feeling I've just got a friend With whom I can explore this picture-perfect land.

First, the picture of marriage given here is not of two needy people, unsure of their own value and purpose, finding their significance and meaning in one another’s arms. If you add two vacuums to each other, you only get a bigger and stronger vacuum, a giant sucking sound. Rather, Paul assumes that each spouse already has settled the big questions of life—why they were made by God and who they are in Christ. No one lives a life of continual joy in God, of course. It is not automatic and constant. If that were the case, Paul would not have had to start verse 18 with an imperative, exhorting them literally to “go on being filled with the Spirit!” We are often running on fumes, spiritually, but we must know where the fuel station is and, even more important, that it exists. After trying all kinds of other things, Christians have learned that the worship of God with the whole heart in the assurance of his love through the work of Jesus Christ is the thing their souls were meant to “run on.” That is what gets all the heart’s cylinders to fire. If this is not understood, then we will not have the resources to be good spouses. If we look to our spouses to fill up our tanks in a way that only God can do, we are demanding an impossibility.

Metahemeralism. Tell me about it. Everything you know. I gotta know something about metahemeralism." "I'm sorry. I don't know what that is." "I don't either," Bunny would say brokenly. "Got to do with art or pastoralism or something. That's how I gotta tie together John Donne and Izaak Walton, see." He would resume pacing. "Donne. Walton. Metahemeralism. That's the problem as I see it." "Bunny, I don't think "metahemeralism" is even a word." "Sure it is. Comes from the Latin. Has to do with irony and the pastoral. Yeah. That's it. Painting or sculpture or something, maybe." "Is it in the dictionary?" "Dunno. Don't know how to spell it. I mean" — he made a picture frame with his hands — "the poet and the fisherman. Parfait. Boon companions. Out in the open spaces. Living the good life. Metahemeralism's gotta be the glue here, see?" And so it would go on, for sometimes half an hour or more, with Bunny raving about fishing, and sonnets, and heaven knew what, until in the middle of his monologue he would be struck by a brilliant thought and bluster off as suddenly as he had descended. He finished the paper four days before the deadline and ran around showing it to everyone before he turned it in. "This is a nice paper, Bun — ," Charles said cautiously. "Thanks, thanks." "But don't you think you ought to mention John Donne more often? Wasn't that your assignment?" "Oh, Donne," Bunny had said scoffingly. "I don't want to drag him into this." Henry had refused to read it. "I'm sure it's over my head, Bunny, really," he said, glancing over the first page. "Say, what's wrong with this type?" "Tripled spaced it," said Bunny proudly. "These lines are about an inch apart." "Looks kind of like free verse, doesn't it?" Henry made a funny little snorting noise through his nose. "Looks kind of like a menu," he said. All I remember about the paper was that it ended with the sentence "And as we leave Donne and Walton on the shores of Metahemeralism, we wave a fond farewell to those famous chums of yore.

The most beautiful of all photographs are those taken of savages in their natural surroundings. The savage is always confronting death, and he confronts the lens in exactly the same manner. He does not ham it up, nor is he indifferent. He always poses; he faces up to the camera. His achievement is to transform this technical operation into a face-to-face confrontation with death. This is what makes these pictures such powerful and intense photographic objects. As soon as the lens fails to capture this pose, this provocative obscenity of the object facing death, as soon as the subject begins to collude with the lens, and the photographer too becomes subjective, the 'great game' of photography is over. Exoticism is dead. Today it is very hard indeed to find a subject - or even an object - that does not collude with the camera lens. The only trick here, generally speaking, is to be ignorant of how one's subjects live. This gives them a certain aura of mystery, a savagery, which the successful picture captures. It also captures a gleam of ingenuity, of fatality, in their faces, betraying the fact that they do not know who they are or how they live. A glow of impotence and awe that is completely lacking in our tribes of worldly, devious, fashion-conscious and self-regarding people, always well-versed in the subject of themselves - and hence devoid of all mystery. For such people the camera is merciless.

