Wall Tapestry With Quotes

I am in the process of nailing Mr. Humphrey Griffin to the wall so thoroughly that future generations will mistake him for a tapestry,...

Empty. Save for the tapestry I’d hung on one wall, the black of the Void mesmerizing. And a reminder. As much of a reminder as the impossible iridescence of Hope, glittering throughout. To work through loss, no matter how overwhelming. To create.

I am in the process of nailing Mr. Humphrey Griffin to the wall so thoroughly that future generations will mistake him for a tapestry,” said Crane.

Suddenly, from all the green around you, something-you don't know what-has disappeared; you feel it creeping closer to the window, in total silence. From the nearby wood you hear the urgent whistling of a plover, reminding you of someone's Saint Jerome: so much solitude and passion come from that one voice, whose fierce request the downpour will grant. The walls, with their ancient portraits, glide away from us, cautiously, as though they weren't supposed to hear what we are saying. And reflected on the faded tapestries now; the chill, uncertain sunlight of those long childhood hours when you were so afraid. - Before Summer Rain

Do we take less pride in the possession of our home because its walls were built by some unknown carpenter, its tapestries woven by some unknown weaver on a far Oriental shore, in some antique time? No. We show our home to our friends with the pride as if it were our home, which it is. Why then should we take less pride when reading a book written by some long-dead author? Is it not our book just as much, or even more so, than theirs? So the landowner says, ‘Look at my beautiful home! Isn’t it fine?’ And not, ‘Look at the home so-and-so has built.’ Thus we shouldn’t cry, ‘Look what so-and-so has written. What a genius so-and-so is!’ But rather, ‘Look at what I have read! Am I not a genius? Have I not invented these pages? The walls of this universe, did I not build? The souls of these characters, did I not weave?

The Duke has decreed that the Castle is not cold." The gentleman's lips are almost blue from this lack of cold. "And the Duke is right and correct in this as in all things." ...some very beautiful tapestries line the walls, but many of them are also full of holes. Perhaps the Duke has decreed that there are no moths, either.

There are many ties that bind, and as many walls that divide. Music and madness. Love and unending time. Race and war. Strum weaves together each element into a larger human tapestry of light and shadow, where a combination of fate and decision can define a family's legacy.

You may hang your walls with tapestry instead of whitewash or paper; or you may cover them with mosaic; or have them frescoed by a great painter: all this is not luxury, if it be done for beauty's sake, and not for show: it does not break our golden rule: Have nothing in your houses which you do not know to be useful or believe to be beautiful

And then again, I am no longer quite such a good-looking young fellow that tapestries leap off the wall in my honour.

Exquisitely embroidered tapestries lined the walls of Medb’s bedroom, but their impact was somewhat reduced by the room’s ambience. A musky odor with pungent accents of stale piss.

The ... office was decorated in early American Earth Mother, with spider plants, hemp wall tapestries, and beeswax candles.

Later, William Stoner could not remember how he learned these things, that first afternoon and early evening at Josiah Claremont’s house; for the time of his meeting was blurred and formal, like the figured tapestry on the stair wall off the foyer.

The walls loom, grey as the rain outside. LIke the sky of England itself. Everything seems colourless and humbled, despite the layers of velvets and tapestries, the peacock plumage of courtiers and ladies. Greenwich Palace feels like my father's disappointment made tangible.

Wichahpi Commemorative Stone Wall. It’s over a mile long, twisting and turning its way all over the property of Tom Hendrix. The locals call it Tom’s Wall.

The walls were hung with rich tapestries representing the Triumph of Beauty. A large press, inlaid with agate and lapis-lazuli, filled one corner, and facing the window stood a curiously wrought cabinet with lacquer panels of powdered and mosaiced gold, on which were placed some delicate goblets of Venetian glass, and a cup of dark-veined onyx. Pale poppies were broidered on the silk coverlet of the bed, as though they had fallen from the tired hands of sleep, and tall reeds of fluted ivory bare up the velvet canopy, from which great tufts of ostrich plumes sprang, like white foam, to the pallid silver of the fretted ceiling. A laughing Narcissus in green bronze held a polished mirror above its head. On the table stood a flat bowl of amethyst.

The play of light upon the hieroglyphs cast fleeting, golden reflections onto the cavern's walls, creating a dance of illumination that seemed to whisper forgotten tales to anyone who cared to listen. With each glint and gleam, Ethan's imagination conjured the untold narratives behind those symbols, weaving together a tapestry of history and myth, a narrative that was only beginning to unfold before his eyes.

You can laugh," he said. "Dad's been ranting and muttering for an hour. Something about-" his gaze shifted and lingered on Shelby "-traitors and infidels.Hello,you must be the infidel." The friendly irony in his voice had Shelby's lips curving. "I must be." "Shelby Campbell,my brother, Caine." "The first Campbell ever to step into the MacGregor keep.Enter at your own risk." Caine offered his hand as Shelby crossed the threshold. His first thought was that she had the face of a mermaid-not quite beautiful, but alluring and not easily forgotten. Shelby glanced around the wide hall, approving the faded tapestries and heavy old furniture.She caught the scent of spring flowers, a wisp of dust and old polish. No,she couldn't have done it better herself. "Well, the roof didn't cave in," she commented as she studied a crested shield on the wall. "So far so good.

The common room was messy, and this time it was not glamoured. His father had an overwhelming collection of things. There were piles of books, heaps of loose papers, waterlogged scrolls from another era set in haphazard stacks. Five pairs of fancy mainland boots with laces, hardly worn, and a jacket the color of fire, lined with plaid. Jars of golden pins, a jewelry box that held his mother’s abandoned pearls. A map of the realm pegged to the floor, because the walls were already crowded with drawings of musty tapestries and a chart of the northern constellations. All were possessions from Graeme’s former life, when he had been the ambassador to the mainland.

The odd group of well-wishers slowly moved down the hallway as Moshe’s sobs cascaded up and down the walls, bouncing from one side to the other. The discourse on Doc Roberts was forgotten now as the group tromped forward, a ragtag assortment of travelers moving fifteen feet as if it were fifteen thousand miles, slow travelers all, arrivals from different lands, making a low trek through a country that claimed to be so high, a country that gave them so much yet demanded so much more. They moved slowly, like fusgeyers, wanderers seeking a home in Europe, or erú West African tribesmen herded off a ship on a Virginia shore to peer back across the Atlantic in the direction of their homeland one last time, moving toward a common destiny, all of them—Isaac, Nate, and the rest—into a future of American nothing. It was a future they couldn’t quite see, where the richness of all they had brought to the great land of promise would one day be zapped into nothing, the glorious tapestry of their history boiled down to a series of ten-second TV commercials, empty holidays, and sports games filled with the patriotic fluff of red, white, and blue, the celebrants cheering the accompanying dazzle without any idea of the horrible struggles and proud pasts of their forebears who had made their lives so easy. The collective history of this sad troupe moving down the hospital corridor would become tiny blots in an American future that would one day scramble their proud histories like eggs, scattering them among the population while feeding mental junk to the populace on devices that would become as common and small as the hot dog that the dying woman thought she smelled; for in death, Chona had smelled not a hot dog but the future, a future in which devices that fit in one’s pocket and went zip, zap, and zilch delivered a danger far more seductive and powerful than any hot dog, a device that children of the future would clamor for and become addicted to, a device that fed them their oppression disguised as free thought. Had the group of stragglers moping down the hallway seen that future, they would have all turned en masse and rushed from the hospital out into the open air and collapsed onto the lawn and sobbed like children. As it was, they moved like turtles toward Chona’s room as Moshe’s howl rang out. They were in no hurry. The journey ahead was long. There was no promise ahead. There was no need to rush now.

That day and night, the bleeding and the screaming, had knocked something askew for Esme, like a picture swinging crooked on a wall. She loved the life she lived with her mother. It was beautiful. It was, she sometimes thought, a sweet emulation of the fairy tales they cherished in their lovely, gold-edged books. They sewed their own clothes from bolts of velvet and silk, ate all their meals as picnics, indoors or out, and danced on the rooftop, cutting passageways through the fog with their bodies. They embroidered tapestries of their own design, wove endless melodies on their violins, charted the course of the moon each month, and went to the theater and the ballet as often as they liked--every night last week to see Swan Lake again and again. Esme herself could dance like a faerie, climb trees like a squirrel, and sit so still in the park that birds would come to perch on her. Her mother had taught her all that, and for years it had been enough. But she wasn't a little girl anymore, and she had begun to catch hints and glints of another world outside her pretty little life, one filled with spice and poetry and strangers.

I thought leaving home would be a liberation. I thought university would be a dance party. I thought I would live in a room vined with fairy lights; hang arabesque tapestries up on the wall. I thought scattered beneath my bed would be a combination of Kafka, coffee grounds, and a lover’s old boxer shorts. I thought I would spend my evenings drinking cheap red wine and talking about the Middle East. I thought on weekends we might go to Cassavetes marathons at the independent cinema. I thought I would know all the good Korean places in town. I thought I would know a person who was into healing crystals and another person who could teach me how to sew. I thought I might get into yoga. I thought going for frozen yogurt was something you would just do. I thought there would be red cups at parties. And I thought I would be different. I thought it would be like coming home, circling back to my essential and inevitable self. I imagined myself more relaxed—less hung up on things. I thought I would find it easy to speak to strangers. I thought I would be funny, even, make people laugh with my warm, wry, and only slightly self-deprecating sense of humor. I thought I would develop the easy confidence of a head girl, the light patter of an artist. I imagined myself dancing in a smoky nightclub, spinning slackly while my arms floated like laundry loose on the breeze. I imagined others watching me, thinking, Wow, she is so free.

I think we all know—somewhere deep inside, somewhere we don’t want to explore, somewhere maybe close to the subconscious—that the chances of us living the life we want, the life we’ve envisioned, are very slim. We have to make do. And the digital age has plastered that ‘making do’ for everyone to see while simultaneously mandating that we be more. Achievements become ‘likes.’ Thoughts become ‘shares.’ Emotions become comments at the bottom of a video. It’s a digital tapestry of unanswered prayers, and if you look really close at it all, you see this enormous wall of human misery.

