Water Container Quotes

Human nature is like water. It takes the shape of its container.

Faërie contains many things besides elves and fays, and besides dwarfs, witches, trolls, giants, or dragons; it holds the seas, the sun, the moon, the sky; and the earth, and all things that are in it: tree and bird, water and stone, wine and bread, and ourselves, mortal men, when we are enchanted.

True beauty, the kind that doesn't fade or wash off, takes time. It takes incredible endurance. It is the slow drip that creates the stalactite, the shaking of the Earth that creates mountains, the constant pounding of the waves that breaks up the rocks and smooths the rough edges. And from the violence, the furor, the raging of the winds, the roaring of the waters, something better emerges, something that would have otherwise never existed. And so we endure. We have faith that there is purpose. We hope for things we can't see. We believe there are lessons in loss, power in love, and that we have within us the potential for a beauty so magnificent, our bodies can't contain it.

According to the conventions of the genre, Augustus Waters kept his sense of humor till the end, did not for a moment waiver in his courage, and his spirit soared like an indomitable eagle until the world itself could not contain his joyous soul. But this is the truth, a pitiful boy who desperately wanted not to be pitiful, screaming and crying, poisoned by an infected G-tube that kept him alive, but not alive enough. I wiped his chin and grabbed his face in my hands and knelt down close to him so that I could see his eyes, which still lived. 'I'm sorry. I wish it was like that movie, with the Persians and the Spartans.' 'Me too,' he said. 'But it isn't,' I said. 'I know,' he said. 'There are no bad guys.' 'Yeah.' 'Even cancer isn't a bad guy really: Cancer just wants to be alive.

I imagined the Augustus Waters analysis of that comment: If I am playing basketball in heaven, does that imply a physical location of a heaven containing physical basketballs? Who makes the basketballs in question? Are there less fortunate souls in heaven who work in a celestial basketball factory so that I can play? Or did an omnipotent God create the basketballs out of the vacuum of space? Is this heaven in some kind of unobservable universe where the laws of physics don't apply, and if so, why in the hell would I be playing basketball when I could be flying or reading or looking at beautiful people or something else I actually enjoy? It's almost as if the way you imagine my dead self says more about you than either the person I was or whatever I am now.

...now he saw the familiar wide river beside the path differently. He saw all of the light and color and history it contained and carried in its slow - moving water; and he knew that there was an Elsewhere from which it came, and an Elsewhere to which it was going

If there is magic on this planet, it is contained in water.

You can't stop people from being human. We're creative, we're social. People are like water. If you try to contain them, they find a way to break free.

Rivers, ponds, lakes and streams — they all have different names, but they all contain water. Just as religions do — they all contain truths

Ah, well, then you've never stood on a beach as the waves came crashing in, the water stretching out from you until it's beyond sight, moving and blue and alive and so much bigger than even the black beyond seems because the ocean hides what it contains.

We want to imagine that people are consistent, steady, stable. We define who they are, create descriptions to lock them on a page, divide them up by their likes, talents, beliefs. Then we pretend some—perhaps most—are better than we are, because they stick to their definitions, while we never quite fit ours. Truth is, people are as fluid as time is. We adapt to our situation like water in a strangely shaped jug, though it might take us a little while to ooze into all the little nooks. Because we adapt, we sometimes don’t recognize how twisted, uncomfortable, or downright wrong the container is that we’ve been told to inhabit.

My brother once showed me a piece of quartz that contained, he said, some trapped water older than all the seas in our world. He held it up to my ear. ‘Listen,’ he said, ‘life and no escape.

You are water I’m water we’re all water in different containers that’s why it’s so easy to meet someday we’ll evaporate together.

I got in touch with a friend of mine who works at a research reactor, and asked him what he thought would happen to someone who tried to swim in their radiation containment pool. “In our reactor?” He thought about it for a moment. “You’d die pretty quickly, before reaching the water, from gunshot wounds.

The tears of my eyes watered your heart but failed to evoke a response from the barren grounds of what beats in you. They will still come and I will welcome them because they contain you.

If you spend time with crazy and dangerous people, remember – their personalities are socially transmitted diseases; like water poured into a container, most of us eventually turn into – or remain – whoever we surround ourselves with. We can choose our tribe, but we cannot change that our tribe is our destiny.

As the water shapes itself to the vessel that contains it, so a wise man adapts himself to circumstances.

Breathe in, breathe out. All the blessings of the universe that we may overlook are contained in the entirety of a breath. Breathe in, breathe out. Each breath is the sun flowering our earth, fresh water filling our oceans, and the blue skies clearing our minds. Infinite emotions are contained within every breath, and by the breath we can always realize the beauty within it all. Breathe in, breathe out.

One of the drawbacks to life is that it contains moments when one is compelled to tell the truth,

A Thirsty Fish I don't get tired of you. Don't grow weary of being compassionate toward me! All this thirst equipment must surely be tired of me, the waterjar, the water carrier. I have a thirsty fish in me that can never find enough of what it's thirsty for! Show me the way to the ocean! Break these half-measures, these small containers. All this fantasy and grief. Let my house be drowned in the wave that rose last night in the courtyard hidden in the center of my chest. Joseph fell like the moon into my well. The harvest I expected was washed away. But no matter. A fire has risen above my tombstone hat. I don't want learning, or dignity, or respectability. I want this music and this dawn and the warmth of your cheek against mine. The grief-armies assemble, but I'm not going with them. This is how it always is when I finish a poem. A great silence comes over me, and I wonder why I ever thought to use language.

When we plant a rose seed in the earth, we notice that it is small, but we do not criticize it as "rootless and stemless." We treat it as a seed, giving it the water and nourishment required of a seed. When it first shoots up out of the earth, we don't condemn it as immature and underdeveloped; nor do we criticize the buds for not being open when they appear. We stand in wonder at the process taking place and give the plant the care it needs at each stage of its development. The rose is a rose from the time it is a seed to the time it dies. Within it, at all times, it contains its whole potential. It seems to be constantly in the process of change; yet at each state, at each moment, it is perfectly all right as it is.

Unlike a fountain that circulates the same water in an enclosed, perpetually recycling system, a human being circulates thoughts in an unlimited reservoir of self. Don't limit yourself to being a mere fountain when you contain an ocean.

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

Behind her, Jace moved out into the water with a contained grace that barely rippled the surface. Simon behind him, was splashing and cursing.

I believe . . . that the petal of a flower or a tiny worm on the path says far more, contains far more than all the books in the library. One cannot say very much with mere letters and words. Sometimes I'll be writing a Greek letter, a theta or an omega, and tilt my pen just the slightest bit; suddenly the letter has a tail and becomes a fish; in a second it evokes all the streams and rivers of the world, all that is cool and humid, Homer's sea and the waters on which Saint Peter wandered; or becomes a bird, flaps its tail, shakes out its feathers, puffs itself up, laughs, flies away. You probably don't appreciate letters like that, very much, do you, Narcissus? But I say: with them God wrote the world.

Was sorrow, in the end, a private thing? A closed container? Something that, like a bucket of water, could be borne only on a single pair of shoulders?

A human being weighing 70 kilograms contains among other things: -45 litres of water -Enough chalk to whiten a chicken pen -Enough phosphorus for 2,200 matches -Enough fat to make approximately 70 bars of soap -Enough iron to make a two inch nail -Enough carbon for 9,000 pencil points -A spoonful of magnesium I weigh more than 70 kilograms. And I remember a TV series called Cosmos. Carl Sagan would walk around on a set that was meant to look like space, speaking in large numbers. On one of the shows he sat in front of a tank full of all the substances human beings are made of. He stirred the tank with a stick wondering if he would be able to create life. He didn’t succeed.