Pick a passage. You can do this randomly (my favorite method) or look up a passage that suits your concerns of the day, or go to your favorite book of the Bible. Still your mind and invite God, the Holy Spirit, or whatever you want to call the Divine, to speak to you through your reading. You can say this out loud or within. ​“Then, read the passage until a word or phrase jumps off the page. You may have to read one verse, several verses, or just a few words until this happens. Use your heart to sense it, not your mind. Don’t analyze or think, ‘Oh, I know the origin of that word, I’ll choose that one.’ Let the words do the work of jumping. ​“When the word jumps, take it into your heart. Let it work in there until you start to hear or see something. Let the words or pictures flow in your imagination. Try not to let your analytical mind hijack the flow. Let the words paint the images or realizations via the subconscious, or whatever you want to call that intuitive part of you. When the flow slows or stops, grab your journal and write. Write fluidly as if you are letting the flow continue. Don’t judge your words or ideas. That’s not your job here. You are a pen in God’s hand. Write what comes.

War with clicks of pictures every day since it causes a severe defeat to the evil-minded, who stay watching silently and secretly with demon eyes and verses.

**Verse 1:** In a dusty room with a flickering light, A figure sits in the depths of night. Eyes that once held the brightest stars, Now dimmed and empty, bearing scars. **Chorus:** Broken dreams, scattered on the floor, Lost all hope, can't fight no more. The weight of the world's become too much to cope, In the silence, they've lost all hope. **Verse 2:** Pictures on the wall of better days, Faded memories, in a sunless haze. The clock ticks on, but time stands still, For a broken heart that's lost its will. **Chorus:** Broken dreams, scattered on the floor, Lost all hope, can't fight no more. The weight of the world's become too much to cope, In the silence, they've lost all hope. **Bridge:** But even in the darkest hour, There's a hidden, unseen power. A spark that waits to reignite, To bring back hope, to bring back light. **Chorus:** Broken dreams, waiting to be restored, Finding hope, a new accord. The journey's long, but there's a slope, Up from the valley, where they find new hope. **Outro:** So here's to the broken, finding their way, To the dawn that follows the darkest day. May hope return, may they learn to cope, And in their hearts, may they find new hope.

**Verse 1:** The door slammed shut, you walked away, Left me standing in a world turned grey. Our pictures on the wall, now just ghosts, Of the love we had, I'll miss the most. **Chorus:** We built a love, but it fell apart, Now I'm nursing this broken heart. The dreams we shared, now just a wake-up, Lost in the echoes of our break up. **Verse 2:** I pass by our favorite spots, alone, Every memory cuts to the bone. The laughter we shared, now silent screams, Our future's gone, just shattered dreams. **Chorus:** We built a love, but it fell apart, Now I'm nursing this broken heart. The dreams we shared, now just a wake-up, Lost in the echoes of our break up. **Bridge:** But in this pain, there's a lesson learned, In the ashes of love, that's burned. I'll find myself, in the sorrow's cup, And rise again, after this break up. **Chorus:** We built a love, it didn't last, But I won't be defined by the past. The pain is real, but I'll stand up, Stronger for the trials of our break up. **Outro:** So here's to moving on, to new starts, To healing minds and mending hearts. I'll find love again, with some luck, But for now, I'll close the book on our break up.

The feeling of steadily leaving this place but still remaining inside of it. We say we miss them but we don’t mean them. We mean the autumn we discovered them, when we had our headphones in and felt like we were a movie. We mean the way the breeze felt on our skin that day, while we walked toward our best friend’s house. We mean words put to music that belong on the refrigerator of our hearts, a magnet that holds up a picture of our nephews. We mean a history that was never written for us, those words that found themselves in our mouths and danced out so easily.

Is it masturbatory to think I am going to be the song you can’t remember the name of? That You’ll tell the person next to You (who is like me except maybe cut in half and bleached and doesn’t care about social media so she only takes pictures of trails and bugs), “It goes like ba-ba-ba” or maybe it’s “Da-da -da-da” and she doesn’t know what you’re saying and takes out her phone to check and the ba-ba-ba and the da-da-da-da is stuck in your head for the rest of the day and also Your life?

Now you’re in my head like a verse and a curse. You’re a plague and a fantasy. You’re there when I’m tossing and turning in bed, twisting the sheets into a heated mess. It’s you who I picture moaning beneath me, above me, in front of me. I’ve pumped my cock to those desires, and I’ll keep doing so until long after you leave this place. I won’t stop until you’ve drained me dry.” The humid words rose from my mouth. “I won’t stop until I’m so lost in your memory, your hand will tingle whilst I come.