But figure his thought, when Death is now clutching at his own heart-strings, unlooked for, inexorable! Yes, poor Louis, Death has found thee. No palace walls or life-guards, gorgeous tapestries or gilt buckram of stiffest ceremonial could keep him out; but he is here, here at thy very life-breath, and will extinguish it. Thou, whose whole existence hitherto was a chimera and scenic show, at length becomest a reality: sumptuous Versailles bursts asunder, like a dream, into void Immensity; Time is done, and all the scaffolding of Time falls wrecked with hideous clangour round thy soul: the pale Kingdoms yawn open; there must thou enter, naked, all unking'd, and await what is appointed thee! Unhappy man, there as thou turnest, in dull agony, on thy bed of weariness, what a thought is thine! Purgatory and Hell-fire, now all-too possible, in the prospect; in the retrospect,--alas, what thing didst thou do that were not better undone; what mortal didst thou generously help; what sorrow hadst thou mercy on? Do the 'five hundred thousand' ghosts, who sank shamefully on so many battle-fields from Rossbach to Quebec, that thy Harlot might take revenge for an epigram,--crowd round thee in this hour? Thy foul Harem; the curses of mothers, the tears and infamy of daughters? Miserable man! thou 'hast done evil as thou couldst:' thy whole existence seems one hideous abortion and mistake of Nature; the use and meaning of thee not yet known. Wert thou a fabulous Griffin, devouring the works of men; daily dragging virgins to thy cave;--clad also in scales that no spear would pierce: no spear but Death's? A Griffin not fabulous but real! Frightful, O Louis, seem these moments for thee.--We will pry no further into the horrors of a sinner's death-bed.

As for Madelyne, she continued to ply her trade. But such a life takes a fast toll on a woman. It is easy to be a remote, untouchable beauty and stay that way for many, many years. And if a stunning tapestry is hung upon a wall, it remains unsullied and a work of art. However, if one drapes it across the floor of a pub and all manner of men tread upon it with their heavy boots, it's going to be worn rather thin, and rather quickly. Such was the case with my mother.

But before I go, I want to tell you a little story. “A certain shopkeeper sent his son to learn about the secret of happiness from the wisest man in the world. The lad wandered through the desert for forty days, and finally came upon a beautiful castle, high atop a mountain. It was there that the wise man lived. “Rather than finding a saintly man, though, our hero, on entering the main room of the castle, saw a hive of activity: tradesmen came and went, people were conversing in the corners, a small orchestra was playing soft music, and there was a table covered with platters of the most delicious food in that part of the world. The wise man conversed with everyone, and the boy had to wait for two hours before it was his turn to be given the man’s attention. “The wise man listened attentively to the boy’s explanation of why he had come, but told him that he didn’t have time just then to explain the secret of happiness. He suggested that the boy look around the palace and return in two hours. “‘Meanwhile, I want to ask you to do something,’ said the wise man, handing the boy a teaspoon that held two drops of oil. ‘As you wander around, carry this spoon with you without allowing the oil to spill.’ “The boy began climbing and descending the many stairways of the palace, keeping his eyes fixed on the spoon. After two hours, he returned to the room where the wise man was. “‘Well,’ asked the wise man, ‘did you see the Persian tapestries that are hanging in my dining hall? Did you see the garden that it took the master gardener ten years to create? Did you notice the beautiful parchments in my library?’ “The boy was embarrassed, and confessed that he had observed nothing. His only concern had been not to spill the oil that the wise man had entrusted to him. “‘Then go back and observe the marvels of my world,’ said the wise man. ‘You cannot trust a man if you don’t know his house.’ “Relieved, the boy picked up the spoon and returned to his exploration of the palace, this time observing all of the works of art on the ceilings and the walls. He saw the gardens, the mountains all around him, the beauty of the flowers, and the taste with which everything had been selected. Upon returning to the wise man, he related in detail everything he had seen. “‘But where are the drops of oil I entrusted to you?’ asked the wise man. “Looking down at the spoon he held, the boy saw that the oil was gone. “‘Well, there is only one piece of advice I can give you,’ said the wisest of wise men. ‘The secret of happiness is to see all the marvels of the world, and never to forget the drops of oil on the spoon.

La tierra del Encanto Clouds build on the northern ridge Where the shades of night grow pale And there comes a rain like smoke. The mountains loom and recede. And Below, the umber plain is a pitted hide. There the distance of time runs out. And the mind extends beyond itself. I have seen in the twist of wind The landscape severed and heard The edged cries of streaming hawks First light is a tapestry on canyon walls, And shadows are pools of illusions. I am a man of the ancient earth For I have know the desert at dawn

There is a room in the dark. Where a ceiling fell through, and a floor, until all that was left was a hole leading down into the earth, into a basement. Into the shadows, peacock tapestries fell dusty and burning. A table lies broken down there, and a great chair of bone. You should go there. At night, when no one can see you. I could never guess what you might find in the frozen mud and shattered walls. I am not a betting woman these days. But you know, in the end, you can only be yourself in a basement, in the black, underneath everything, where no one can find you.

Why, all our art treasures of to-day are only the dug-up commonplaces of three or four hundred years ago. I wonder if there is real intrinsic beauty in the old soup-plates, beer-mugs, and candle-snuffers that we prize so now, or if it is only the halo of age glowing around them that gives them their charms in our eyes. The “old blue” that we hang about our walls as ornaments were the common every-day household utensils of a few centuries ago; and the pink shepherds and the yellow shepherdesses that we hand round now for all our friends to gush over, and pretend they understand, were the unvalued mantel-ornaments that the mother of the eighteenth century would have given the baby to suck when he cried. Will it be the same in the future? Will the prized treasures of to-day always be the cheap trifles of the day before? Will rows of our willow-pattern dinner-plates be ranged above the chimneypieces of the great in the years 2000 and odd? Will the white cups with the gold rim and the beautiful gold flower inside (species unknown), that our Sarah Janes now break in sheer light-heartedness of spirit, be carefully mended, and stood upon a bracket, and dusted only by the lady of the house? That china dog that ornaments the bedroom of my furnished lodgings. It is a white dog. Its eyes blue. Its nose is a delicate red, with spots. Its head is painfully erect, its expression is amiability carried to verge of imbecility. I do not admire it myself. Considered as a work of art, I may say it irritates me. Thoughtless friends jeer at it, and even my landlady herself has no admiration for it, and excuses its presence by the circumstance that her aunt gave it to her. But in 200 years’ time it is more than probable that that dog will be dug up from somewhere or other, minus its legs, and with its tail broken, and will be sold for old china, and put in a glass cabinet. And people will pass it round, and admire it. They will be struck by the wonderful depth of the colour on the nose, and speculate as to how beautiful the bit of the tail that is lost no doubt was. We, in this age, do not see the beauty of that dog. We are too familiar with it. It is like the sunset and the stars: we are not awed by their loveliness because they are common to our eyes. So it is with that china dog. In 2288 people will gush over it. The making of such dogs will have become a lost art. Our descendants will wonder how we did it, and say how clever we were. We shall be referred to lovingly as “those grand old artists that flourished in the nineteenth century, and produced those china dogs.” The “sampler” that the eldest daughter did at school will be spoken of as “tapestry of the Victorian era,” and be almost priceless. The blue-and-white mugs of the present-day roadside inn will be hunted up, all cracked and chipped, and sold for their weight in gold, and rich people will use them for claret cups; and travellers from Japan will buy up all the “Presents from Ramsgate,” and “Souvenirs of Margate,” that may have escaped destruction, and take them back to Jedo as ancient English curios.

There was no magic behind the silence - it was the soft-furnishings that did it. Overstuffed sofas were piled with velvet cushions; there were upholstered footstools, chaise longues, and armchairs; tapestries hung on the walls and were used as throws over upholstered furniture. Every floor was carpeted, every carpet overlaid with rugs. The damask that draped the windows also baffled the walls. Just as blotting paper absorbs ink, so all this wool and velvet absorbed sound, with on difference: Where blotting paper takes up only excess ink, the fabric of the house seemed to suck in the very essence of the words we spoke.

They turned a corner and there ahead of them was the end of the passage. Another short flight of steps led to a door just like the one hidden behind Ariana’s portrait. Neville pushed it open and climbed through. As Harry followed, he heard Neville call out to unseen people: “Look who it is! Didn’t I tell you?” As Harry emerged into the room beyond the passage, there were several screams and yells: “HARRY!” “It’s Potter, it’s POTTER!” “Ron!” “Hermione!” He had a confused impression of colored hangings, of lamps and many faces. The next moment, he, Ron, and Hermione were engulfed, hugged, pounded on the back, their hair ruffled, their hands shaken, by what seemed to be more than twenty people: They might just have won a Quidditch final. “Okay, okay, calm down!” Neville called, and as the crowd backed away, Harry was able to take in their surroundings. He did not recognize the room at all. It was enormous, and looked rather like the interior of a particularly sumptuous tree house, or perhaps a gigantic ship’s cabin. Multicolored hammocks were strung from the ceiling and from a balcony that ran around the dark wood-paneled and windowless walls, which were covered in bright tapestry hangings: Harry saw the gold Gryffindor lion, emblazoned on scarlet;