If there is magic on this planet it is contained in water.

The soil of our mind contains many seeds, positive and negative. We are the gardeners who identify, water, and cultivate the best seeds.

Beware, Underlanders, time hangs by a thread. The hunters are hunted, white water runs red. The Gnawers will strike to extinguish the rest. The hope of the hopeless resides in a quest. An Overland warrior, a son of the sun, May bring us back light, he may bring us back none. But gather your neighbors and follow his call Or rats will most surely devour us all. Two over, two under, of royal descent, Two flyers, two crawlers, two spinners assent. One gnawer beside and one lost up ahead. And eight will be left when we count up the dead. The last who will die must decide where he stands. The fate of the eight is contained in his hands. So bid him take care, bid him look where he leaps, As life may be death and death life again reaps.

We are all burnt by ultraviolet rays. We all contain water in about the same ratio as Earth does, and salt water in the same ratio that the oceans do. We are poems about the hyperobject Earth.

American coffee can be a pale solution served at a temperature of 100 degrees centigrade in plastic thermos cups, usually obligatory in railroad stations for purposes of genocide, whereas coffee made with an American percolator, such as you find in private houses or in humble luncheonettes, served with eggs and bacon, is delicious, fragrant, goes down like pure spring water, and afterwards causes severe palpitations, because one cup contains more caffeine than four espressos.

A man in a desert can hold absence in his cupped hands knowing it is something that feeds him more than water. There is a plant he knows of near El Taj, whose heart, if one cuts it out, is replaced with a fluid containing herbal goodness. Every morning one can drink the liquid the amount of a missing heart.

We straighten , bu our snickering is barely contained as we attempt to focus our attention on a picture of a discarded Coke can. "This guy's lady love is kind of a slob, don't you think?" he whispers. I cover my mouth with my hands again. "A reaaaaaaaal litterbug." "Stop it," I hiss. My eyes are watering. "Ohmygod look at this one! How did he get her toenail clippings?" "If you were my girl," he whispers, "I'd take creepy pictures of your trash when I knew you weren't looking." "If you were my girl," I whisper back," I"d put the creepy pictures in a foreign museum so you wouldn't know that I take creepy pictures.

I found a big container and put a bit of water in it, then added the dried shit. Since then, I’ve added my own shit to it as well. The worse it smells, the better things are going. That’s the bacteria at work!

They say the sea is cold, but the sea contains the hottest blood of all.

She felt so lost and lonely. One last chile in walnut sauce left on the platter after a fancy dinner couldn't feel any worse than she did. How many times had she eaten one of those treats, standing by herself in the kitchen, rather than let it be thrown away. When nobody eats the last chile on the plate, it's usually because none of them wants to look like a glutton, so even though they'd really like to devour it, they don't have the nerve to take it. It was as if they were rejecting that stuffed pepper, which contains every imaginable flavor; sweet as candied citron, juicy as pomegranate, with the bit of pepper and the subtlety of walnuts, that marvelous chile in the walnut sauce. Within it lies the secret of love, but it will never be penetrated, and all because it wouldn't feel proper.

A song of despair The memory of you emerges from the night around me. The river mingles its stubborn lament with the sea. Deserted like the dwarves at dawn. It is the hour of departure, oh deserted one! Cold flower heads are raining over my heart. Oh pit of debris, fierce cave of the shipwrecked. In you the wars and the flights accumulated. From you the wings of the song birds rose. You swallowed everything, like distance. Like the sea, like time. In you everything sank! It was the happy hour of assault and the kiss. The hour of the spell that blazed like a lighthouse. Pilot's dread, fury of blind driver, turbulent drunkenness of love, in you everything sank! In the childhood of mist my soul, winged and wounded. Lost discoverer, in you everything sank! You girdled sorrow, you clung to desire, sadness stunned you, in you everything sank! I made the wall of shadow draw back, beyond desire and act, I walked on. Oh flesh, my own flesh, woman whom I loved and lost, I summon you in the moist hour, I raise my song to you. Like a jar you housed infinite tenderness. and the infinite oblivion shattered you like a jar. There was the black solitude of the islands, and there, woman of love, your arms took me in. There was thirst and hunger, and you were the fruit. There were grief and ruins, and you were the miracle. Ah woman, I do not know how you could contain me in the earth of your soul, in the cross of your arms! How terrible and brief my desire was to you! How difficult and drunken, how tensed and avid. Cemetery of kisses, there is still fire in your tombs, still the fruited boughs burn, pecked at by birds. Oh the bitten mouth, oh the kissed limbs, oh the hungering teeth, oh the entwined bodies. Oh the mad coupling of hope and force in which we merged and despaired. And the tenderness, light as water and as flour. And the word scarcely begun on the lips. This was my destiny and in it was my voyage of my longing, and in it my longing fell, in you everything sank! Oh pit of debris, everything fell into you, what sorrow did you not express, in what sorrow are you not drowned! From billow to billow you still called and sang. Standing like a sailor in the prow of a vessel. You still flowered in songs, you still brike the currents. Oh pit of debris, open and bitter well. Pale blind diver, luckless slinger, lost discoverer, in you everything sank! It is the hour of departure, the hard cold hour which the night fastens to all the timetables. The rustling belt of the sea girdles the shore. Cold stars heave up, black birds migrate. Deserted like the wharves at dawn. Only tremulous shadow twists in my hands. Oh farther than everything. Oh farther than everything. It is the hour of departure. Oh abandoned one!

Make your interests gradually wider and more impersonal, until bit by bit the walls of the ego recede, and your life becomes increasingly merged in the universal life. An individual human existence should be like a river — small at first, narrowly contained within its banks, and rushing passionately past rocks and over waterfalls. Gradually the river grows wider, the banks recede, the waters flow more quietly, and in the end, without any visible break, they become merged in the sea, and painlessly lose their individual being.

i could not contain myself any longer i ran to the ocean in the middle of the night and confessed my love for you to the water as i finished telling her the salt in her body became sugar

Most of the matchbooks and little boxes were made of paper, and even if the matches dried out, the containers were split, torn, and shriveled. The damp cardboard dripped with water, discolored and broken.

I can change myself, but it’s an effort. And it doesn’t last. It’s easier to do as water does: allow myself to be contained, and take on the shape of my containers.

Apricot stones contain cyanide,’ he replies drily. ‘The death cap mushroom has a fifty per cent fatality rate. Natural does not equal safe. There’s a plant in my garden where if you simply sat under it for ten minutes then you’d be dead.’ Job done: she bins the tablets. I ask him about that plant over a colonoscopy later. ‘Water lily.

Her voice, high and clear, moved through the leaves, through the sunlight. It splashed onto the gravel, the grass. He imagined the notes falling into the air like stones into water, rippling the invisible surface of the world. Waves of sound, waves of light: his father had tried to pin everything down, but the world was fluid and could not be contained.

… the river sliding along its banks, darker now than the sky descending a last time to scatter its diamonds into these black waters that contain the day that passed, the night to come. — Excerpt from the poem “The Mercy

The full moon reflected in water, the water contained in the bowl, and the thirsty man deep in sleep.

If there is magic on this planet, it is contained in water. —Loren Eiseley

Even before his brain digests these sights, his body—skin, nerve endings, lungs, heart—recognizes the geography of his birth. He never understood how much it mattered. Every bit of this lush landscape is his; its every atom contains him.