THE BEAR A bear, however hard he tries, Grows tubby without exercise. Our Teddy Bear is short and fat, Which is not to be wondered at; He gets what exercise he can By falling off the ottoman, But generally seems to lack The energy to clamber back. Now tubbiness is just the thing Which gets a fellow wondering; And Teddy worried lots about The fact that he was rather stout. He thought: "If only I were thin! But how does anyone begin?" He thought: "It really isn't fair To grudge one exercise and air." For many weeks he pressed in vain His nose against the window-pane, And envied those who walked about Reducing their unwanted stout. None of the people he could see "Is quite" (he said) "as fat as me!" Then, with a still more moving sigh, "I mean" (he said) "as fat as I! Now Teddy, as was only right, Slept in the ottoman at night, And with him crowded in as well More animals than I can tell; Not only these, but books and things, Such as a kind relation brings - Old tales of "Once upon a time," And history retold in rhyme. One night it happened that he took A peep at an old picture-book, Wherein he came across by chance The picture of a King of France (A stoutish man) and, down below, These words: "King Louis So and So, Nicknamed 'The Handsome!'" There he sat, And (think of it!) the man was fat! Our bear rejoiced like anything To read about this famous King, Nicknamed "The Handsome." There he sat, And certainly the man was fat. Nicknamed "The Handsome." Not a doubt The man was definitely stout. Why then, a bear (for all his tub ) Might yet be named "The Handsome Cub!" "Might yet be named." Or did he mean That years ago he "might have been"? For now he felt a slight misgiving: "Is Louis So and So still living? Fashions in beauty have a way Of altering from day to day. Is 'Handsome Louis' with us yet? Unfortunately I forget." Next morning (nose to window-pane) The doubt occurred to him again. One question hammered in his head: "Is he alive or is he dead?" Thus, nose to pane, he pondered; but The lattice window, loosely shut, Swung open. With one startled "Oh!" Our Teddy disappeared below. There happened to be passing by A plump man with a twinkling eye, Who, seeing Teddy in the street, Raised him politely to his feet, And murmured kindly in his ear Soft words of comfort and of cheer: "Well, well!" "Allow me!" "Not at all." "Tut-tut! A very nasty fall." Our Teddy answered not a word; It's doubtful if he even heard. Our bear could only look and look: The stout man in the picture-book! That 'handsome' King - could this be he, This man of adiposity? "Impossible," he thought. "But still, No harm in asking. Yes I will!" "Are you," he said,"by any chance His Majesty the King of France?" The other answered, "I am that," Bowed stiffly, and removed his hat; Then said, "Excuse me," with an air, "But is it Mr Edward Bear?" And Teddy, bending very low, Replied politely, "Even so!" They stood beneath the window there, The King and Mr Edward Bear, And, handsome, if a trifle fat, Talked carelessly of this and that…. Then said His Majesty, "Well, well, I must get on," and rang the bell. "Your bear, I think," he smiled. "Good-day!" And turned, and went upon his way. A bear, however hard he tries, Grows tubby without exercise. Our Teddy Bear is short and fat, Which is not to be wondered at. But do you think it worries him To know that he is far from slim? No, just the other way about - He's proud of being short and stout.

Daddy's Little Girl acoustic melodic country [Verse] I see the pictures on your wall, moments I missed First steps, school plays, birthdays, and dusty Christmas gifts I know I've let you down, in ways too many to say But you're always on my mind, every single day [Verse 2] Your mama raised you strong, through storm and sunshine I see her in your eyes, the way you hold the line I was lost and wandering, trying to find myself But I’ve found my way back home, where you always dwelt [Chorus] I'm sorry I wasn't there, when you needed me the most I'm sorry I wasn't the father, you needed me to be But I'll always love you, 'cross the miles and in the dark You'll always be daddy's little girl, forever in my heart [Verse 3] The years keep slipping by, like a river to the sea Moments I can't get back, the man I used to be But I promise you right here, I'll never let you down From this day on, I'll always be around [Verse 4] Forgiveness ain't easy, you’ve built walls so high But I’ll keep on trying, till my last goodbye I’ll be your rock, your anchor, the father that you need The hand to hold, the heart that bleeds [Chorus] I'm sorry I wasn't there, when you needed me the most I'm sorry I wasn't the father, you needed me to be But I'll always love you, 'cross the miles and in the dark You'll always be daddy's little girl, forever in my heart