hot and close. The walls were hung with deep-dyed tapestries and old weapons kept gleaming by servants. Achilles walked past them and knelt at his father’s feet. “Father, I come to ask your pardon.” “Oh?” Peleus lifted an eyebrow. “Speak then.” From where I stood his face looked cold and displeased. I was suddenly fearful. We had interrupted; Achilles had not even knocked. “I have taken Patroclus from his drills.” My name sounded strange on his lips; I almost did not recognize it. The old king’s brows drew together. “Who?” “Menoitiades,” Achilles said. Menoitius’ son. “Ah.” Peleus’ gaze followed the carpet back to where I stood, trying not to fidget. “Yes, the boy the arms-master wants to whip.” “Yes. But it is not his fault. I forgot to say I wished him for a companion.” Therapon was the word he used. A brother-in-arms sworn to a prince by blood oaths and love. In war, these men were his honor guard; in peace, his closest advisers. It was a place of highest esteem, another reason the boys swarmed Peleus’ son, showing off; they hoped to be chosen. Peleus’ eyes narrowed. “Come here, Patroclus.” The carpet was thick beneath my feet. I knelt a little behind Achilles. I could feel the king’s gaze on me. “For many years now, Achilles, I have urged companions on you and you have turned them away. Why this boy?” The question might have been my own. I had nothing to offer such a prince. Why, then, had he made a charity case of me? Peleus and I both waited for his answer. “He is surprising.” I looked up, frowning. If he thought so, he was the only one. “Surprising,” Peleus echoed. “Yes.” Achilles explained no further, though I hoped he would. Peleus rubbed his nose in thought. “The boy is an exile with a stain upon him. He will add no luster to your reputation.” “I do not need him to,” Achilles said. Not proudly or boastfully. Honestly. Peleus acknowledged this. “Yet other boys will be envious that you have chosen such a one. What will you tell them?” “I will tell them nothing.” The answer came with no hesitation, clear and crisp. “It is not for them to say what I will do.” I found my pulse beating thickly in my veins, fearing Peleus’ anger. It did not come. Father and son met each other’s gaze, and the faintest touch of amusement bloomed at the corner of Peleus’ mouth. “Stand up, both of you.” I did so, dizzily. “I pronounce your sentence. Achilles, you

No, certainly. We shall not have to explore our way into a hall dimly lighted by the expiring embers of a wood fire—nor be obliged to spread our beds on the floor of a room without windows, doors, or furniture. But you must be aware that when a young lady is (by whatever means) introduced into a dwelling of this kind, she is always lodged apart from the rest of the family. While they snugly repair to their own end of the house, she is formally conducted by Dorothy, the ancient housekeeper, up a different staircase, and along many gloomy passages, into an apartment never used since some cousin or kin died in it about twenty years before. Can you stand such a ceremony as this? Will not your mind misgive you when you find yourself in this gloomy chamber—too lofty and extensive for you, with only the feeble rays of a single lamp to take in its size—its walls hung with tapestry exhibiting figures as large as life, and the bed, of dark green stuff or purple velvet, presenting even a funereal appearance? Will not your heart sink within you?” “Oh! But this will not happen to me, I am sure.” “How fearfully will you examine the furniture of your apartment! And what will you discern? Not tables, toilettes, wardrobes, or drawers, but on one side perhaps the remains of a broken lute, on the other a ponderous chest which no efforts can open, and over the fireplace the portrait of some handsome warrior, whose features will so incomprehensibly strike you, that you will not be able to withdraw your eyes from it. Dorothy, meanwhile, no less struck by your appearance, gazes on you in great agitation, and drops a few unintelligible hints. To raise your spirits, moreover, she gives you reason to suppose that the part of the abbey you inhabit is undoubtedly haunted, and informs you that you will not have a single domestic within call. With this parting cordial she curtsies off—you listen to the sound of her receding footsteps as long as the last echo can reach you—and when, with fainting spirits, you attempt to fasten your door, you discover, with increased alarm, that it has no lock.

Her departure left no traces but were speedily repaired by the coming of spring. The sun growing warmer, and the close season putting an end to the Marquess's hunting, it was now Odo's chief pleasure to carry his books to the walled garden between the castle and the southern face of the cliff. This small enclosure, probably a survival of medieval horticulture, had along the upper ledge of its wall a grass walk commanding the flow of the stream, and an angle turret that turned one slit to the valley, the other to the garden lying below like a tranquil well of scent and brightness: its box trees clipped to the shape of peacocks and lions, its clove pinks and simples set in a border of thrift, and a pear tree basking on its sunny wall. These pleasant spaces, which Odo had to himself save when the canonesses walked there to recite their rosary, he peopled with the knights and ladies of the novelle, and the fantastic beings of Pulci's epic: there walked the Fay Morgana, Regulus the loyal knight, the giant Morgante, Trajan the just Emperor and the proud figure of King Conrad; so that, escaping thither from the after-dinner dullness of the tapestry parlour, the boy seemed to pass from the most oppressive solitude to a world of warmth and fellowship.

My mouth kept dropping open, and I would choke on road dust as the city loomed ever closer. When I glanced over at Elka, she was in the same state—wide-eyed and torn between fear and wonderment. Everything seemed like something out of legend. In the shadow of the soaring walls, the city became less of an imposing majestic place and more a heaped, jumbled gathering of wealth and squalor existing side by side. Heady perfumes and the stink of offal wrapped around each other, woven into an overwhelming tapestry by the ocean breeze. Wicker cages full of fowl and small game swung from carts, squawking and chittering excitedly, filling the air with a haze of fur and feathers. Tens and tens of incomprehensible languages rang in my ears. Houses and temples and other buildings made of stone—structures that made my father’s great hall seem like a sheepherder’s hut—rose above the street, level upon level. All of it—the sights and sounds and smells—tangled together into an assault on my senses that made me want to clap my hands over my ears and hide my head. But there was no escaping the chaos as our cart plunged on, heading right toward the very heart of Massilia. With only the bars of my cage between me and the pushing, shoving, singing, shouting crowd, I’d never felt so vulnerable.

Fatigued by her journey, the Countess soon after supper proposed retiring to rest; a proposal extremely agreeable to Madeline, whose spirits still felt agitated. The Countess conducted her to her chamber, which was near her own, and at the end of a long gallery that overlooked the hall; here they parted; but a servant remained, who offered to assist Madeline in undressing; an offer which she, never accustomed to such attendance, refused; and, feeling a restraint in her presence, dismissed her; yet scarcely had she done so, ere she felt an uneasy sensation, something like fear, stealing over her mind as she looked round her spacious and gloomy apartment; nor could she prevent herself from starting as the tapestry, which represented a number of grotesque and frightful figures, agitated by the wind that whistled through the crevices, every now and then swelled from the walls. She sat down near the door, wishing herself again in her own little chamber, and attentively listening for a passing step that she might desire the servant she had dismissed to be recalled; but all was profoundly still, and continued so; and at length she recollected herself, blushed for the weakness she had betrayed; and, recommending herself to the protection of heaven, retired to bed, where she soon forgot her cares and fears. She awoke in the morning with renovated spirits; and, impatient to gratify her curiosity by examining the contents of the chamber, instantly rose: the furniture was rich but old-fashioned; and as she looked over the great presses and curious inlaid cabinets, she thought indeed she must have not only a great fortune, but great vanity if she could ever fill them.

My Voice by Paul Stephen Lynch Why was I born? What is my purpose here on this earth? Is there more out there after this life ends? At some point we all ask ourselves these questions. I can tell you with absolute certainty that for me, the answer to all three of these questions is… “I don’t know”. However, what I do know is that while I am here I am meant to learn from my mistakes, to grow through my pain, and to evolve. What will I be changed into? Again, I do not know. Perhaps I will become someone who is more courageous, more charitable, more peaceful, more dignified, more honest and more loving. I am very hopeful but nothing in life is guaranteed. Although, I have discovered that speaking from my heart and telling my truth is an integral part of my transformation. It is my voice. In those times in my life when I have experienced great pain – sadness, loss, conflict or depression – those have been the times that have brought me closest to this transformation. I recently realized that pain is one of the few things that seems to really get my attention and that I have spent a lot of my time just coasting down life’s path. Perhaps this is the reason why I seem to grow the most during the hard times, even though it often takes all the energy I can muster just to get through them. Quite a few years ago, while I was visiting a friend who was dying from AIDS, I saw a tapestry on the hospital wall that read: The Chinese word for “crisis” has two characters. One stands for danger; the other for opportunity. The times in my life that have been the most difficult have quite often proven to be my best opportunities for growth; to get closer to becoming the person I am meant to be. Of course, this doesn’t mean that painful circumstances ~ like HIV and AIDS ~ are good things or that they are in any way “all for the best” ~ or, that they even make any kind of sense. It just means that I know that there is always the possibility that something positive can ultimately come out of that which is incredibly bad. However, change does not happen in seclusion and I will likely need help from friends, family, teachers and even from people I do not know at all For me to continue moving closer to becoming the person I was born to be, I first needed to accept who I am. For me, that was relatively easy (easy does not mean painless mind you) and it happened at the unusually young age of twelve. The second step to transforming my life means I need to tell others the truth about who I am. I have been doing this ever since my personal acceptance occurred. As a result, I have learned that there will always be those people who cannot be trusted with the truth. There are also those who will simply never be able to understand my truth no matter what anyone says to them. However, others will hear the truth very clearly, understand it completely, and even care greatly. Moreover, I can hear, I understand, and I care. I have also learned that there are times when it is better to be silent. Sometimes words are just not necessary… Like when I am sharing with someone who already knows my heart. And then there are times when words are pointless… like when I have already spoken my truth to someone, yet they are simply not capable of hearing what it is that I am saying. This is when I need to find other ears. Sometimes, a silent sign of love is the best way, or even the only way that I can express myself. However, at those times, my silence is a choice that I am making. It is not being forced on me by fear or shame… and I will never let it be because… it is MY voice!