I’ve often thought of the forest as a living cathedral, but this might diminish what it truly is. If I have understood Koyukon teachings, the forest is not merely an expression or representation of sacredness, nor a place to invoke the sacred; the forest is sacredness itself. Nature is not merely created by God; nature is God. Whoever moves within the forest can partake directly of sacredness, experience sacredness with his entire body, breathe sacredness and contain it within himself, drink the sacred water as a living communion, bury his feet in sacredness, touch the living branch and feel the sacredness, open his eyes and witness the burning beauty of sacredness

It almost felt like we were driving in our own world--like we were inside a snow globe--and there was music and sunlight and smiles and laughter floating in the air. And it was all self-contained in a beautiful bubble filled with glittering water that made things seem a little unreal, a little dream-like and hazy.

He carried Paul inside and up the stairs. He gave him a drink of water and the orange chewable aspirin he like and sat with him on the bed, holding his hand...This was what he yearned to capture on film: these rare moments where the world seemed unified, coherent, everything contained in a single fleeting image. A spareness that held beauty and hope and motion - a kind of silvery poetry, just as the body was poetry in blood and flesh and bone.

Fire, air, earth, and water are bodies and therefore solids, and solids are contained in planes, and plane rectilinear figures are made up of triangles.

At times I think of human relationships as something soft like sand or water, and by pouring them into particular vessels we give them shape. So a mother’s relationship with her daughter is poured into a vessel marked ‘mother and child’, and the relationship takes the contours of its container and is held inside there, for better or worse. Maybe some unhappy friends would have been perfectly contented as sisters, or married couples as parents and children, who knows. But what would it be like to form a relationship with no preordained shape of any kind? Just to pour the water out and let it fall. I suppose it would take no shape, and run off in all directions.

In life, there are no true beginnings or endings. Events flow into each other, and the more you try to isolate them in a container, the more they spill over the sides, like canal-water breaching its artificial banks. A related point is that the things we label 'beginnings' and 'endings' are often, in reality, indistinguishable. They are one and the same thing. This is one of the things the Death card symbolizes in tarot - an end that is also a new beginning.

Ah, well, then you've never stood on a beach as the waves came crashing in, the water stretching out from you until it's beyond sight, moving and blue and alive and so much bigger than even the black beyond seems because the ocean hides what it contains." She shakes her head in a happy way. "If you ever want to see how small you are in the plan of God, just stand at the edge of an ocean.

If you took every tear cried by everyone on earth on one single day and put them in a container, how big would that container need to be? Could you fill a water tower? Three water towers? It's one of those unknowable things. There has to be an answer, but we'll never know what it is.

Maybe nothing ever happens once and is finished. Maybe happen is never once but like ripples maybe on water after the pebble sinks, the ripples moving on, spreading, the pool attached by a narrow umbilical water-cord to the next pool which the first pool feeds, has fed, did feed, let this second pool contain a different temperature of water, a different molecularity of having seen, felt, remembered, reflect in a different tone the infinite unchanging sky, it doesn’t matter: that pebble’s watery echo whose fall it did not even see moves across its surface too at the original ripple-space, to the old ineradicable rhythm

A bay is a noun only if water is dead. When bay is a noun, it is defined by humans, trapped between its shores and contained by the word. But the verb wiikwegamaa—to be a bay—releases the water from bondage and lets it live. “To be a bay” holds the wonder that, for this moment, the living water has decided to shelter itself between these shores, conversing with cedar roots and a flock of baby mergansers. Because it could do otherwise—become a stream or an ocean or a waterfall, and there are verbs for that, too. To be a hill, to be a sandy beach, to be a Saturday, all are possible verbs in a world where everything is alive. Water, land, and even a day, the language a mirror for seeing the animacy of the world, the life that pulses through all things, through pines and nuthatches and mushrooms. This is the language I hear in the woods; this is the language that lets us speak of what wells up all around us.[…] This is the grammar of animacy.

Miranda opened her eyes in time to see the sunrise. A wash of violent color, pink and streaks of brilliant orange, the container ships on the horizon suspended between the blaze of the sky and the water aflame, the seascape bleeding into confused visions of Station Eleven, its extravagant sunsets the its indigo sea. The lights of the fleet fading into morning, the ocean burning into sky.

Water takes the shape of whatever container holds it, whether it be in a glass, a vase or a river bank. Likewise, your subconscious will create and manifest according to the images you habitually project upon it through your daily thinking. This is how your destiny is created. Your life is in your hands, to make of it what you choose.

Up the narrow stairs and into the kitchen. Rosie's mother looked around and made a face as if to indicate that it did not meet her standards of hygiene, containing as it did, edible foodstuffs. "Coffee? Water?" Don't say wax fruit. "Wax fruit?" Damn.

I am a collection of water, calcium and organic molecules called Carl Sagan. You are a collection of almost identical molecules with a different collective label. But is that all? Is there nothing in here but molecules? Some people find this idea somehow demeaning to human dignity. For myself, I find it elevating that our universe permits the evolution of molecular machines as intricate and subtle as we. But the essence of life is not so much the atoms and simple molecules that make us up as the way in which they are put together. Every now and then we read that the chemicals which constitute the human body cost ninety-seven cents or ten dollars or some such figure; it is a little depressing to find our bodies valued so little. However, these estimates are for human beings reduced to our simplest possible components. We are made mostly of water, which costs almost nothing; the carbon is costed in the form of coal; the calcium in our bones as chalk; the nitrogen in our proteins as air (cheap also); the iron in our blood as rusty nails. If we did not know better, we might be tempted to take all the atoms that make us up, mix them together in a big container and stir. We can do this as much as we want. But in the end all we have is a tedious mixture of atoms. How could we have expected anything else?

Love, it’s such a night, laced with running water, irreparable, riddled with a million leaks. A night shaped like a shadow thrown by your absence. Every crack trickles, every overhang drips. The screech of nighthawks has been replaced by the splash of rain. The rain falls from the height of streetlights. Each drop contains its own shattering blue bulb.

Remember those old math questions you had in algebra class? Where water is entering a container at a certain rate and leaving at a different rate and you need to figure out when it’ll be empty? Well, that concept is critical to the “Mark Watney doesn’t die” project I’m working on.

The audience had run to beards and magenta shirts and original ways of arranging its neckwear; and not content with the ravages produced in its over-excitable nervous system by the remorseless workings of its critical intelligence, it had sat through a film of Japanese life called 'Yes,' made by a Norwegian film company in 1915 with Japanese actors, which lasted an hour and three-quarters and contained twelve close-ups of water-lilies lying perfectly still on a scummy pond and four suicides, all done extremely slowly.

Sometimes back then, fishing with Jasper up the Sulphur, I hit my limit. I mean it felt my heart might just burst. Bursting is different than breaking. Like there is no way to contain how beautiful. Not it either, not just beauty. Something about how I fit. This little bend of smooth stones, the leaning cliffs. The smell of spruce. The small cutthroat making quiet rings in the black water of a pool. And no need to thank even. Just be. Just fish. Just walk up the creek, get dark, get cold, it is all a piece. Of me somehow.

Maybe nothing ever happens once and is finished. Maybe happen is never once but like ripples maybe on water after the pebble sinks, the ripples moving on, spreading, the pool attached by a narrow umbilical water-cord to the next pool which the first pool feeds, has fed, did feed, let this second pool contain a different temperature of water, a different molecularity of having seen, felt, remembered, reflect in a different tone the infinite unchanging sky, it doesn’t matter: that pebble’s watery echo whose fall it did not even see moves across its surface too at the original ripple-space, to the old ineradicable rhythm…

True beauty, the kind that doesn't fade or wash off, takes time. It takes pressure. It takes incredible endurance. It is the slow drip that makes the stalactite, the shaking of the Earth that creates mountains, the constant pounding of the waves that breaks up the rocks and smooths the rough edges. And from the violence, the furor, the raging of the winds, the roaring of the waters, something better emerges, something that would otherwise never exist. “And so we endure. We have faith that there is purpose. We hope for things we can't see. We believe that there are lessons in loss, power in love, and that we have within us the potential for a beauty so magnificent that our bodies can't contain it.