as a futurist in my college days, the pretense of consistent literalism was challenged by Revelation’s wild imagery. In any given verse, we might pivot from literal to figurative interpretations and back again. Using the Church in Revelation again as our example, it was easy to discern that the collective billions who constitute the Bride of Christ are not one literal female colossus in a humongous wedding dress waiting to consummate union with Jesus in actual lovemaking. We knew this was symbolic. Yet in the very same verse, we stumbled over our literalism into the New Jerusalem. Some of the popular futurist commentaries of the day quibbled over the Holy City’s dimensions—whether it will be a pyramid or a cube and what the rooms, streets, and transportation will be like.4 I tried to picture a city that was fifteen hundred miles tall and wondered what that would do to the earth’s rotation. I also wondered what kind of oysters could produce pearls large enough to become the city’s twelve gates (Rev 21:21).

1:1. wilderness Wilderness emerges through the narrative not only as a setting but also as a theme of considerable significance. The Hebrew title of the book, bêmidbar, "In the Wilderness," which derives from the opening verse ("And YHWH spoke to Moses in the wilderness of Sinai [bêmidbar sînay] ... "), is a better indicator of the book's contents than the Greek title, arithmoi (from which comes the English "Numbers"). It also better captures the pervasive feeling of the book. The wilderness depiction conveys two quite different qualities. On the one hand, the wilderness years constitute a kind of ideal. The peoples life is orderly, protected, close to God. It is a period of incubation, of nurturing. All is provided: food, water, direction. The miraculous is the norm. At the same time, though, the wilderness is depicted as terrible. Conditions are bad. The environment is hostile. There is rebellion from within and fighting with peoples whom they encounter on the way. There are power struggles and fear. And this is pictured as having been almost entirely avoidable, a fate that has come upon the people for having rejected the opportunity to enter the land. Numbers thus expresses pervasively a notion that is only begun in Leviticus, namely that closeness to the divine is both glorious and dangerous.

How to Make a Cuckold out of God by Fasting And when God sees this, he responds. He acts. He rewards. What is the “repayment” or the “reward” that Jesus promises from the Father in these verses? In a perverse way, one might even wonder if the reward God promises is “the praise of men”—as if God said, Since you did not seek it by public fasting but looked to me, I will give you this longed-for wish of human praise. If we hoped for this, our fasting would make a cuckold out of God. This is what James 4:3–4 makes clear. James pictures prayer as a petition to our heavenly husband. Then he ponders the possibility that we would actually ask our husband to pay for our visit to the prostitute. “You ask and do not receive, because you ask wrongly, to spend it on your passions. You adulterous people! Do you not know that friendship with the world is enmity with God?” The word “adulterous” is the key here. Why are we called “adulterous people” in praying for something to spend on our pleasures? Because God is our husband and the “world” is a prostitute luring us to give affections to her that belong only to God. This is how subtle the sin of worldliness can be. It can emerge not against prayer, but in prayer—and fasting.

C. S. Lewis once wrote that stories have a unique knack of getting under our skin and hitting us at a deeper level than our thoughts. They can strengthen old certainties and open doors we thought were locked. Stories have the power to express the inexpressible and provide answers to questions that can be answered in no other way. Stories—whether told in word, picture, song or verse—have the ability to satisfy a deep longing in each of us.

In this weaving together of the story of the Old Testament, four simple categories help identify how each part points to Jesus in the New Testament: 1. The easiest category is made up of passages or verses that offer prophecies of the coming Messiah, such as the Genesis 3:15 reference to Eve’s seed defeating Satan. Isaiah 53 and 61 are other examples. 2. Then we find stories that show God’s work to preserve the lineage of Christ, such as Joseph’s actions in Egypt that kept Abraham’s descendants from dying out. Esther, Rahab, and Ruth’s stories fall into this category as well. 3. We also see pictures of the coming Christ, His work, and His kingdom. The Old Testament sacrificial system clearly illustrates this. The story of Hosea and Gomer pictures Jesus’s coming redemption of His bride, as God instructed Hosea to pursue and restore Gomer despite her adultery (see Hosea 1:2–3). Boaz and Ruth’s story reflects aspects of the gospel as well, as Boaz took his place as Ruth’s kinsman-redeemer (see Ruth 2–3), foreshadowing Jesus’s redemption of His bride, the church. 4. Many stories simply reinforce our need for a Savior. Stories such as the rape and dismemberment of the concubine of an unnamed Levite in Judges 19 reinforce the Israelites’ warped sense of right and wrong, inability to be righteous on their own, and need for salvation through Christ. Most parts of the Old Testament will fit one or more of these four categories.