The odd group of well-wishers slowly moved down the hallway as Moshe’s sobs cascaded up and down the walls, bouncing from one side to the other. The discourse on Doc Roberts was forgotten now as the group tromped forward, a ragtag assortment of travelers moving fifteen feet as if it were fifteen thousand miles, slow travelers all, arrivals from different lands, making a low trek through a country that claimed to be so high, a country that gave them so much yet demanded so much more. They moved slowly, like fusgeyers, wanderers seeking a home in Europe, or erú West African tribesmen herded off a ship on a Virginia shore to peer back across the Atlantic in the direction of their homeland one last time, moving toward a common destiny, all of them—Isaac, Nate, and the rest—into a future of American nothing. It was a future they couldn’t quite see, where the richness of all they had brought to the great land of promise would one day be zapped into nothing, the glorious tapestry of their history boiled down to a series of ten-second TV commercials, empty holidays, and sports games filled with the patriotic fluff of red, white, and blue, the celebrants cheering the accompanying dazzle without any idea of the horrible struggles and proud pasts of their forebears who had made their lives so easy. The collective history of this sad troupe moving down the hospital corridor would become tiny blots in an American future that would one day scramble their proud histories like eggs, scattering them among the population while feeding mental junk to the populace on devices that would become as common and small as the hot dog that the dying woman thought she smelled; for in death, Chona had smelled not a hot dog but the future, a future in which devices that fit in one’s pocket and went zip, zap, and zilch delivered a danger far more seductive and powerful than any hot dog, a device that children of the future would clamor for and become addicted to, a device that fed them their oppression disguised as free thought.

Lights like stars whirled past me from out of the darkness, and when I opened my eyes, I was lying on a bed covered in rich tapestry and piled high with pillows. The room was lit by candles in colossal iron holders that flickered on the walls. A great fire was ablaze in the hearth. I recognized the triptych of slender, arched windows, though I was seeing them for the first time from the inside. No longer empty, they were fitted with glass through which I could make out some of the stars that hovered over Whitby on a clear night. We were inside the abbey, though apparently outside time. The room was warm and the roof intact, and he was lying beside me. 'Every moment that has ever existed in time is still here, Mina- every thought, every memory, and every experience.' Now that I saw him in the candlelight, he was more beautiful than I had imagined. Skin marble white, paler than mine and glowing, and hair like the night sea's glossy waves. His face was long and angular with a strong brow, like the artist's renderings I had of the Arthurian knights. With his midnight blue wolf eyes, he stared at me, taking me in. "Who are you?" I asked, my voice timid and feeble. 'You and I have gone by many names. It does not matter what we call each other. What matters is that you remember. Do you remember, Mina?' His lips did not move, and yet I heard every word that he said, I wanted to ask a thousand questions, but one long and slender finger reached out and touched my lips. Locking eyes with me, he slid my nightdress from my shoulder. Shock waves rippled through my body as his finger followed the curve under my neck, dusting my chin, and slowly sliding to the other ear. Surely just one finger could not create this bedlam inside me. 'Ah, so you do remember.' My heart palpitated wildly, but I was not afraid. Something familiar about him prevented me from fearing him, though I had witnessed how dangerous he could be on the banks of the Thames when he had thrashed my attacker. "Yes, yes, I remember," I said. I would have said anything to keep his hand on me, to wallow in the wild energy he brought to my body, and to stare into the infinite violet blue of his eyes. Though I said nothing else, every nerve in my body begged him to keep touching me. 'What is your desire?' I did not have the audacity to say the words aloud, but this being knew me and knew my thoughts. Our eyes were locked, and our minds were linked. I felt connected to him in a way that I had not known with another person. We were not one, but we were in harmony, as if we were both parts of the same symphony.

Her face flamed and her breasts prickled. She did not think again of the sheriff or of his unmarried daughter. She thought instead of herself, and of the man who led her so unerringly through the hall to an adjoining antechamber. They passed even the minstrel, watching over his lute. Blue eyes were brightly knowing; his smile was meant for her. Inside the chamber Locksley boomed shut the door behind her. Marian looked past him, noting chairs, candle racks, tapestried walls. At least, she thought wryly, it does not have a bed. That much he will spare me.

Nonethless it had been a castle, with all that this implies: it had had towering walls and turrets, beams as great as trees, arched doorways wide enough for processions to pass through, ceilings so cavernous that owls nested in them. It had had wings and ramparts and thin windows from which to shoot arrows, internal courtyards, banquet rooms, hidden doors, secret passages. It had had a chapel and, in its bowels, a dungeon. It housed sculptures and paintings, tapestries and cushions, carpets and carvings, its fortressed heart had been clad in glit, silver, glass, gold, damask, ivory, ermine.

I’d been proud of the parlor, over which I had spent a great deal of time. The ceiling had inlaid tiles in the same summer-sky blue that comprised the main color of the rugs and cushions and the tapestry on the wall opposite the newly glassed windows. Now I sneaked a look at the Marquis, dreading an expression of amusement or disdain. But his attention seemed to be reserved for the lady as he led her to the scattering of cushions before the fireplace, where she knelt down with a graceful sweeping of her skirts. Bran went over and opened the fire vents. “If I’d known of your arrival, it would have been warm in here.” Bran looked over his shoulder in surprise. “Well, where d’you spend your days? Not still in the kitchens?” “In the kitchens and the library and wherever else I’m needed,” I said; and though I tried to sound cheery, it came out sounding resentful. “I’ll be back after I see about food and drink.” Feeling very much like I was making a cowardly retreat, I ran down the long halls to the kitchen, cursing my bad luck as I went. There I found Julen, Oria, the new cook, and his assistant all standing in a knot talking at once. As soon as I appeared, the conversation stopped. Julen and Oria turned to face me--Oria on the verge of laughter. “The lady can have the new rose room, and the lord the corner suite next to your brother. But they’ve got an army of servants with them, Countess,” Julen said heavily. Whenever she called me Countess, it was a sure sign she was deeply disturbed over something. “Where’ll we house them? There’s no space in our wing, not till we finish the walls.” “And who’s to wait on whom?” Oria asked as she carefully brought my mother’s good silver trays out from the wall-shelves behind the new-woven coverings. “Glad we’ve kept these polished,” she added. “I’d say find out how many of those fancy palace servants are kitchen trained, and draft ‘em. And then see if some of the people from that new inn will come up, for extra wages. Bran can unpocket the extra pay,” I said darkly, “if he’s going to make a habit of disappearing for half a year and reappearing with armies of retainers. As for housing, well, the garrison does have a new roof, so they can all sleep there. We’ve got those new Fire Sticks to warm ‘em up with.” “What about meals for your guests?” Oria said, her eyes wide. I’d told Oria last summer that she could become steward of the house. While I’d been ordering books on trade, and world history, and governments, she had been doing research on how the great houses were currently run; and it was she who had hired Demnan, the new cook. We’d eaten well over the winter, thanks to his genius. I looked at Oria. “This is it. No longer just us, no longer practice, it’s time to dig out all your plans for running a fine house for a noble family. Bran and his two Court guests will need something now after their long journey, and I have no idea what’s proper to offer Court people.” “Well, I do,” Oria said, whirling around, hands on hips, her face flushed with pleasure. “We’ll make you proud, I promise.” I sighed. “Then…I guess I’d better go back.” As I ran to the parlor, pausing only to ditch my blanket in an empty room, I steeled myself to be polite and pleasant no matter how much my exasperating brother inadvertently provoked me--but when I pushed aside the tapestry at the door, they weren’t there. And why should they be? This was Branaric’s home, too.

get him killed by … someone. Someone scary enough that the huntress doesn’t want to get involved. She whacks like seven-eight of their guys, but she doesn’t want to get into this. Stupidly, Alpha Male charges ahead where the Goddess of the Hunt fears to tread. Because my rallying cry is “MORONS FORWARD!” or something of that sort. Mercy. I say none of this to Dr. Perugini, because a) she’s not going to believe me, and b) none of this makes me look cool, especially the part where I’m not the Big Damn Hero doing the saving. Also, there are a lot of tourists around us and most of them speak English. Call me self-conscious, but I don’t want anyone thinking I’m crazy. There is still a widely accepted cult of skepticism about the existence of metahumans, even after the Minneapolis incident. We go through a corridor of tapestries, and one of them has a Jesus that the tour guide swears is watching. I picture someone behind the wall like in the old movies, eyeballs staring out, then dismiss that thought as utter nonsense. Then I move, and I swear the tapestry’s eyes move with me. No, I am not a fan of the “Jesus is watching” tapestry. It’s like he can sense my impure thoughts about Dr. Perugini and he is not pleased. Come on, man, your dad supposedly intelligently designed her. Like this wasn’t predictable.

I want to tell you a little story. “A certain shopkeeper sent his son to learn about the secret of happiness from the wisest man in the world. The lad wandered through the desert for forty days, and finally came upon a beautiful castle, high atop a mountain. It was there that the wise man lived. “Rather than finding a saintly man, though, our hero, on entering the main room of the castle, saw a hive of activity: tradesmen came and went, people were conversing in the corners, a small orchestra was playing soft music, and there was a table covered with platters of the most delicious food in that part of the world. The wise man conversed with everyone, and the boy had to wait for two hours before it was his turn to be given the man’s attention. “The wise man listened attentively to the boy’s explanation of why he had come, but told him that he didn’t have time just then to explain the secret of happiness. He suggested that the boy look around the palace and return in two hours. “‘Meanwhile, I want to ask you to do something,’ said the wise man, handing the boy a teaspoon that held two drops of oil. ‘As you wander around, carry this spoon with you without allowing the oil to spill.’ “The boy began climbing and descending the many stairways of the palace, keeping his eyes fixed on the spoon. After two hours, he returned to the room where the wise man was. “‘Well,’ asked the wise man, ‘did you see the Persian tapestries that are hanging in my dining hall? Did you see the garden that it took the master gardener ten years to create? Did you notice the beautiful parchments in my library?’ “The boy was embarrassed, and confessed that he had observed nothing. His only concern had been not to spill the oil that the wise man had entrusted to him. “‘Then go back and observe the marvels of my world,’ said the wise man. ‘You cannot trust a man if you don’t know his house.’ “Relieved, the boy picked up the spoon and returned to his exploration of the palace, this time observing all of the works of art on the ceilings and the walls. He saw the gardens, the mountains all around him, the beauty of the flowers, and the taste with which everything had been selected. Upon returning to the wise man, he related in detail everything he had seen. “‘But where are the drops of oil I entrusted to you?’ asked the wise man. “Looking down at the spoon he held, the boy saw that the oil was gone. “‘Well, there is only one piece of advice I can give you,’ said the wisest of wise men. ‘The secret of happiness is to see all the marvels of the world, and never to forget the drops of oil on the spoon.’” The shepherd said nothing. He had understood the story the old king had told him. A shepherd may like to travel, but he should never forget about his sheep. The