And as Flora twirled, other girls and women came through the field in all directions. Our heartache poured into one another like water from cup to cup. Each time I told my story, I lost a bit, the smallest drop of pain. It was that day that I knew I wanted to tell the story of my family. Because horror on earth is real and it is every day. It is like a flower or like the sun; it cannot be contained.

Yet no one seemed to have thought through the implications of a world in which everyone cheated. The other morning Keith had bought five hundred vanity sachets of Outrage, his staple perfume. At lunchtime he discovered that they all contained water, a substance not much less expensive than Outrage, but harder to sell. Keith was relieved that he had already unloaded half the consignment on Damian Noble in the Portobello Road. Then he held Damian's tenners up to the light: they were crude forgeries. He passed on the notes without much trouble, in return for twenty-four bottles of vodka which, it turned out, contained a misty, faintly scented liquid. Outrage!

while the long history of religious oppression and hypocrisy is profoundly sobering, the earnest seeker must look beyond the behavior of flawed humans in order to find the truth. Would you condemn an oak tree because its timbers had been used to build battering rams? Would you blame the air for allowing lies to be transmitted through it? Would you judge Mozart’s The Magic Flute on the basis of a poorly rehearsed performance by fifth-graders? If you had never seen a real sunset over the Pacific, would you allow a tourist brochure as a substitute? Would you evaluate the power of romantic love solely in the light of an abusive marriage next door? No. A real evaluation of the truth of faith depends upon looking at the clean, pure water, not at the rusty containers.

Standing beside the river, realizing that the water of earth is recycled forever, she deeply understood this: that there are two "presents." One is of the moment. The other is of a longer moment - the "moment" that includes the history and knowledge one knows. So that, she mused, if the tears shed by the mother of Isis are now part of this river then I am somehow connected to her in this longer "present" that I am able to envision and that contains both of us.

...Grimacing, I plunged a hand into the fouled water to clear the clog, morbid curiosity drawing my youthful eyes to the gray globs of gore floating upon the surface. It was not horror that seized my imagination so much as wonder: sixty years of dreams and desires, hunger and hope, love and longing, blasted away in a single explosive instant, mind and brain. The mind of Erasmus Gray was gone; the remnants of its vessel floated, as light and insubstantial as popcorn, in the water. Which fluffy bit held your ambition, Erasmus Gray? Which speck your pride? Ah, how absurd the primping and preening of our race! Is it not the ultimate arrogance to believe we are more than is contained in our biology? What counterarguments may be put forth, what valid objections raised, to the claim of Ecclesiastes, "Vanity of vanities; all is vanity"?

I watched bulls bred to cows, watched mares foal, I saw life come from the egg and the multiplicative wonders of mudholes and ponds, the jell and slime of life shimmering in gravid expectation. Everywhere I looked, life sprang from something not life, insects unfolded from sacs on the surface of still waters and were instantly on prowl for their dinner, everything that came into being knew at once what to do and did it, unastonished that it was what it was, unimpressed by where it was, the great earth heaving up bloodied newborns from every pore, every cell, bearing the variousness of itself from every conceivable substance which it contained in itself, sprouting life that flew or waved in the wind or blew from the mountains or stuck to the damp black underside of rocks, or swam or suckled or bellowed or silently separated in two.

And Iluvatar spoke to Ulmo, and said: 'Seest thou not how here in this little realm in the Deeps of Time Melkor hath made war upon thy province? He hath bethought him of bitter cold immoderate, and yet hath not destroyed the beauty of thy fountains, nor of my clear pools. Behold the snow, and the cunning work of frost! Melkor hath devised heats and fire without restraint, and hath not dried up thy desire nor utterly quelled the music of the sea. Behold rather the height and glory of the clouds, and the ever changing mists; and listen to the fall of rain upon the Earth! And in these clouds thou art drawn nearer to Manwe, thy friend, whom thou lovest.' Then Ulmo answered: 'Truly, Water is become now fairer than my heart imagined, neither had my secret thought conceived the snowflake, nor in all my music was contained the falling of the rain. I will seek Manwe, that he and I may make melodies for ever to my delight!' And Manwe and Ulmo have from the beginning been allied, and in all things have served most faithfully the purpose of Iluvatar.

All the earth is a grave, and nought escapes it; nothing is so perfect that it does not fall and disappear. The rivers, brooks, fountains and waters flow on, and never return to their joyous beginnings; they hasten on to the vast realms of Tlaloc, and the wider they spread between their marges the more rapidly do they mould their own sepulchral urns. That which was yesterday is not to-day; and let not that which is to-day trust to live to-morrow.

The soul is like the bowl of water, with the soul's impressions like the rays of light that strike the water. Now, if the water is disturbed, the light appears to be disturbed together with it — though of course it is not. So when someone loses consciousness, it is not the person's knowledge and virtues that are impaired, it is the breath that contains them. Once the breath returns to normal, knowledge and the virtues are restored to normal also.

And so we have come full circle, and return to the essential question: who are you? From a scientific perspective, you are miraculous. You are stardust. You contain the same energy and matter that created the universe 13 billion years ago. You were once that energy—inside the infinitesimally small point of light that began all of life. Everything around you, everything you can see, touch, and taste, is made of this matter, this same universal energy: the water that shines, the tree that reaches, the bird in flight, the grass that grows. The saints and sages across the ages said it this way: you are brothers and sisters with all of creation. If who you are and how things work are one and the same, then who you are is love.

But I awoke at three, feeling terribly sad, and feeling rebelliously that I didn't want to study sadness, madness, melancholy, and despair. I wanted to study triumphs, the rediscoveries of love, all that I know in the world to be decent, radiant, and clear. Then the word "love", the impulse to love, welled up in me somewhere above my middle. Love seemed to flow from me in all directions, abundant as water--love for Cora, love for Flora, love for all my friends and neighbors, love for Penumbra. This tremendous flow of vitality could not be contained within its spelling, and I seemed to seize a laundry marker and write "luve" on the wall. I wrote "luve" on the staircase, "luve" on the pantry, "luve" on the oven, the washing machine, and the coffeepot, and when Cora came down in the morning (I would be nowhere around) everywhere she looked she would read "luve", "luve", "luve." Then I saw a green meadow and a sparkling stream. On the ridge there were thatched-roof cottages and a square church tower, so I knew it must be England. I climbed up from the meadow to the streets of the village, looking for the cottage where Cora and Flora would be waiting for me. There seemed to have been some mistake. No one knew their names. I asked at the post office, but the answer here was the same. Then it occurred to me that they would be at the manor house. How stupid I had been! I left the village and walked up a sloping lawn to a Georgian house, where a butler let me in. The squire was entertaining. There were twenty-five or thirty people in the hall, drinking sherry. I took a glass from a tray and looked through the gathering for Flora and my wife, but they were not there. Then I thanked my host and walked down the broad lawn, back to the meadow and the sparkling brook, where I lay on the grass and fell into a sweet sleep.

Despite the fact we give hurricanes names like Katrina and Rita, a hurricane isn't a self-contained unit. A hurricane is an impermanent, ever-changing phenomenon arising out of a particular set of interacting conditions - air pressure, ground temperature, humidity, wind and so on. The same applies to us: we aren't self-contained units either. Like weather patterns, we are also an impermanent, ever-changing phenomenon arising out of a particular set of interacting conditions. Without food, water, air and shelter, we'd be dead. Without our genes, family, friends, social history, and culture, wouldn't act or feel as we do.

Is it possible that somewhere there are ships setting out? If there are again towns with streetlights, if there are symphonies and newspapers, then what else might this awakening world contain? Perhaps vessels are setting out even now, traveling toward or away from him, steered by sailors armed with maps and knowledge of the stars, driven by need or perhaps simply by curiosity; whatever became of the countries on the other side? If nothing else, it's pleasant to consider the possibility. He likes the thought of ships moving over the water, toward another world just out of sight.

Suddenly I know just what I’m going to do. Something that will blow anything Peeta did right out of the water. I go over to the knot-tying station and get a length of rope. I start to manipulate it, but it’s hard because I’ve never made this actual knot myself. I’ve only watched Finnick’s clever fingers, and they moved so fast. After about ten minutes, I’ve come up with a respectable noose. I drag one of the target dummies out into the middle of the room and, using some chinning bars, hang it so it dangles by the neck. Tying its hands behind its back would be a nice touch, but I think I might be running out of time. I hurry over to the camouflage station, where some of the other tributes, undoubtedly the morphlings, have made a colossal mess. But I find a partial container of bloodred berry juice that will serve my needs. The flesh-colored fabric of the dummy’s skin makes a good, absorbent canvas. I carefully finger paint the words on its body, concealing them from view. Then I step away quickly to watch the reaction on the Gamemakers’ faces as they read the name on the dummy. *SENECA CRANE.*

We want to imagine that people are consistent, steady, stable. We define who they are, create descriptions to lock them on a page, divide them up by their likes, talents, beliefs. Then we pretend some—perhaps most—are better than we are, because they stick to their definitions, while we never quite fit ours. Truth is, people are as fluid as time is. We adapt to our situation like water in a strangely shaped jug, though it might take us a little while to ooze into all the little nooks. Because we adapt, we sometimes don’t recognize how twisted, uncomfortable, or downright wrong the container is that we’ve been told to inhabit. We can keep going that way for a while. We can pretend we fit that jug, awkward nooks and all. But the longer we do, the worse it gets. The more it wears on us. The more exhausted we become. Even if we’re doing nothing at all, because simply holding the shape can take all the effort in the world. More, if we want to make it look natural.

A rabbi had a conversation with the Lord about Heaven and Hell. “I will show you Hell,” said the Lord, and he led the rabbi into a room containing a large round table. The people sitting around the table were famished and desperate. In the middle of the table was an enormous pot of stew that smelled so delicious that the rabbi’s mouth watered. Each person around the table held a spoon with a very long handle. Although the long spoons just reached the pot, their handles were longer than the would-be diners’ arms: thus, unable to bring food to their lips, no one could eat. The rabbi saw that their suffering was terrible indeed. “Now I will show you Heaven,” said the Lord, and they went into another room, exactly the same as the first. There was the same large round table, the same pot of stew. The people were equipped with the same long-handled spoons—but here everyone was well nourished and plump, laughing and talking. The rabbi could not understand. “It is simple, but it requires a certain skill,” said the Lord. “In this room, you see, they have learned to feed each other.

True beauty, the kind that doesn't fade or wash off, takes time. It takes pressure. It takes incredible endurance. It is the slow drip the makes the stalactite, the shaking of the Earth that creates mountains, the constant pounding of the waves that breaks up the rocks and smooths the rough edges. And from the violence, the furor, the raging of the winds, the roaring of the waters, something better emerges, something that would otherwise never exist. And so we endure. We have faith that there is purpose. We hope for things we can't see. We believe that there are lessons in loss, power in love, and that we have within us the potential for a beauty so magnificent that our bodies can't contain it.

A sudden thought struck him - maybe I really did die. When the four of them rejected me, perhaps this young man named Tsukuru Tazaki really did pass away. Only his exterior remained, but just barely, and then over the course of the next half year, even that shell was replaced, as his body and face underwent a drastic change. The feeling of the wind, the sound of rushing water, the sense of sunlight breaking through the clouds, the colors of flowers as the seasons changed - everything around him felt changed, as if they had all been recast. The person here now, the one he saw in the mirror, might at first glance resemble Tsukuru Tazaki, but it wasn't actually him. It was merely a container, was labeled with the same name - but its contents had been replaced. He was called by that name because there was, for the time being, no other name to call him.

To Juan at the Winter Solstice There is one story and one story only That will prove worth your telling, Whether as learned bard or gifted child; To it all lines or lesser gauds belong That startle with their shining Such common stories as they stray into. Is it of trees you tell, their months and virtues, Or strange beasts that beset you, Of birds that croak at you the Triple will? Or of the Zodiac and how slow it turns Below the Boreal Crown, Prison to all true kings that ever reigned? Water to water, ark again to ark, From woman back to woman: So each new victim treads unfalteringly The never altered circuit of his fate, Bringing twelve peers as witness Both to his starry rise and starry fall. Or is it of the Virgin's silver beauty, All fish below the thighs? She in her left hand bears a leafy quince; When, with her right hand she crooks a finger, smiling, How many the King hold back? Royally then he barters life for love. Or of the undying snake from chaos hatched, Whose coils contain the ocean, Into whose chops with naked sword he springs, Then in black water, tangled by the reeds, Battles three days and nights, To be spewed up beside her scalloped shore? Much snow if falling, winds roar hollowly, The owl hoots from the elder, Fear in your heart cries to the loving-cup: Sorrow to sorrow as the sparks fly upward. The log groans and confesses: There is one story and one story only. Dwell on her graciousness, dwell on her smiling, Do not forget what flowers The great boar trampled down in ivy time. Her brow was creamy as the crested wave, Her sea-blue eyes were wild But nothing promised that is not performed.

Do you know anything about frogs?" "Frogs?" "Yes, various biological studies have shown that if a frog is placed in a container along with water from its own pond, it will remain there, utterly still, while the water is slowly heated up. The frog doesn't react to the gradual increase in temperature, to the changes in its environment, and when the water reaches the boiling point, the frog dies, fat and happy. On the other hand, if a frog is thrown into a container full of already boiling water it will jump straight out again, scalded, but alive!" Olivia doesn't quite see what this has to do with the destruction of the world. Igor goes on: "I was like that boiled frog. I didn't notice the changes. I thought everything was fine, that the bad things would just go away, that it was just a matter of time. I was ready to die because I lost the most important thing in my life, but instead of reacting, I sat there bobbing apathetically about in water that was getting hotter by the minute.

She reaches down into her bulging tote bag and pulls out a small plastic box with a hinged lid. It contains a round pill box with a threaded lid from which she tips out a vitamin pill, a fish-oil pill, and the enzyme tablet that lets her stomach digest milk. Inside the hinged plastic box she also carries packets of salt, pepper, horseradish, and hand-wipes, a doll size bottle of Tabasco sauce, chlorine pills for treating drinking water, Pepto-Bismol chews, and God knows what else. If you go to a concert, Bina has opera glasses. If you need to sit on the grass, she whips out a towel. Ant traps, a corkscrew, candles and matches, a dog muzzle, a penknife, a tiny aerosol can of freon, a magnifying glass - Landsman has seen everything come out of that overstuffed cowhide at one time or another.

There were two things about this particular book (The Golden Book of Fairy Tales) that made it vital to the child I was. First, it contained a remarkable number of stories about courageous, active girls; and second, it portrayed the various evils they faced in unflinching terms. Just below their diamond surface, these were stories of great brutality and anguish, many of which had never been originally intended for children at all. (Although Ponsot included tales from the Brothers Grimm and Andersen, the majority of her selections were drawn from the French contes de fées tradition — stories created as part of the vogue for fairy tales in seventeenth century Paris, recounted in literary salons and published for adult readers.) I hungered for a narrative with which to make some sense of my life, but in schoolbooks and on television all I could find was the sugar water of Dick and Jane, Leave it to Beaver and the happy, wholesome Brady Bunch. Mine was not a Brady Bunch family; it was troubled, fractured, persistently violent, and I needed the stronger meat of wolves and witches, poisons and peril. In fairy tales, I had found a mirror held up to the world I knew — where adults were dangerous creatures, and Good and Evil were not abstract concepts. (…) There were in those days no shelves full of “self–help” books for people with pasts like mine. In retrospect, I’m glad it was myth and folklore I turned to instead. Too many books portray child abuse as though it’s an illness from which one must heal, like cancer . . .or malaria . . .or perhaps a broken leg. Eventually, this kind of book promises, the leg will be strong enough to use, despite a limp betraying deeper wounds that might never mend. Through fairy tales, however, I understood my past in different terms: not as an illness or weakness, but as a hero narrative. It was a story, my story, beginning with birth and ending only with death. Difficult challenges and trials, even those that come at a tender young age, can make us wiser, stronger, and braver; they can serve to transform us, rather than sending us limping into the future.

THE ORGANIC FOODS MYTH A few decades ago, a woman tried to sue a butter company that had printed the word 'LITE' on its product's packaging. She claimed to have gained so much weight from eating the butter, even though it was labeled as being 'LITE'. In court, the lawyer representing the butter company simply held up the container of butter and said to the judge, "My client did not lie. The container is indeed 'light in weight'. The woman lost the case. In a marketing class in college, we were assigned this case study to show us that 'puffery' is legal. This means that you can deceptively use words with double meanings to sell a product, even though they could mislead customers into thinking your words mean something different. I am using this example to touch upon the myth of organic foods. If I was a lawyer representing a company that had labeled its oranges as being organic, and a man was suing my client because he found out that the oranges were being sprayed with toxins, my defense opening statement would be very simple: "If it's not plastic or metallic, it's organic." Most products labeled as being organic are not really organic. This is the truth. You pay premium prices for products you think are grown without chemicals, but most products are. If an apple is labeled as being organic, it could mean two things. Either the apple tree itself is free from chemicals, or just the soil. One or the other, but rarely both. The truth is, the word 'organic' can mean many things, and taking a farmer to court would be difficult if you found out his fruits were indeed sprayed with pesticides. After all, all organisms on earth are scientifically labeled as being organic, unless they are made of plastic or metal. The word 'organic' comes from the word 'organism', meaning something that is, or once was, living and breathing air, water and sunlight. So, the next time you stroll through your local supermarket and see brown pears that are labeled as being organic, know that they could have been third-rate fare sourced from the last day of a weekend market, and have been re-labeled to be sold to a gullible crowd for a premium price. I have a friend who thinks that organic foods have to look beat up and deformed because the use of chemicals is what makes them look perfect and flawless. This is not true. Chemical-free foods can look perfect if grown in your backyard. If you go to jungles or forests untouched by man, you will see fruit and vegetables that look like they sprouted from trees from Heaven. So be cautious the next time you buy anything labeled as 'organic'. Unless you personally know the farmer or the company selling the products, don't trust what you read. You, me, and everything on land and sea are organic. Suzy Kassem, Truth Is Crying

Count Alexander Ilyich Rostov stirred at half past eight to the sound of rain on the eaves. With a half-opened eye, he pulled back his covers and climbed from bed. He donned his robe and slipped on his slippers. He took up the tin from the bureau, spooned a spoonful of beans into the Apparatus, and began to crank the crank. Even as he turned the little handle round and round, the room remained under the tenuous authority of sleep. As yet unchallenged, somnolence continued to cast its shadow over sights and sensations, over forms and formulations, over what has been said and what must be done, lending each the insubstantiality of its domain. But when the Count opened the small wooden drawer of the grinder, the world and all it contained were transformed by that envy of the alchemists—the aroma of freshly ground coffee. In that instant, darkness was separated from light, the waters from the lands, and the heavens from the earth. The trees bore fruit and the woods rustled with the movement of birds and beasts and all manner of creeping things. While closer at hand, a patient pigeon scuffed its feet on the flashing. Easing

His life was absurd. He went all over the world accepting all kinds of bondage and escaping. He was roped to a chair. He escaped. He was chained to a ladder. He escaped. He was handcuffed, his legs were put in irons, he was tied up in a strait jacket and put in a locked cabinet. He escaped. He escaped from bank vaults, nailed-up barrels, sewn mailbags; he escaped from a zinc-lined Knabe piano case, a giant football, a galvanized iron boiler, a rolltop desk, a sausage skin. His escapes were mystifying because he never damaged or appeared to unlock what he escaped from. The screen was pulled away and there he stood disheveled but triumphant beside the inviolate container that was supposed to have contained him. He waved to the crowd. He escaped from a sealed milk can filled with water. He escaped from a Siberian exile van. From a Chinese torture crucifix. From a Hamburg penitentiary. From an English prison ship. From a Boston jail. He was chained to automobile tires, water wheels, cannon, and he escaped. He dove manacled from a bridge into the Mississippi, the Seine, the Mersey, and came up waving. He hung upside down and strait-jacketed from cranes, biplanes and the tops of buildings. He was dropped into the ocean padlocked in a diving suit fully weighted and not connected to an air supply, and he escaped. He was buried alive in a grave and could not escape, and had to be rescued. Hurriedly, they dug him out. The earth is too heavy, he said gasping. His nails bled. Soil fell from his eyes. He was drained of color and couldn't stand. His assistant threw up. Houdini wheezed and sputtered. He coughed blood. They cleaned him off and took him back to the hotel. Today, nearly fifty years since his death, the audience for escapes is even larger.

The back of my neck breaks out in a sweat, and I’m getting nervous. Why is he just standing there, staring at me? “What do you want?” I press, my tone curt. He opens his mouth but then closes it swallowing. “Pike, Jesus—” “The day you left,” he blurts out, and I stop. I wait, listening as a look of fear crosses his eyes. “The house was so empty,” he continues. “Like a quiet that was never there before. I couldn’t hear your footsteps upstairs or your hairdryer or anticipate you walking into a room. You were gone. Everything was…” he drops his eyes, “gone.” A ball lodges in my throat, and I feel tears threaten, but I tense my jaw, refusing to let it out. “But I could still feel you,” he whispers. “You were still everywhere. The container of cookies in the fridge, the backsplash you picked out, the way you put all my pictures back in the wrong spot after you dusted my bookshelves.” He smiles to himself. “But I couldn’t rearrange them, because you were the last to touch them, and I wanted everything the way you had it.” My chin trembles, and I fold my arms over my chest, hiding my balled fists under my arms. He pauses and then goes on. “Nothing would ever go back to the way it was before you came into my house. I didn’t want it to.” He shakes his head. “I went to work, and I came home, and I stayed there every night and all weekend, every weekend, because that’s where we were together. That’s where I could still feel you.” He steps closer, dropping his voice. “That’s where I could wrap myself up in you and hang on to every last thread in that house that proved you were mine for just a little while.” His tone grows thick, and I see his eyes water. “I really thought I was doing what was best,” he says, knitting his brow. “I thought I was taking advantage of you, because you’re young and beautiful and so happy and hopeful despite everything you’d been through. You made me feel like the world was a big place again.” My breathing shakes, and I don’t know what to do. I hate that he’s here. I hate that I love that he’s here. I hate him. “I couldn’t steal your life from you and keep you to myself, you know?” he explains. “But then I realized that you’re not happy or hopeful or making me feel good because you’re young. You are those things and you’re capable of those things, because you’re a good person. It’s who you are.” A tear spills over, gliding down my cheek. “Baby,” he whispers, his hands shaking. “I hope you love me, because I love you like crazy, and I’m going to want you the rest of my life. I tried to stay away, because I thought it was the right thing, but I fucking can’t. I need you, and I love you. This doesn’t happen twice, and I’m not going to be stupid again. I promise.” My chin trembles, and something lodges in my throat, and I try to hold it in, but I can’t. My face cracks, and I break down, turning away from him. The tears come like a goddamn waterfall, and I hate him. I fucking hate him. His arms are around me in a second, and he hugs me from behind, burying his face in my neck. “I’m sorry I took so long,” he whispers in my ear.

These ideas can be made more concrete with a parable, which I borrow from John Fowles’s wonderful novel, The Magus. Conchis, the principle character in the novel, finds himself Mayor of his home town in Greece when the Nazi occupation begins. One day, three Communist partisans who recently killed some German soldiers are caught. The Nazi commandant gives Conchis, as Mayor, a choice — either Conchis will execute the three partisans himself to set an example of loyalty to the new regime, or the Nazis will execute every male in the town. Should Conchis act as a collaborator with the Nazis and take on himself the direct guilt of killing three men? Or should he refuse and, by default, be responsible for the killing of over 300 men? I often use this moral riddle to determine the degree to which people are hypnotized by Ideology. The totally hypnotized, of course, have an answer at once; they know beyond doubt what is correct, because they have memorized the Rule Book. It doesn’t matter whose Rule Book they rely on — Ayn Rand’s or Joan Baez’s or the Pope’s or Lenin’s or Elephant Doody Comix — the hypnosis is indicated by lack of pause for thought, feeling and evaluation. The response is immediate because it is because mechanical. Those who are not totally hypnotized—those who have some awareness of concrete events of sensory space-time, outside their heads— find the problem terrible and terrifying and admit they don’t know any 'correct' answer. I don’t know the 'correct' answer either, and I doubt that there is one. The universe may not contain 'right' and 'wrong' answers to everything just because Ideologists want to have 'right' and 'wrong' answers in all cases, anymore than it provides hot and cold running water before humans start tinkering with it. I feel sure that, for those awakened from hypnosis, every hour of every day presents choices that are just as puzzling (although fortunately not as monstrous) as this parable. That is why it appears a terrible burden to be aware of who you are, where you are, and what is going on around you, and why most people would prefer to retreat into Ideology, abstraction, myth and self-hypnosis. To come out of our heads, then, also means to come to our senses, literally—to live with awareness of the bottle of beer on the table and the bleeding body in the street. Without polemic intent, I think this involves waking from hypnosis in a very literal sense. Only one individual can do it at a time, and nobody else can do it for you. You have to do it all alone.

From the essay on Love, in which he describes as a wilderness experience his daily visits with his wife to a hospital 3,000 miles from home in a strange city, where someone he loves is in danger of dying. “When the worst finally happens, or almost happens, a kind of peace comes. I had passed beyond grief, beyond terror, all but beyond hope, and it was thee, in that wilderness, that for the first time in my life I caught sight of something of what it must be like to love God truly. It was only a glimpse, but it was like stumbling on fresh water in the desert, like remembering something so huge and extraordinary that my memory had been unable to contain it. Though God was nowhere to be clearly seen, nowhere to be clearly heard, I had to be near him—even in the elevator riding up to her floor, even walking down the corridor to the one door among all those doors that had her name taped on it. I loved him because there was nothing else left. I loved him because he seemed to have made himself as helpless in his might as I was in my helplessness. I loved him not so much in spite of there being nothing in it for me but almost because there was nothing in it for me. For the first time in my life, there in that wilderness, I caught a glimpse of what it must be like to love God truly, for his own sake, to love him no matter what. If I loved him with less than all my heart, soul, and will, I loved him with at least as much of them as I had left for loving anything… I did not love God, God knows, because I was some sort of saint or hero. I did not love him because I suddenly saw the light (there was almost no light at all) or because I hoped by loving him to persuade him to heal the young woman I loved. I loved him because I couldn’t help myself. I loved him because the one who commands us to love is the one who also empowers us to love, as there in the wilderness of that dark and terrible time I was, through no doing of my own, empowered to love him at least a little, at least enough to survive. And in the midst of it, these small things happened that were as big as heaven and earth because through them a hope beyond hopelessness happened. “O Israel, hope in the Lord from this time forth and for evermore.”… The final secret, I think, is this: that the words “You shall love the Lord your God” become in the end less a command than a promise.

Book Excerpt: "What about your family, Abu Huwa? Are you an orphan?” the little girl very innocently asked the Sphinx. “My father and your father are one and the same. However, I do have a brother who has stood as my mirror throughout time on the opposite horizon. It is I who faces east, but it is he who faces west. I am the recorder of yesterday and he holds the records of tomorrow. I am the positive, and he is my negative. I carry the right eye of the sun and he carries the left eye of the moon. He keeps his eye on the underworld and I keep an eye on the world over. Together we have joined the sky and earth, and split fire and water.” Seham stood on all toes to peek over the Sphinx's shoulder for a sign of his brother. “Where is he?” she asked, her eyes still searching the open horizon. “He has yet to be uncovered, but as I stand above the sands of time, he still sleeps below. Before the descent of Adam, we have both stood as loyal Protectors of the Two Halls of Truth.” The girl asked in astonishment, “I've never heard of these halls, Abu Huwa. Where are they?” “At the end of each of our tails is a passage that will reveal to you the secrets of Time. One hall reflects a thousand truths, and the other hall reflects all that is untrue. One will speak to your heart, and the other will speak to your mind. This is why you need to use both your heart and mind to understand which one is real, and which is a distorted illusion created to misguide those that have neglected their conscience. Both passageways connect you to the Great Hall of Records.” “What is the Hall of Records?” “The Great Pyramid, my child. It is as multidimensional in its shape as it is in its purpose. Every layer and every brick marks the coming of a prophet, the ascension of evil, or another cycle of man. It contains the entire history and future of mankind. And, as is above, so is below. Above ground, it serves as the most powerful energy source to harmonize and power the world! The shape of the pyramid above ground is also the same image mirrored beneath it. Underground, it serves as a powerful well and drain. This is really why Egypt is called the Land of Two Lands. There exists a huge world of its own underneath the plateau, a world within worlds. Large amounts of gold, copper and mercury were once housed here, including the secrets of Time, the 100th name of He Who Is All, and a gift from Truth that still awaits to be discovered. It sleeps with Time in the Great Pyramid, hidden away in a lower shaft that leads to the stars.” Dialogue from 'The Little Girl and the Sphinx' by Suzy Kassem, Rise Up and Salute the Sun (Dar-El Shams, 2010)

Billos ran. He tore down the shore, bounded up on the rock, and dove into the air. The warm water engulfed him. A boiling heat knocked the wind from his lungs. The shock alone might kill him. But it was pleasure that surged through his body, not pain. The sensations coursed through his bones in great unrelenting waves. Elyon. How he was certain, he did not know. But he knew. Elyon was in this lake with him. Billos opened his eyes. Gold light drifted by. He lost all sense of direction. The water pressed in on every inch of his body, as intense as any acid, but one that burned with pleasure instead of pain. He sank into the water, opened his mouth and laughed. He wanted more, much more. He wanted to suck the water in and drink it. Without thinking, he did just that. The liquid hit his lungs. Billos pulled up, panicked. He tried to hack the water from his lungs, but inhaled more instead. No pain. He carefully sucked more water and breathed it out slowly. Then again, deep and hard. Out with a soft whoosh. He was breathing the water! Billos shrieked with laughter. He swam into the lake, deeper and deeper. The power contained in this lake was far greater than anything he'd ever imagined. "I made this, Billos." Billos whipped his body around, searching for the words' source. "Elyon?" His voice was muffled, hardly a voice at all. "Do you like it?" "Yes!" Billos said. He might have spoken; he might have shouted--he didn't know. He only knew that his whole body screamed it. Billos looked around. "Elyon?" "Why do you doubt me, Billos?" In that single moment the full weight of Billos's foolishness crashed on him like a sledgehammer. "I see you, Billos." "I made you." "I love you." The words crashed over him, reaching into the deepest folds of his flesh, caressing each hidden synapse, flowing through every vein, as though he had been given a transfusion. "I choose you, Billos." Billos began to weep. The feeling was more intense than any pain he had ever felt. The current pulled at him, tugging him up through the colors. His body trembled with pleasure. He wanted to speak, to yell, to tell the whole world that he was the most fortunate person in the universe. That he was loved by Elyon. Elyon himself. "Never leave me, Billos." "Never! I will never leave you." The current pushed him through the water and then above the surface not ten meters from the shore. He stood on the sandy bottom. For a moment he had such clarity of mind that he was sure he could understand the very fabric of space if he put his mind to it. He was chosen. He was loved.

What we feel and how we feel is far more important than what we think and how we think. Feeling is the stuff of which our consciousness is made, the atmosphere in which all our thinking and all our conduct is bathed. All the motives which govern and drive our lives are emotional. Love and hate, anger and fear, curiosity and joy are the springs of all that is most noble and most detestable in the history of men and nations. The opening sentence of a sermon is an opportunity. A good introduction arrests me. It handcuffs me and drags me before the sermon, where I stand and hear a Word that makes me both tremble and rejoice. The best sermon introductions also engage the listener immediately. It’s a rare sermon, however, that suffers because of a good introduction. Mysteries beg for answers. People’s natural curiosity will entice them to stay tuned until the puzzle is solved. Any sentence that points out incongruity, contradiction, paradox, or irony will do. Talk about what people care about. Begin writing an introduction by asking, “Will my listeners care about this?” (Not, “Why should they care about this?”) Stepping into the pulpit calmly and scanning the congregation to the count of five can have a remarkable effect on preacher and congregation alike. It is as if you are saying, “I’m about to preach the Word of God. I want all of you settled. I’m not going to begin, in fact, until I have your complete attention.” No sermon is ready for preaching, not ready for writing out, until we can express its theme in a short, pregnant sentence as clear as crystal. The getting of that sentence is the hardest, most exacting, and most fruitful labor of study. We tend to use generalities for compelling reasons. Specifics often take research and extra thought, precious commodities to a pastor. Generalities are safe. We can’t help but use generalities when we can’t remember details of a story or when we want anonymity for someone. Still, the more specific their language, the better speakers communicate. I used to balk at spending a large amount of time on a story, because I wanted to get to the point. Now I realize the story gets the point across better than my declarative statements. Omit needless words. Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all his sentences short, or that he avoid all detail and treat his subjects only in outline, but that every word tell. Limits—that is, form—challenge the mind, forcing creativity. Needless words weaken our offense. Listening to some speakers, you have to sift hundreds of gallons of water to get one speck of gold. If the sermon is so complicated that it needs a summary, its problems run deeper than the conclusion. The last sentence of a sermon already has authority; when the last sentence is Scripture, this is even more true. No matter what our tone or approach, we are wise to craft the conclusion carefully. In fact, given the crisis and opportunity that the conclusion presents—remember, it will likely be people’s lasting memory of the message—it’s probably a good practice to write out the conclusion, regardless of how much of the rest of the sermon is written. It is you who preaches Christ. And you will preach Christ a little differently than any other preacher. Not to do so is to deny your God-given uniqueness. Aim for clarity first. Beauty and eloquence should be added to make things even more clear, not more impressive. I’ll have not praise nor time for those who suppose that writing comes by some divine gift, some madness, some overflow of feeling. I’m especially grim on Christians who enter the field blithely unprepared and literarily innocent of any hard work—as though the substance of their message forgives the failure of its form.

Before she could say anything more, Sabella swung around at the sound of Noah’s Harley purring to life behind the garage. God. He was dressed in snug jeans and riding chaps. A snug dark T-shirt covered his upper body, conformed to it. And he was riding her way. “Is there anything sexier than a man in riding chaps riding a Harley?” Kira asked behind her. “It makes a woman simply want to melt.” And Sabella was melting. She watched as he pulled around the side of the garage then took the gravel road that led to the back of the house. The sound of the Harley purred closer, throbbing, building the excitement inside her. “I think it’s time for me to leave,” Kira said with a light laugh. “Don’t bother to see me out.” Sabella didn’t. She listened as the Harley drew into the graveled lot behind the house and moved to the back door. She opened it, stepping out on the back deck as he swung his legs over the cycle and strode toward her. That long-legged lean walk. It made her mouth water. Made her heart throb in her throat as hunger began to race through her. “The spa treated you well,” he announced as he paused at the bottom of the steps and stared back at her. “Feel like messing your hair up and going out this evening? We could have dinner in town. Ride around a little bit.” She hadn’t ridden on a motorcycle since she was a teenager. She glanced at the cycle, then back to Noah. “I’d need to change clothes.” His gaze flickered over her short jeans skirt, her T-shirt. “That would be a damned shame too,” he stated. “I have to say, Ms. Malone, you have some beautiful legs there.” No one had ever been as charming as Nathan. She remembered when they were dating, how he would just show up, out of the blue, driving that monster pickup of his and grinning like a rogue when he picked her up. He’d been the epitome of a bad boy, and he had been all hers. He was still all hers. “Bare legs and motorcycles don’t exactly go together,” she pointed out. He nodded soberly, though his eyes had a wicked glint to them. “This is a fact, beautiful. And pretty legs like that, we wouldn’t want to risk.” She leaned against the porch post and stared back at him. “I have a pickup, you know.” She propped one hand on her hip and stared back at him. “Really?” Was that avarice she saw glinting in his eyes, or for just the slightest second, pure, unadulterated joy at the mention of that damned pickup? He looked around. “I haven’t seen a pickup.” “It’s in the garage,” she told him carelessly. “A big black monster with bench seats. Four-by-four gas-guzzling alpha-male steel and chrome.” He grinned. He was so proud of that damned pickup. “Where did something so little come up with a truck that big?” he teased her then. She shrugged. “It belonged to my husband. Now, it belongs to me.” That last statement had his gaze sharpening. “You drive it?” “All the time,” she lied, tormenting him. “I don’t have to worry about pinging it now that my husband is gone. He didn’t like pings.” Did he swallow tighter? “It’s pinged then?” She snorted. “Not hardly. Do you want to drive the monster or question me about it? Or I could change into jeans and we could ride your cycle. Which is it?” Which was it? Noah stared back at her, barely able to contain his shock that she had kept the pickup. He knew for a fact there were times the payments on the house and garage had gone unpaid—his “death” benefits hadn’t been nearly enough—almost risking her loss of both during those first months of his “death.” Knowing she had held on to that damned truck filled him with more pleasure than he could express. Knowing she was going to let someone who wasn’t her husband drive it filled him with horror. The contradictor feelings clashed inside him, and he promised himself he was going to spank her for this.