As for you, you were dead in your transgressions and sins, in which you used to live when you followed the ways of this world and of the ruler of the kingdom of the air, the spirit who is now at work in those who are disobedient. All of us also lived among them at one time, gratifying the cravings of our sinful nature and following its desires and thoughts. Like the rest, we were by nature objects of wrath. But because of his great love for us, God, who is rich in mercy, made us alive with Christ even when we were dead in transgressions — it is by grace you have been saved. Again we see the contrast drawn so sharply between our ruin and God’s remedy. In verses 1-3, Paul described us as dead in our sins, under the sway of Satan, captivated by the world, prisoners of our own sinful lusts, and objects of God’s holy wrath. Could any picture be more dark, any background more contrasting?

In my own academic field, it is much easier to get a doctorate in biblical studies if you do a relentlessly left-brain analysis of a small part of the text, whereas if you attempt a fresh vision of the big picture, within which it might all make sense, someone is bound to ask you, in tones that reflect only too accurately the cultural assumptions that lie behind them, “But where is that in the text?”—meaning, “Give me one verse that says precisely what you’re saying,” whereas the answer often lies not in a single verse (as if one’s interpretation of a great painting could be narrowed down to one square inch of the canvas!) but in the full sweep of the chapter, the book, the collection of books in question. I have argued elsewhere that it is time for a fresh integration of different modes and methods of study, taking full account of these cultural assumptions and allowing the texts themselves to offer their own challenge, their own alternative points of view.

Semi-Charmed Life" Doo doo doo, doo doo-doo doo... I'm packed and I'm holding I'm smiling, she's living, she's golden She lives for me, says she lives for me Ovation, her own motivation She comes round and she goes down on me And I make her smile, like a drug for you Do ever what you wanna do, coming over you Keep on smiling, what we go through One stop to the rhythm that divides you And I speak to you like the chorus to the verse Chop another line like a coda with a curse Come on like a freak show takes the stage We give them the games we play, she said... I want something else to get me through this Semi-charmed kinda life, baby, baby I want something else, I'm not listening when you say good-bye Doo doo doo, doo doo-doo doo... The sky was gold, it was rose I was taking sips of it through my nose And I wish I could get back there, someplace back there Smiling in the pictures you would take Doing crystal meth, will lift you up until you break It won't stop, I won't come down I keep stock with a tick-tock rhythm, a bump for the drop And then I bumped up, I took the hit that I was given Then I bumped again, then I bumped again I said... How do I get back there to the place where I fell asleep inside you How do I get myself back to the place where you said... I want something else to get me through this Semi-charmed kinda life, baby, baby I want something else, I'm not listening when you say good-bye I believe in the sand beneath my toes The beach gives a feeling, an earthy feeling I believe in the faith that grows And the four right chords can make me cry When I'm with you I feel like I could die And that would be alright, alright And when the plane came in, she said she was crashing The velvet it rips in the city, we tripped on the urge to feel alive Now I'm struggling to survive, Those days you were wearing that velvet dress You're the priestess, I must confess Those little red panties they pass the test Slide up around the belly, face down on the mattress one And you hold me, and we're broken Still it's all that I wanna do, just a little now Feel myself, heading off the ground I'm scared, I'm not coming down No, no And I won't run for my life She's got her jaws now locked down in a smile But nothing is alright, alright And I want something else to get me through this life Baby, I want something else Not listening when you say Good-bye, good-bye, good-bye, good-bye Doo doo doo, doo doo-doo doo... The sky was gold, it was rose (Doo doo doo, doo doo-doo doo...) I was taking sips of it through my nose (Doo doo doo, doo doo-doo doo...) And I wish I could get back there (Doo doo doo, doo doo-doo doo...) Someplace back there, in the place we used to start (Doo doo doo, doo doo-doo doo...) I want something else (Doo doo doo, doo doo-doo doo...) Third Eye Blind (1997)