As I trod down the hall, I made and discarded plausible excuses. When I reached the tapestry I decided against speaking at all. I’d just take a quick peek, and if the livery was Merindar, then I’d have to hire someone to ride back and warn the Renselaeuses. I pulled my soggy cloak up around my eyes, stuck out my gloved finger, and poked gently at the edge of the tapestry. Remember the surmise I recorded on my arrival at the Residence that day in early spring--that if anyone were to know everyone’s business, it would be the servants? I glanced inside in time to see a pale, familiar face jerk up. And for a long, amazing moment, there we were, Meliara and Shevraeth, mud-spattered and wet, just like last year, looking at one another in silence. Then I snatched my hand back, now thoroughly embarrassed, and spun around intending retreat. But I moved too fast for my tired head and fell against the wall, as once again the world lurched around me. I heard the faint metallic ching of chain mail, and suddenly he was there, his hand gripping my arm. Without speaking, he drew me inside the bare little parlor and pointed silently at a straw-stuffed cushion. My legs folded abruptly, and I plopped down. “Azmus--” I croaked. “How could you--I sent him--” “Drink.” Shevraeth put a mug into my hands. “Then we can talk.” Obediently I took a sip, felt sweet coffee burn its way pleasantly down my throat and push back the fog threatening to enfold my brain. I took a longer draught, then sighed. The Marquis looked back at me, his face tense and tired, his eyes dark with an intensity that sent a complexity of emotions chasing through me like darting starlings. “How did you get ahead of me so fast?” I said. “I don’t understand.” His eyes widened in surprise, as if he’d expected to hear anything but that. “How,” he asked slowly, “did you know I was here? We told no one when I was leaving, or my route, outside of two servants.” “I didn’t know you were here,” I said. “I sent Azmus to you. With the news. About the Merindars. You mean you already knew?” “Let us backtrack a little,” he said, “if you will bear with my lamentable slowness. I take it, then, that you were not riding thus speedily to join me?” With his old sardonic tone he added, “Because if you were, your retreat just now is somewhat puzzling, you’ll have to admit.” I said indignantly, “I peeked in because I thought you might be one of the Merindars, and if so, I’d send a warning back to you. I mean, you if you were there. Does that make sense?” I frowned, shook my head, then gulped down the rest of the coffee. He smiled just slightly, but the intensity had not left his eyes. The serving maid came in, carrying a bowl of food and some fresh bread. “Will you have some as well?” she said to me. “Please,” Shevraeth said before I could speak. “And more coffee.” He waited until she went out, then said, “Now, begin again, please. What is it you’re trying to tell me, and where are you going?” “I’m going to Orbanith,” I said, and forced myself to look away from the steam curling up from the stew at his elbow. My mouth watered. I swallowed and turned my attention to pulling off my sodden gloves. “I guess I am trying to tell you what you already seem to know--that the Merindars are going on the attack, with hired mercenaries from Denlieff. But--why do you want me to tell you when you do already know all this?” I looked up from wringing out my gloves. “I am trying,” he said with great care, “to ascertain what your place is in the events about to transpire, and to act accordingly. From whom did you get your information?” The world seemed to lurch again, but this time it was not my vision. A terrible sense of certainty pulled at my heart and mind as I realized what he was striving so heroically not to say--nevertheless, what he meant. He thought I was on the other side.

Because the Ritz had seduced her from her very first step inside. As it seduces everyone. It whispers your name in a satin cares, it shows you unimaginable treasures - the tapestries on the walls should be in an art museum - it seduces you into thinking, even if you haven't a sou in your pocket, that simply by rubbing elbows with the barons and duchesses and movie stars and heiresses who glide through the halls on the wings of fortune, you, too, are something special.

In other zikr-khanas, tapestries depicting the Ka‘ba can be seen adorning the wall, however, the direction of prayer is focused to the centre of the zikr-khana rather than a Mecca-facing qibla.

I am in the process of nailing Mr. Humphrey Griffin to the wall so thoroughly that future generations will mistake him for a tapestry.

In a few minutes, she stood outside Friedrich’s room. She had never been inside before—mostly because she had no reason to. He rarely used his rooms in the royal palace, and after they were married, they would have joint quarters. Now, however, Cinderella had a sneaking suspicion. “Your Grace!” a lady’s maid shrieked when Cinderella pushed the doors open. “Yes, it is as I thought.” She entered the room, although she barely had enough space to walk in. “Your Grace, this might be a little unseemly,” Margrit said. Cinderella pointed to a beautiful writing desk. “That was mine,” she announced. “And I would recognize this rug anywhere. That horse statue used to stand in my parlor—it’s a sculpture of a riding horse I used to have. The tapestry, bookshelf, wall hangings, everything is…

When we reached his door, he went inside, leaving it open for me to follow. I stepped across the threshold and closed out the hall, then surveyed what lay before me: a lavish main room much like mine in Hytanica, with a fireplace; a rich, comfortable sofa upon which Narian settled; several armchairs; a carved wooden table scattered with papers; and two bookshelves stocked with volumes. Heavy drapes covered one wall, and when I crossed the thick rug that blanketed the floor to push the fabric aside, I learned the reason--they hid a set of large windows. I turned around and saw that an expansive mural covered the wall above and to the sides of the door. It combined horses, a sunrise and sunset, stars in a deep blue sky, noblewomen and men, creatures of myth and a Cokyrian flag into a single stunning piece of artwork. Intricate tapestries were common in Hytanica, but I had never seen anything approaching the beauty of this painting before. Narian was content to let me explore, so I approached the table, skimming the papers atop it, which ranged from correspondence and scrawled notes to maps and battle strategies. Spying his bedroom beyond, which was open to the main room but secluded by a wall, I glanced at him for approval, and went inside upon his nod. His bed was built into a corner, on a raised platform, permitting access from only one side by what appeared to be a climbing net. Practical for a military man--and fun for a child. He followed me, stopping in the archway to watch me explore his private space. “May I?” I asked, crossing to his wardrobe, for I was curious about the style of his attire here in Cokyri, and he again motioned me ahead. I glanced between Narian and the clothing inside the wardrobe several times, trying to understand the disparity. The Narian I knew dressed practically, ever a soldier, thinking of comfort and of blending into his surroundings. Yet he possessed a collection of rich clothing, the fabrics similar to what I would have expected to find in Steldor’s or my father’s wardrobe, not in his. Mounted on the inside of one of the doors were dress swords, and on the other, shelves that held jewels far more valuable than anything we had in Hytanica. “Narian, this is…” I started, then shook my head in wonder. “Ridiculous, I know.” He crossed to his bed and leaned against the netting. “No!” I exclaimed. “It’s unbelievably beautiful.” I pointed to an exquisite ruby ring and flashed him a smile. “This could have been my betrothal ring.

He enters the House of High Dudgeon. The floor is hard and on the walls hang tapestries of fantastical scenes: griffin fighting unicorns, a phoenix rising from the ashes, attack ships on fire off the coast of Smyrna.

A certain shopkeeper sent his son to learn about the secret of happiness from the wisest man in the world. The lad wandered through the desert for forty days, and finally came upon a beautiful castle, high atop a mountain. It was there that the wise man lived. “Rather than finding a saintly man, though, our hero, on entering the main room of the castle, saw a hive of activity: tradesmen came and went, people were conversing in the corners, a small orchestra was playing soft music, and there was a table covered with platters of the most delicious food in that part of the world. The wise man conversed with everyone, and the boy had to wait for two hours before it was his turn to be given the man’s attention. “The wise man listened attentively to the boy’s explanation of why he had come, but told him that he didn’t have time just then to explain the secret of happiness. He suggested that the boy look around the palace and return in two hours. “‘Meanwhile, I want to ask you to do something,’ said the wise man, handing the boy a teaspoon that held two drops of oil. ‘As you wander around, carry this spoon with you without allowing the oil to spill.’ “The boy began climbing and descending the many stairways of the palace, keeping his eyes fixed on the spoon. After two hours, he returned to the room where the wise man was. “‘Well,’ asked the wise man, ‘did you see the Persian tapestries that are hanging in my dining hall? Did you see the garden that it took the master gardener ten years to create? Did you notice the beautiful parchments in my library?’ “The boy was embarrassed, and confessed that he had observed nothing. His only concern had been not to spill the oil that the wise man had entrusted to him. “‘Then go back and observe the marvels of my world,’ said the wise man. ‘You cannot trust a man if you don’t know his house.’ “Relieved, the boy picked up the spoon and returned to his exploration of the palace, this time observing all of the works of art on the ceilings and the walls. He saw the gardens, the mountains all around him, the beauty of the flowers, and the taste with which everything had been selected. Upon returning to the wise man, he related in detail everything he had seen. “‘But where are the drops of oil I entrusted to you?’ asked the wise man. “Looking down at the spoon he held, the boy saw that the oil was gone. “‘Well, there is only one piece of advice I can give you,’ said the wisest of wise men. ‘The secret of happiness is to see all the marvels of the world, and never to forget the drops of oil on the spoon.’” The

Now, whenever she smelled the gums, the balsams, and the special aromatics that arrived with merchants from afar, her head reeled with images of temples, shrines, palaces, fortresses, mysterious walls, tapestries, paintings, jewels, liquors, icons, drugs, dyes, meats, sweets, sweetmeats, silks, bolts and bolts of cotton cloth, ores, shiny metals, foodstuffs, spices, musical instruments, ivory daggers and ivory dolls, masks, bells, carvings, statues (ten times as tall as she!), lumber, leopards on leashes, peacocks, monkeys, white elephants with tattooed ears, horses, camels, princes, maharajah, conquerors, travelers (Turks with threatening mustaches and Greeks with skin as pale as the stranger who had befriended her at the funeral grounds), singers, fakirs, magicians, acrobats, prophets, scholars, monks, madmen, sages, saints, mystics, dreamers, prostitutes, dancers, fanatics, avatars, poets, thieves, warriors, snake charmers, pageants, parades, rituals, executions, weddings, seductions, concerts, new religions, strange philosophies, fevers, diseases, splendors and magnificences and things too fearsome to be recounted, all writhing, cascading, jumbling, mixing, splashing, and spinning; vast, complex, inexhaustible, forever.

The fact is that we lack the terms to define [the Null Rhythm], and there are too many hypothetical notions upon which our assumptions are stacked that it would be silly for us to explore it. All the same, there are layers of absence between waves of static, perforations in the surface of the latent aural wall that descend to pits of ecstatic dread, eschewing the crystallized intelligence and industry of all manifestation with its own form of anti-intelligent, retro-manifestation–not the undoing upon ‘the done’ so much as the unbeing upon the ‘will have been’ (which can be stretched to include both the ‘have been’ as well as the invariable ‘to be’). The Anti-Rhythm rises from the perforations, from those pits, only to remind itself of the sheer inadequacies and of the abomination of existence, which is not to say that it confronts or beckons to all or any who exist. Rather, like a listless predator who has lost the thrill of pursuit, it observes without interest, without appetite even, this objective reality that has prevailed only in meeting the standards of its bitter contempt, for all braided within its fabric languishes in mere folly, and all therefore remains too intertwined with the scraps and muck and detritus and moreover with the flaws in this tapestry of being to intuit its desultory artifice. There is no unbeing of the ‘will have been’ aligned with a destined course. The destined destination is simply a byproduct of aim-befuddled movement. [Excerpt from "Why Yes Always But Also Why Always Yes Never" by Ashim Shanker]

I’ll end with a story. A friend of mine was a student in France in 1967–68 at the Catholic University of the West. And one day her class visited a château in the Loire Valley. The docent took them into a room with an enormous stretch of hanging fabric, many yards across from one wall to the other. And on the fabric were hundreds of ugly knots and tangles of stray thread in a chaos of confused shapes that made very little sense. And the docent said, “This is what the artist saw as he worked.” Then she led my friend and her class around to the front of the fabric. And what they saw there is the great tapestry of the Apocalypse of St. John, the story of the book of Revelation in ninety immense panels. Created between 1377 and 1382, it’s one of the most stunning and beautiful expressions of medieval civilization, and among the greatest artistic achievements of the European heritage. The point is simply this: We rarely see the full effects of the good we do in this life. So much of what we do seems a tangle of frustrations and failures. We don’t see—on this side of the tapestry—the pattern of meaning that our faith weaves. But one day we’ll stand on the other side. And on that day, we’ll see the beauty that God has allowed us to add to the great story of his creation, the richness we’ve added to the lives of our family and friends, the mark for the better we’ve left on the world, and the revelation of his love that goes from age to age no matter how good or bad the times. We are each an unrepeatable, infinitely treasured part of that story. And this is why our lives matter.

Ephraim did not care whether he heard singing ever again. No voice could be as beautiful, no tenor as bright, and no lips as perfectly formed as his Ferdinand’s—and they would never grace the halls again. Such dismal, empty chambers lacking life and luster—for all the gilded molding and brightly painted walls, for all the murals on the arched ceilings and tapestries draped beside ostentatiously tall windows—it was no longer a palace. It was a tomb.

The walls covered with paintings and tapestries that often concealed the doors didn't help either. There were countless animal heads of all kinds lit by torches in several corridors, and I could have sworn I saw them move, but I was always so late for the lessons that I had no time to pay attention to them. Intense smells of herbs, vapors, and fumes filled this space, as potions and spells were constantly being played throughout the days and nights. Every time we passed Mrs. Fitz's secretary's office, we had to pinch our Nose, because she seemed to burn horrible herbs while she worked, and the smell spread down the hallway to the classrooms. Then there was Miss Melva Flin with her ever-vigilant bat. She controlled every person who came in and out of Philcrocks and roamed the corridors making sure no students broke the rules or tried to stick their noses where they weren't called. She had two spare eyes as her bat squeaked whenever it detected problems. No student liked her and everyone wished they could close that bat in the library where he could eat the bookworms for the rest of his life. Found the practice sites, there were still the lessons. Every Thursday at midnight the clan would gather in the High Ridge stone circle, at which hour it aligned with the moon, and it was possible to make omens from the constellations. On Tuesdays we went to the Philcrocks Woods where we watched the wild animals and any other species that walked around, hunted and fished in the river and even stayed overnight for the next day hoping to see the vampires hunt, which did not happen. I still couldn't believe vampires existed but the next day I turned away from all the sarcophagi I came across in the castle corridors. The most boring of the chairs was the Philcrocks Story, where they talked about the story of magic. Especially because the teacher talked monotonously and always behind the book, which made it impossible to see his face and understand what he was saying. He also made references to maps and wall articles that no one understood, which did not matter to him as long as he remained immersed in its reading aloud. Most interesting so far has been the story of the division of the 3 kingdoms and the emergence of the 3 clans. For many centuries they had lived peacefully until pure races emerged and the thirst for power increased, promoting their perpetuation. The segregation of sleves began there. King Elive's Night Clan was destroyed by King Ashen and the Night Clan disappeared, except for some sorcerers who chose the Shadow Kingdom to live on and continued the clan to which I now belong. Having to memorize endless dates and events was the worst part. It was hard to remember if it was Orlk or Orls who started the battle and whether it was in Cral or Crap, especially since all those names were strange to me.

A god of war is also the god of those who are caught in the wheel of eternal struggle, who fight on despite knowledge of certain defeat, who stand with their companions against spear and catapult and gleaming metal, armed with only their pride, who strive and assay and press and toil, all the while knowing that they cannot win.’ ‘You are not only the god of the strong, but also the god of the weak. Courage is better displayed when it seems all is lost, when despair appears the only rational course.’ ‘True courage is to insist on seeing when all around you is darkness.’ And Fithowéo stood up and ululated. As his voice filled the cave walls and bounced back to his ears, he seemed to see the stalactites hanging overhead like bejeweled curtains, the stalagmites growing out of the ground like bamboo shoots, the bats careening through the air like battle kites, the night-blooming orchids and cave roses blooming like living treasure—the cave was filled with light. The god of war laughed and bowed down to the orchid and kissed her. ‘Thank you for showing me how to see.’ ‘I am but the lowest of the Hundred Flowers,’ said the orchid. ‘But the tapestry of Dara is woven not only from the proud chrysanthemum or the arrogant winter plum, the bamboo who holds up great houses or the coconut who provides sweet nectar and pleasing music. Chicory, dandelion, butter-and-eggs, ten thousand species of orchids, and countless other flowers—we have no claim to the crests of the great noble families, and we are not cultivated in gardens and not gently caressed by the fingers of great ladies and eager courtiers. But we also fight our war against hail and storm, against drought and deprivation, against the sharp blade of the weeding hoe and the poisonous emanations of the herbicide-sprayer. We also have a claim on time, and we deserve a god who understands that every day in the life of the common flower is a day of battle.’ And Fithowéo continued to ululate, letting his throat and ears be his eyes, until he strode out of the cave, emerged into the sunlight, and picked up two pieces of darkest obsidian and placed them in his eye sockets so that he had eyes again. Though they were blind to light, they sowed fear into all who gazed into them.

It is our fancy for things ancient, more than for things beautiful, that induces us to lift marble mantels from Venetian palaces and to place them in Fifth Avenue houses,” writer John Van Dyke grumbled in 1909, reflecting on the Astor-led impulse of aping European taste. “To hang our walls with tapestries from France and pictures from Italy and Holland, to cover our floors with Dagestan rugs, and to put in our drawing-rooms worm-eaten chairs from Paris and Nuremberg. Their inappropriateness in their new western setting is glazed over by the statement that they are ‘very old’—a statement which might, with equal pertinence if less interest, be made about any pudding-stone from the neighboring hills.

In another minute, we were seated in the low-ceilinged living room, furnished and decorated in a style I had not seen or even suspected before. Nothing in sight matched anything else—wicker chair, bamboo settee, chair and table of dark heavy wood ... paintings and masks and a couple of tapestries on the walls ... idols and figurines, a wooden spear straight as a long arrow next to a shield that could have been made from elephant hide ... an old flintlock and a modern high-powered scope-equipped rifle leaning aslant in one corner ... a hammered brass water pipe... Jumble of shapes, kaleidoscope of colors, but it all seemed to take on a kind of harmonious clutter after I looked at it for a while.

Bigotry is a poison that corrodes the very fabric of humanity, staining our hearts with prejudice and our minds with ignorance. It is a destructive force that thrives on fear, division, and the rejection of our shared humanity. To combat bigotry is to dismantle the barriers that separate us, to recognize the inherent worth of every individual, regardless of their race, religion, gender, or sexual orientation. It is to embrace diversity as a source of strength, understanding that our differences are what make us beautifully unique. Bigotry blinds us to the richness of the tapestry of human existence, condemning us to a world of narrow-mindedness and intolerance. It stifles progress, stifles progress, hampers empathy, and perpetuates injustice. It is an affront to the principles of equality and the fundamental rights we all deserve. Confronting bigotry requires courage, empathy, and a commitment to unlearn the biases ingrained within us. It is an ongoing process that demands self-reflection and a willingness to challenge our own preconceived notions. It is about standing up against discrimination in all its forms, whether overt or subtle, and refusing to be complicit in the face of injustice. In the fight against bigotry, we must be vigilant and steadfast, for it is not enough to be non-racist or non-discriminatory; we must actively be anti-bigotry. We must use our voices to amplify the silenced, to advocate for change, and to build bridges of understanding where there were once walls of prejudice. Let us remember that the power to eradicate bigotry lies within each and every one of us. It is through education, dialogue, and empathy that we can dismantle the walls of hatred and forge a society built on acceptance, respect, and love. Together, let us be the fierce advocates for equality, the beacons of hope in the face of darkness, and the champions of a world where bigotry has no place. For in the unity of our actions, we can create a future where every individual can flourish, and where the radiant tapestry of humanity shines in all its glory.

In a world that thrives on diversity, the LGBTQ+ community stands as a testament to the beauty of authenticity and the strength of the human spirit. We are a tapestry of vibrant colors, interwoven with the threads of love, courage, and resilience. Our existence is not defined by societal norms but by the unwavering belief that love knows no boundaries. In embracing our true selves, we challenge the confines of convention and rewrite the narrative of what it means to be human. We are the bold pioneers who refuse to be silenced, forging paths of acceptance and equality for future generations. Through every step we take, we paint a brighter tomorrow, where love is celebrated in all its forms. Our community is a symphony of voices, harmonizing in a chorus of authenticity. From every corner of the globe, we rise above prejudice and discrimination, demanding recognition, respect, and the right to love freely. We are the embodiment of resilience, turning adversity into opportunity, and transforming hate into understanding. In our journey, we find solace in unity. We stand shoulder to shoulder, a collective force that cannot be ignored. We are family, friends, and allies, bound by compassion and a shared commitment to creating a world where everyone is embraced for who they are. Our pride radiates like a beacon, illuminating the path towards a society that celebrates diversity and champions equality. We are the architects of change, dismantling the walls of ignorance and prejudice. With every act of love and every act of defiance, we redefine the boundaries of possibility. So let the world bear witness to the kaleidoscope of love that we embody. Let our colors shine unapologetically, guiding others towards a future where acceptance is the norm. Together, we will continue to paint the world with the brushstrokes of compassion, understanding, and love, leaving a legacy of inclusivity that will endure for generations to come. In a world that can sometimes be gray, let us be the vibrant hues that light up the sky, reminding all that love has no limits, and the LGBTQ+ community is a testament to the infinite power of the human heart.

I was doing my best. I really didn’t see what more she could ask. I was staying away so that she could talk to the woman I loved without the risk of my clear distress interfering; I was punching the wall, not shredding the tapestries or turning into a cat and hiding under the nearest piece of furniture. Really, by any reasonable standard, I was behaving myself fantastically well.

The thoughts that think themselves within me on days when I’m not thinking. The thoughts that assail me when I recall the haunting finale of Levinas’s Proper Names: the stupefaction of those great “Israelites” who were happy being Jews in Europe, sure of themselves and of their place in that world, prosperous and surrounded by friends, covered with titles and honors, some of them powerful, before the unheralded and unexpected arrival, overnight, of “an icy wind” blowing through the rooms of their houses, “pulling down the wall hangings and tapestries,” sweeping away the “petty splendors” of lives shredded into “rags” that could not mask the distant “baying of the pitiless mob.

I smiled at the paintings I’d done on the walls, the mantel, the tables. Thought of the tapestry I’d bought. “I want a mountain—with three stars.” The Night Court insignia. “The same that you have on your knees.” Rhys was quiet for a long time, his face unreadable. When he spoke, his voice was low. “Those are markings that can never be altered.” “It’s a good thing I plan to be here for a while, then.” Rhys slowly sat up, unbuttoning the top of his tight black jacket. “You’re sure?” I nodded slowly.

I argued with him, but not much—it was his house—and that’s where we left it. In another minute, we were seated in the low-ceilinged living room, furnished and decorated in a style I had not seen or even suspected before. Nothing in sight matched anything else—wicker chair, bamboo settee, chair and table of dark heavy wood ... paintings and masks and a couple of tapestries on the walls ... idols and figurines, a wooden spear straight as a long arrow next to a shield that could have been made from elephant hide ... an old flintlock and a modern high-powered scope-equipped rifle leaning aslant in one corner ... a hammered brass water pipe... Jumble of shapes, kaleidoscope of colors, but it all seemed to take on a kind of harmonious clutter after I looked at it for a while.

It had a tapestry on the wall that showed a king spearing someone's idea of a lion.

we have a new photo to add to the collage. We continue to add to it for the next six decades. Until it takes up the entire wall and spills into the living room. A tapestry of joy.

The person outside the library probably had nothing to do with the king, Celaena told herself as she walked—still not sprinting—down the hall to her room. There were plenty of strange people in a castle this large, and even though she rarely saw another soul in the library, perhaps some people just … wished to go to the library alone. And unidentified. In a court where reading was so out of fashion, perhaps it was merely some courtier trying to hide a passionate love of books from his or her sneering friends. Some animalistic, eerie courtier. Who had caused her amulet to glow. Celaena entered her bedroom just as the lunar eclipse was beginning, and groaned. “Of course there’s an eclipse,” she grumbled, turning from the balcony doors and approaching the tapestry along the wall. And even though she didn’t want to, even though she’d hoped to never see Elena again … she needed answers. Maybe the dead queen would laugh at her and tell her it was nothing. Gods above, she hoped Elena would say that. Because if she didn’t …

I’d like you to imagine that you are about to attend one of the most important occasions of your life. It will be held in a room sufficiently large to seat all of your friends, your family, your business associates—anyone and everyone to whom you are important and who is important to you. Can you see it? The walls are draped with deep golden tapestries. The lighting is subdued, soft, casting a warm glow on the faces of your expectant guests. Their chairs are handsomely upholstered in a golden fabric that matches the tapestries. The golden carpeting is deeply piled. At the front of the room is a dais, and on the dais a large, beautifully decorated table, with candles burning at either end. On the table, in the center, is the object of everyone’s attention. A large, shining, ornate box. And in the box is…you! Stiff as the proverbial board. Do you see yourself lying in the box, not a dry eye in the room? Now, listen. From the four corners of the room comes a tape recording of your voice. Can you hear it? You’re addressing your guests. You’re telling them the story of your life. How would you like that story to go? That’s your Primary Aim. What would you like to be able to say about your life after it’s too late to do anything about it? That’s your Primary Aim. If you were to write a script for the tape to be played for the mourners at your funeral, how would you like it to read? That’s your Primary Aim. And once you’ve created the script, all you need to do is make it come true. All you need to do is begin living your life as if it were important. All you need to do is take your life seriously. To create it intentionally. To actively make your life into the life you wish it to be.

Thomas took a torch from the wall, lit it in the fire, then led them to the antechamber of the church. He lifted the corner of a bright red tapestry that depicted Christ rising from the cross, to show a door behind it. The old door hadn’t been opened in quite some time and it took both Phantom and Christian to shoulder it back into working order. Lutian was “kind” enough to hold the tapestry out for them and verbally encourage them. “He could hurt himself,” Adara said when Phantom commented on the fool’s lack of use. “Better him than me,” Phantom muttered as they finally managed to get the door open. Christian rubbed his sore shoulder as he stepped back from the opening. “Might I make a comment, Thomas? In the event of the monastery being attacked, this would prove a most useless escape route if it takes the monks an hour to open it.” “Aye,” Phantom concurred. In a feigned ancient voice that sounded much like an old monk, he added, “Wait, good and decent attackers, don’t burn us out yet. We’ve still got a little more pushing to do. We’ll be through with it shortly. Here, pull up a seat and give us a few so that we might escape you. God will bless you for it.” Adara squelched her laughter, while Lutian and Christian gave full rein to theirs. Thomas looked less than pleased. “You really are a heathen, aren’t you?” Phantom shrugged as if it concerned him not at all. “To the farthest depths of my damned and rotted soul.” -Adara, Phantom, Christian, & Thomas

Mormonism is the house whose walls I know best. It is the story I am not abandoning because it is the story I choose-and in many ways gas chosen me-again and again to grapple with. Mormonism is my native spiritual language and many of the threads with which my life's tapestry is woven.

Mormonism is the house whose walls I know best. It is the story I am not abandoning because it is the story I choose-and in many ways has chosen me-again and again to grapple with. Mormonism is my native spiritual language and many of the threads with which my life's tapestry is woven.

I often think of life as a great darkened room with a mammoth-sized tapestry fastened to a stone wall. I believe true peace can be achieved not in viewing the whole tapestry, but in accepting without bitterness those portions we have been afforded the luxury to see.

Smashing Wall Tapestries: Apt choice for Home Decor @ HANDICRUNCH

Her great bed had been moved in, and the walls hung with thick tapestries to exclude any noise or sunshine or fresh air. They had put rushes down on the floor with rosemary for scent, and lavender for relief. They had moved all the other furniture out of the room except for one chair and table for the midwife. Anne was expected to stay in bed for one whole month. They had lit a fire although it was midsummer and the room was stifling.

The reception area of Burton and Crimstein was part old-world attorney—rich mahogany, lush carpeting, tapestry-clad seating, the décor that foreshadows the billing—and part Sardi’s celebrity wall.

What struck me most about the great hall was the decor. It was furnished in a style that I could only term 'Early Atrocity.' Bleached bones, presumably of former enemies, decorated the walls and not only that, had been incorporated into much of the furniture. The legs of the main dining table were genuine legs, the armchairs, I'm sure you can guess. There were tapestries, but they consisted mostly of depictions of slaughter, slaughter everywhere. Women being raped, children being tossed onto fires, men being crucified. All of it, a celebration of the worst sort of brutality. Suddenly the line of demarcation between the festivals of good and evil became that much clearer for me. When good is celebrating, you don't have an overwhelming urge to run screaming into the night. Well... unless a mime is performing.

Unlike many a royal couple, Nicholas and Alexandra shared the same bed. The bedroom was a large chamber with tall windows opening onto the park. A large double bed made of light-colored wood stood between two windows. Chairs and couches covered in flowered tapestry were scattered about on a thick carpet of mauve pile. To the right of the bed, a door led to a small chapel used by the Empress for her private prayers. Dimly lit by hanging lamps, the room contained only an icon on one wall and a table holding a Bible. Another door led from the bedroom to Alexandra’s private bathroom, where a collection of old-fashioned fixtures were set in a dark recess.

she jerked the Prophet out from under Harry’s hand and unfolded it to look at the front page — “you should go and find Slughorn and start appealing to his better nature.” “Anyone we know — ?” asked Ron, as Hermione scanned the headlines. “Yes!” said Hermione, causing both Harry and Ron to gag on their breakfast. “But it’s all right, he’s not dead — it’s Mundungus, he’s been arrested and sent to Azkaban! Something to do with impersonating an Inferius during an attempted burglary . . . and someone called Octavius Pepper has vanished. . . . Oh, and how horrible, a nine-year-old boy has been arrested for trying to kill his grandparents, they think he was under the Imperius Curse. . . .” They finished their breakfast in silence. Hermione set off immediately for Ancient Runes; Ron for the common room, where he still had to finish his conclusion on Snape’s dementor essay; and Harry for the corridor on the seventh floor and the stretch of wall opposite the tapestry of Barnabas the Barmy teaching trolls to do ballet. Harry slipped on his Invisibility Cloak once he had found an empty passage, but he need not have bothered. When he reached his destination he found it deserted. Harry was not sure whether his chances of getting inside the room were better with Malfoy inside it or out, but at least his first attempt was not going to be complicated by the presence of Crabbe or Goyle pretending to be an eleven-year-old girl.

You look a little lost, my dear,' a nun says behind me, and I jump. 'Were you interested in seeing the Bevington Triptych?' 'Oh,' I say. 'Erm... yes. Absolutely.' 'Up there,' she points, and I walk tentatively towards the front of the chapel, hoping it will become obvious what the Bevington Triptych is. A statue, maybe? Or a.. a piece of tapestry? But as I reach the elderly lady, I see that she's staring up at a whole wall of stained glass windows. I have to admit, they're pretty amazing. I mean look at that huge blue one in the middle. It's fantastic! 'The Bevington Triptych,' says the elderly woman. 'It simply has no parallel, does it?' 'Wow,' I breathe reverentially, staring up with her. 'It's beautiful.' It really is stunning. God, it just shows, there's no mistaking a real work of art, is there? When you come across real genius, it just leaps out at you. And I'm not even an expert. 'Wonderful colours,' I murmur. 'The detail,' says the woman, clasping her hands, 'is absolutely incomparable.' 'Incomparable,' I echo. I'm just about to point out the rainbow, which I think is a really nice touch - when I suddenly notice that the elderly woman and I aren't looking at the same thing. She's looking at some painted wooden thing which I hadn't even noticed. As inconspicuously as possible, I shift my gaze - and feel a pang of disappointment. Is this the Bevington triptych? But it isn't even pretty! 'Whereas this Victorian rubbish,' the woman suddenly adds savagely, 'is absolutely criminal! That rainbow! Doesn't it make you feel sick?' She gestures to my big blue window, and I gulp. 'I know,' I say. 'It's shocking, isn't it? Absolutely... You know - I think I'll just go for a little wander...

You look a little lost, my dear,' a nun says behind me, and I jump. 'Were you interested in seeing the Bevington Triptych?' 'Oh,' I say. 'Erm... yes. Absolutely.' 'Up there,' she points, and I walk tentatively towards the front of the chapel, hoping it will become obvious what the Bevington Triptych is. A statue, maybe? Or a.. a piece of tapestry? But as I reach the elderly lady, I see that she's staring up at a whole wall of stained glass windows. I have to admit, they're pretty amazing. I mean look at that huge blue one in the middle. It's fantastic! 'The Bevington Triptych,' says the elderly woman. 'It simply has no parallel, does it?' 'Wow,' I breathe reverentially, staring up with her. 'It's beautiful.' It really is stunning. God, it just shows, there's no mistaking a real work of art, is there? When you come across real genius, it just leaps out at you. And I'm not even an expert. 'Wonderful colours,' I murmur. 'The detail,' says the woman, clasping her hands, 'is absolutely incomparable.' 'Incomparable,' I echo. I'm just about to point out the rainbow, which I think is a really nice touch - when I suddenly notice that the elderly woman and I aren't looking at the same thing. She's looking at some painted wooden thing which I hadn't even noticed. As inconspicuously as possible, I shift my gaze - and feel a pang of disappointment. Is this the Bevington triptych? But it isn't even pretty! 'Whereas this Victorian rubbish,' the woman suddenly adds savagely, 'is absolutely criminal! That rainbow! Doesn't it make you feel sick?' She gestures to my big blue window, and I gulp. 'I know,' I say. 'It's shocking, isn't it? Absolutely... You know - I think I'll just go for a little wander...

Victoria had been everything I'd hoped. I loved her apartment: the faded wall tapestries, vases of dried lavender, art, knickknacks, silver frames balancing on every surface, the smell of baking cinnamon. It reminded me of the inside of a child's fort- a million precious things huddled together. Victoria was wonderful, too. She was like an old photograph, feathered and thinned out but mostly unchanged from what, I imagined, she'd once been. She was still unmelted, as if she'd been carved from pain aux cereales dough. Her old age wasn't something she did to everyone around her, like Aunt Lou's would be, like her middle age already was. Victoria's smile was mini and maybe could be read as stingy, as though she were fighting against it- but I didn't think so. It seemed more like it was wringing out sadness.

Those walls, where gorgeous tapestry had hung, showed only the remains of door-ways and of beautiful gothic windows, that had admitted the light of the same sun, which at this moment sent the last gleam of another day upon Willoughton, and warned him, that another portion of his life too was departing. The melancholy scene around him spoke, with the simplicity of truth, the brevity and nothingness of this life. Those walls seemed to say— “Generations have beheld us and passed away, as you now behold us, and shall pass away. They have thought of the generations before their time, as you now think of them, and as future ones shall think of you. The voices, that revelled beneath us, the pomp of power, the magnificence of wealth, the grace of beauty, the joy of hope, the interests of high passion and of low pursuits have passed from this scene for ever; yet we remain, the spectres of departed years and shall remain, feeble as we are, when you, who now gaze upon us, shall have ceased to be in this world!

An incandescent city, a city of plumage. By day its loft balconies are haunted by tame songbirds, and at night by cavorting bats and furred owls. It is peopled with silent figures painted on the walls and ceilings, or hunting elusive game through tapestries, or standing at the end of a passage ... Solitary, a young gazelle comes skittering down a hall, its dark eyes wide, wearing a ruby collar. It noses its way behind a curtain to eat its meal of mashed barley served in a dish of rare blue porcelain ... Behind he gardens the ilk, the saddlebirds, squat: those massive folks the Telkans ride to war, riddled with parasites and stinking of death, whose wild cries ripen the fruit.

Spread over the extravagant supper table was a silk tapestry of moons and stars and the six symbols of death. Talis couldn’t help but stare at the design, for the weavings glowed and the drawing was animated with a nefarious life of its own. A frightful illustration that seemed to follow his eyes as they perused the tapestry. Etched along the tassels flowed a river of blood, the river leading into the Underworld. Farther up, layers of bodies were piled high, their vicious fumes rising as incense to the lesser demons above, who devoured the mortals’ flesh. Then above them were the taskmasters of the Underworld, great demons with spiked whips. They endlessly struck the lesser demons as punishment for the act of consuming the mortals’ flesh. Arranged around the center of the tapestry were the gods themselves. At the head stood Zagros, the Lord of the Underworld, then Ractan, the Lord of the Dragons, and Ishta, the Lord of the Genie Sorcerers. At the other side hovered Nestria, the Goddess of the Sky, and Nacrea, the Goddess of the Sun, and opposite her was Satvis, the God of Darkness. Between both sets of gods sat two mythological heroes: Nyx the Destroyer and Lord Heti of Calabastria. Here were the triumphant gods, playing with the lives and flesh of all mortals. Talis stifled a groan. Atop the tapestry were glass jars filled with what looked like trapped souls. Their ghastly faces peered out, eyes desperate and longing for freedom. How did they get inside? He felt a sickness rising in his stomach. The dark sorcerers studied him with grave looks, as if they glimpsed something distasteful inside. He could tell they were suspicious of him. He was too young, from a strange land untouched by their power, and to their murmuring voices, unsuitable to attend this grand feast. Now, all he could think about was leaving this wretched city. Whatever danger lay ahead, he’d rather face it than fester here in the insidious poison seeping through the black and gold walls of Darkov. “To your charmed fortune.” A sorcerer raised a crystal vial filled with some bubbling substance. The man appeared to be hundreds of years old. Deep, harsh wrinkles lined his eyes and forehead, and yet his hands were perfectly smooth. He wore a black silk cloak fastened around his neck with a gold broach, ornately designed like the sun. He drank the vial and after a while, he appeared as youthful as a young man. Talis was taken aback at the man’s sudden transformation. He steadied his wine cup with his other hand. “Fortune smiles on you...” “Every day.” The sorcerer frowned at Talis. “You’d be wise to remember that. Without fortune shining on you daily”—he leaned in close to Talis—”your life is at risk.” Turning, the man whisked away and disappeared behind another group of sorcerers mingling in the corner of the room. Talis tried to discover where he’d gone, but the man had vanished. Just then Talis felt a cold hand settle on his right shoulder. He turned, glimpsed the eyes of Aurellia, and resisted the desire to flee. “I see you’ve finally joined us here in our illustrious

Madam Psuka shut the door behind us, and I had to squint as I looked around. Very little light filtered through the windows, which were all covered in multi-colored panels of fabric. Tapestries, paintings, and blankets covered the walls, and the floors were covered with faded rugs as well. She had no couch or chairs, but large pillows in every hue lined the walls or sat in heaps in the corners. It was sort of like being in a very colorful padded cell. She had stacks of books everywhere, beaded rope hanging from corner to corner, and several giant green plants. How they survived with so little natural light, I had no idea.