D. Donovan, Senior Reviewer, Midwest Book Review writes: "Sea Creatures and Poems: Plus Some Other Fish Rhymes illustrates the fun that poetry can embrace, providing a zany collection for all ages that is both ocean-focused and whimsical. The operative description for both poems and pictures is "silly," and the book fulfills this promise with a series of engaging observations that belay the usual staid approaches of too many poetry books. Art combined with poetry is "a delicious combination," as Richard Merritts reflects in the collection's introduction. The poems inspired the author to add illustrations which are just as whimsically touched...and, also, quite artistically rendered. These aren't demanding works. Take "Pompano Pompano Pompano," for example. Its very short observation concludes with an ironic twist after identifying the "flat fish from Florida" outside of its normal sea environment. Succinct? Yes. But the poem really...snags readers, landing a winning insight on both the pompano and its ultimate fate. Readers trawling for humor will find plenty in this book. Even the poetry titles present original, fun observations, as in "By Jove, I Hooked a Snook." Aside from its delightful observations, the poems represent diverse structures, from free verse to rhyme: "From the depths of the sea;/Came a fish that could be;/From a prison did flee;/Dressed in stripes, so you see..." From redfish and ahi to the anglers who long for them, Sea Creatures and Poems will appeal to a wide audience, especially those who do not view poetry as an opportunity for philosophical and psychological analysis alone. Its blend of natural history info, inviting color illustrations, and accompanying fun insights is recommended for those who fish to those who enjoy eating or studying them, as well as poetry lovers who will appreciate the very different approaches, poetic variety, and whimsical inspections within. Libraries catering to these audiences will want to include it in their collections, but Sea Creatures and Poems will prove a delightful choice for adults who seek to instill in the young an appreciation for poetry's capability for fun and its diverse structural representations.

He illustrated books magnificently; he owned a considerable number, some of the greatest bibliographical interest; but he did not read a great many. This is not to say that he was not a keenly intelligent man, capable of profound understanding; yet his was an exceedingly quick and sometimes impatient mind, not very well suited for the slow accumulative absorption of prose. Verse was another matter: here the concentrated essence could be grasped almost as quickly as a picture or a carving; Picasso certainly read poetry and he certainly loved poets all his life—Max Jacob, Guillaume Apollinaire, Paul Eluard, to name but three. To be a poet was a passport to his kindness.

In old pictures, Srinagar is elegant; latticed houses, mosques, and temples admiring each other from the banks of theriver Jhelum; people strolling on the seven wooden bridges spanning it, wandering into old bazaars selling spices, lovingly embroidered shawls and carpets, and samovars with intricate engravings, or stepping with a prayer and an expectation into a medieval shrine flaunting verses from the Quran and poems of mystics on windows and facades, and the gende greens and blues of papier mache interiors. But elegance is granted little space in an age of wars. Those wooden bridges have either collapsed or were murdered. Their skeletons remain, in the shadow of new arcs of concrete.

Theism and materialism, so indifferent when taken retrospectively, point, when we take them prospectively, to wholly different outlooks of experience. For, according to the theory of mechanical evolution, the laws of redistribution of matter and motion, tho they are certainly to thank for all the good hours which our organisms have ever yielded us and for all the ideals which our minds now frame, are yet fatally certain to undo their work again, and to redissolve everything that they have once evolved. You all know the picture of the last state of the universe which evolutionary science foresees. I cannot state it better than in Mr. Balfour's words: That is the sting of it, that in the vast driftings of the cosmic weather, tho many a jeweled shore appears, and many an enchanted cloud-bank floats away, long lingering ere it be dissolved—even as our world now lingers, for our joy-yet when these transient products are gone, nothing, absolutely NOTHING remains, of represent those particular qualities, those elements of preciousness which they may have enshrined. Dead and gone are they, gone utterly from the very sphere and room of being. Without an echo; without a memory; without an influence on aught that may come after, to make it care for similar ideals. This utter final wreck and tragedy is of the essence of scientific materialism as at present understood. The lower and not the higher forces are the eternal forces, or the last surviving forces within the only cycle of evolution which we can definitely see. Mr. Spencer believes this as much as anyone; so why should he argue with us as if we were making silly aesthetic objections to the 'grossness' of 'matter and motion,' the principles of his philosophy, when what really dismays us is the disconsolateness of its ulterior practical results? No the true objection to materialism is not positive but negative. It would be farcical at this day to make complaint of it for what it IS for 'grossness.' Grossness is what grossness DOES—we now know THAT. We make complaint of it, on the contrary, for what it is NOT—not a permanent warrant for our more ideal interests, not a fulfiller of our remotest hopes. The notion of God, on the other hand, however inferior it may be in clearness to those mathematical notions so current in mechanical philosophy, has at least this practical superiority over them, that it guarantees an ideal order that shall be permanently preserved. A world with a God in it to say the last word, may indeed burn up or freeze, but we then think of him as still mindful of the old ideals and sure to bring them elsewhere to fruition; so that, where he is, tragedy is only provisional and partial, and shipwreck and dissolution not the absolutely final things. This need of an eternal moral order is one of the deepest needs of our breast. And those poets, like Dante and Wordsworth, who live on the conviction of such an order, owe to that fact the extraordinary tonic and consoling power of their verse. Here then, in these different emotional and practical appeals, in these adjustments of our concrete attitudes of hope and expectation, and all the delicate consequences which their differences entail, lie the real meanings of materialism and spiritualism—not in hair-splitting abstractions about matter's inner essence, or about the metaphysical attributes of God. Materialism means simply the denial that the moral order is eternal, and the cutting off of ultimate hopes; spiritualism means the affirmation of an eternal moral order and the letting loose of hope. Surely here is an issue genuine enough, for anyone who feels it; and, as long as men are men, it will yield matter for a serious philosophic debate.

Walter was next heard from in September, when he leafleted the neighborhood under cover of night. The Dent and Dolberg houses were standing empty now, their windows darkened like the call-holding lights of emergency-hotline callers who’d finally quietly hung up, but the remaining residents of Canterbridge Estates all awoke one morning to find on their doorsteps a politely worded “Dear Neighbors” letter, rehashing the anticat arguments that Walter had presented twice already, and four attached pages of photographs that were the opposite of polite. Walter had apparently spent the entire summer documenting bird deaths on his property. Each picture (there were more than forty of them) was labeled with a date and a species. The Canterbridge families who didn’t own cats were offended to have been included in the leafleting, and the families who did own them were offended by Walter’s seeming certainty that every bird death on his property was the fault of their pets. Linda Hoffbauer was additionally incensed that a leaflet had been left where one of her children could easily have been exposed to traumatizing images of headless sparrows and bloody entrails. She called the county sheriff, with whom she and her husband were social, to see whether perhaps Walter was guilty of illegal harassment. The sheriff said that Walter wasn’t, but he agreed to stop by his house and have a word of warning with him—a visit that yielded the unexpected news that Walter had a law degree and was versed not only in his First Amendment rights but also in the Canterbridge Estates homeowners covenant, which contained a clause requiring pets to be under the control of their owners at all times; the sheriff advised Linda to shred the leaflet and move on.

And then for English verses, he said, they could not be certain of lasting applause, the changes of our language being so great and sudden, that the rarest poems within few years will pass for obsolete; and therefore he used to liken the writers in English verse to ladies, that have their pictures drawn with the clothes now worn, which, though at present never so rich, and never so much in fashion, within a few years hence will make them look like anticks.

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In fact, don’t believe most of what you read about the Rapture. Many Christians, particularly in North America, have been taught for the last century and a half that when Jesus returns he will come down from “heaven” and that his faithful people (i.e., Christians) will then fly upward into the sky to meet him and be taken to heaven with him forever. Books, movies, a million radio and TV shows, and tens of millions of sermons have drilled this picture into the popular imagination. Indeed, for some people today the Rapture is more or less the center of their faith. But it’s a complete misunderstanding. It’s based on a misreading of what Paul says about the return of Jesus in 1 Thessalonians 4:14–17, just four verses, with the idea of a “rapture” in only one, as the basis for a complete theory of everything: