Wave Lyrics Quotes

Her happiness floated like waves of ocean along the coast of her life. She found lyrics of her life in his arms but she never sung her song.

The vast open sea at night is a song being written; a rhyme, a mysterious and gentle arpeggiated work of Beethoven. It's sung by the waves as they travel on the face of the ocean, and their lyrics are the rhythm of the pounding surf.

GLINDA: Well,I'm a public figure now! People expect me to-- ELPHABA: Lie? GLINDA: (fiercely) Be encouraging! And what exactly have you been doing? Besides riding on around on that filthy thing! ELPHABA: Well, we can't all come and go by bubble. Whose invention was that, the Wizard's? Of course, even if it wasn't, I'm sure he'd still take credit for it. GLINDA: Yes, well, a lot of us are taking things that don't belong to us, aren't we? Uh oh! The two stare daggers at each other, then... ELPHABA: Now, wait just a clock-tick. I know it's difficult for that blissful blonde brain of yours to comprehend that someone like him could actually choose someone like me!But it's happened. It's real. And you can wave that ridiculous wand all you want, you can't change it! He never belonged to you -- he doesn't love you, he never did! He loves me!

Life is the bad with all the good. The deadly sharks with the beautiful sea stars. The gigantic waves with the sand castles. The licorice with the lemon and lime. The loud lyrics with the rhythm of the music. The liver disease with the love of a father and son. It’s life. Sweet, beautiful, wind on your face, air in your lungs, kisses on your lips. life.

The full moon, well risen in a cloudless eastern sky, covered the high solitude with its light. We are not conscious of daylight as that which displaces darkness. Daylight, even when the sun is clear of clouds, seems to us simply the natural condition of the earth and air. When we think of the downs, we think of the downs in daylight, as with think of a rabbit with its fur on. Stubbs may have envisaged the skeleton inside the horse, but most of us do not: and we do not usually envisage the downs without daylight, even though the light is not a part of the down itself as the hide is part of the horse itself. We take daylight for granted. But moonlight is another matter. It is inconstant. The full moon wanes and returns again. Clouds may obscure it to an extent to which they cannot obscure daylight. Water is necessary to us, but a waterfall is not. Where it is to be found it is something extra, a beautiful ornament. We need daylight and to that extent it us utilitarian, but moonlight we do not need. When it comes, it serves no necessity. It transforms. It falls upon the banks and the grass, separating one long blade from another; turning a drift of brown, frosted leaves from a single heap to innumerable flashing fragments; or glimmering lengthways along wet twigs as though light itself were ductile. Its long beams pour, white and sharp, between the trunks of trees, their clarity fading as they recede into the powdery, misty distance of beech woods at night. In moonlight, two acres of coarse bent grass, undulant and ankle deep, tumbled and rough as a horse's mane, appear like a bay of waves, all shadowy troughs and hollows. The growth is so thick and matted that event the wind does not move it, but it is the moonlight that seems to confer stillness upon it. We do not take moonlight for granted. It is like snow, or like the dew on a July morning. It does not reveal but changes what it covers. And its low intensity---so much lower than that of daylight---makes us conscious that it is something added to the down, to give it, for only a little time, a singular and marvelous quality that we should admire while we can, for soon it will be gone again.

To give yourself over to another body That’s all you want really To be out of your own and consumed by another To swim inside the skin of your lover Not have to breathe Not have to think But you can’t live on love And salt water’s no drink We're dying of thirst so we feast on each other The sea is still our violent mother The blood round here pours down like water Each wave a lamb lead to the slaughter And like children that she just can’t teach We break, and break, and break And break ourselves upon the beach- Body of Water

His lyrical whistle beckoned me to adventure and forgetting. But I didn't want to forget. Hugging my grudge, ugly and prickly, a sad sea urchin, I trudged off on my own, in the opposite direction toward the forbidding prison. As from a star I saw, coldly and soberly, the separateness of everything. I felt the wall of my skin; I am I. That stone is a stone. My beautiful fusion with the things of this world was over. The Tide ebbed, sucked back into itself. There I was, a reject, with the dried black seaweed whose hard beads I liked to pop, hollowed orange and grapefruit halves and a garbage of shells. All at once, old and lonely, I eyed these-- razor clams, fairy boats, weedy mussels, the oyster's pocked gray lace (there was never a pearl) and tiny white "ice cream cones." You could always tell where the best shells were-- at the rim of the last wave, marked by a mascara of tar. I picked up, frigidly, a stiff pink starfish. It lay at the heart of my palm, a joke dummy of my own hand. Sometimes I nursed starfish alive in jam jars of seawater and watched them grow back lost arms. On this day, this awful birthday of otherness, my rival, somebody else, I flung the starfish against a stone. Let it perish.

I think I saw you in an ice-cream parlour drinking milk shakes cold and long Smiling and waving and looking so fine don't think you knew you were in this song. - Five Years

Take the time to make some sense for what you wanna say, And cast your words away upon the waves. Sail them home with acquiesce on a ship of hope today, And as they land upon the shore, Tell them not to fear no more. I'm not saying right is wrong, It's up to us to make the best of all the things that come our way. Cos' everything that's been has past, The answers in the looking glass. There's four and twenty million doors On life's endless corridor, So say it loud and sing it proud today.

We're just bits of light Trying to illuminate We're just sound vibrations With a unique pace Wading in the waves, oh Sailing through this sea Making divine consecrations Of the life we live

As the wind, wandering over the sea, takes from each wave an invisible portion, and brings to those on shore the ethereal essence of ocean, so the air lingering among the woods and hedges—green waves and billows—became full of fine atoms of summer.

So for now wave good-bye leave your hands held high

The gray sea and the long black land; And the yellow half-moon large and low: And the startled little waves that leap In fiery ringlets from their sleep, As I gain the cove with pushing prow, And quench its speed i’ the slushy sand.

I earned my place, With the tidal waves. I can't escape this feeling, That something ain't right. I called my name As I crashed the gates, Still I can't escape this feeling That something ain't right.

The universe deepened at that moment, the music of the spheres grew from a mere chorus to a symphony as triumphant as Beethoven’s Ninth, and I knew that I would always be able to hear it when I wished or needed to, always be able to Use it to take the step I needed to see the one I loved, or, failing that, step to the place where I had been with the one I loved, or, failing that, find a place to love for its own beauty and richness. The energy of quasars and exploding stellar nuclei filled me then. I was borne up on waves of energy more lovely and more lyrical even than the Ouster angels’ wings seen sliding along corridors of sunlight. The shell of deadly energy that was my prison and execution cell seemed laughable now, Schrödinger’s original joke, a child’s jump rope laid around me on the ground as restraining walls. I stepped out of the Schrödinger cat box and out of Armaghast System.

Although he had changed his name, his history came with him, even to his writing. The rhythm of his rain-soaked childhood became a sequence of words. His memories of the understory of the great forest burst into lyrical phrases, as resinous as the sap of a pinecone, as crisp as the shell of a beetle. Sentences grew long, then pulled up short, taking on the tempo of the waves upon the shore, or swayed gently, like the plaintive song of a lone harmonica. His fury became essays that pointed, stabbed, and burned. His convictions played out with the monotonous determination of a printing press. And his affections became poems, as warm and supple as the wool of a well-loved sheep.

And what did you hear, my blue-eyed son? And what did you hear, my darling young one? I heard the sound of a thunder that roared out a warnin' Heard the roar of a wave that could drown the whole world Heard one hundred drummers whose hands were a-blazin' Heard ten thousand whisperin' and nobody listenin' Heard one person starve, I heard many people laughin' Heard the song of a poet who died in the gutter Heard the sound of a clown who cried in the alley And it's a hard, and it's a hard, it's a hard, it's a hard It's a hard rain's a-gonna fall

You are you even before you grow into understanding you are not anyone, worthless, not worth you. Even as your own weight insists you are here, fighting off the weight of nonexistence. And still this life parts your lids, you see you seeing your extending hand as a falling wave— I they he she we you turn only to discover the encounter to be alien to this place. Wait. The patience is in the living. Time opens out to you. The opening, between you and you, occupied, zoned for an encounter, given the histories of you and you— And always, who is this you? The start of you, each day, a presence already— Hey you—

As our ship tumbled, free-falling through the eye of a saltwater cyclone, the nine giant maidens spiraled around us, weaving in and out of the tempest so they appeared to drown over and over again. Their faces contorted in anger and glee. Their long hair lashed us with icy spray. Each time they emerged, they wailed and shrieked, but it wasn’t just random noise. Their screams had a tonal quality, like a chorus of whale songs played through heavy feedback. I even caught snippets of lyrics: boiling mead...wave daughters...death for you! It reminded me of the first time Halfborn Gunderson played Norwegian black metal for me. After a few bars, it dawned on me...Oh, wait. That’s supposed to be music!

I would have rather felt you round my throat, Crushing out life, than waving me farewell!

From all the books I read in this series, it is both the most nonsense and severe of them all, I sense a dark turn from now on. I love how David Tennant sings the songs We could be safe at hearth and home Around a fire with loved ones near Instead we brave the cold dark wave The salty kiss of a Hero's grave Looking for a land we saw... Once before... long ago... HO! We could take the easy way Stay at home with loved ones dear But here we are on rocking waves Sails spread out like dragons' wings... Lost out in a hurricane... Looking for a land we saw.. Once before... long ago.. HO! Glory comes not to the weak A treasure land shines out so strong We see it clear from far away O Great and Brave and Mighty Thor I hope that that was land I saw Once before... long ago.. HO!

Particles to the decided mind, but look away, who makes the waves play? Quantum ride, let's be the right type. Oh put the numbers in and let the type write. Get the matter timed for the right life, Faith of mind, behold, they oblige.

A morning song that can shiver quiet backwaters of the future and fill their waves and silt with hope. A luminous and tranquil song full of thought. . . A song skinned of lyric. . . A song to go to the soul of things." Excerpts from "Se ha puesto el sol" (The Sun Has Set, 1920)

Think of one of your most memorable sexual experiences. Although often sex gets stuck in one rhythm, sometimes we ride the whole wave. Sensuous and slow, gentle and tender your energies flow together. As it heats up, your passion ignites into a pulsing staccato beat. As you lose control, moving beyond all thinking and fears, you surrender to the orgasmic rhythm of chaos. And then there’s the luscious lingering of the altered lyrical state before we settle into the afterglow, the bliss of stillness.

To give yourself over to another body That’s all you want really, To be out of your own and consumed by another. To swim inside the skin of your lover... Not have to break Not have to think But you can’t live in love And salt waters no drink. We’re dying of thirst so we feast on each other. The sea is still our violent mother The blood round here pours down Like water, each wave a lamb Led to the slaughter. And like children that she just can’t teach We break, and break, and break And break ourselves upon the beach...

Jim Adkins: ...There was a girl who wrote us, explaining how she felt like an outsider at her school because the punk rock kids wouldn't accept her, even though she liked us and a lot of the really obscure bands we toured with. And I just thought 'It's not worth your time to trip on this. Punk rock is and should be inclusive. That's the one thing I know. No matter what your definition of punk is, everyone would say that it's inclusive, it welcomes outsiders. Freak flags welcome. Wave 'em around. These chicks don't get it at all, don't waste your time trying to get their approval.' That's where the main idea for the lyrics to 'The Middle' came from.

Adele took her place in front of the audience and began to sing. "Miss Eyre, perhaps you can tell me what he's saying?" Mrs. Fairfax said. "The only other person in the house who speaks French is the master, and he hates to translate anymore." Jane glanced at Mr. Rochester, but he stared straight ahead. Jane listened to the song. "The first few lines are about a famous dancer ... in a club ... She wore flowers in her hair and a dress that ... oh." Adele sang in detail about how much the dress covered. Or didn't cover. Jane blushed and glanced at Mr. Rochester, searching for a reaction to the scandalous lyrics. But he just listened. Not scandalized. "So, yes, the dancer wore a dress," Jane continued, with slightly less detail. "And she was in love with a ... dealer. Of cards. And at night, they ... oh my." Adele sang of a very special hug. Jane's cheeks flamed. "Perhaps Mr. Rochester should translate." She turned to Mr. Rochester, who coughed. He waved his hand. "Please continue, Miss Eyre. You're doing such a fine job." Now Adele sang of the woman's roving eye, and another man visiting while her lover was away. "They continued to love each other," Jane said quickly, maybe a bit desperately. In the last verse, the boyfriend found out about her infidelity, and stabbed the dancer and her other lover. "That escalated quickly," said Helen. She also spoke French, but no one had asked her to translate. "And they both lived happily ever after," Jane blurted. She was going to have to teach Adele some new songs.

Human beings innate complexities resist reduction into simple sentences and neat paragraphs. The stories that come nearest to expressing the ambivalent nature of people are textured and occasionally inconsistent and express waves of inner uncertainty. A simile and a metaphor are not literally true. A figure of speech, symbols, and allegories are mere expressions that when interlinked with other text assist explain facts, ideas, and emotions. Useful facts are elusive; we must look for them, and then express them using whatever mechanism proves most authoritative. We can never directly describe emotions; we resort to metaphors to describe emotions and other illusive thoughts. Ideas by virtue of their untested nature are often untrue or at best rough approximations of truth. Lyrical writing is equivocal; it is never exactly true or precisely false. Lyrical language attempts to express and connect sentiments through extrapolation and misdirection. The writer’s task is to melt away durable facts, breakdown the symbolic depictions of solid reality, and discover the liquidity of a passionate inner life that provides the hot breath to our steamy humanness.

Yes, my friends, your hunger for history is still pretty segregated. Your knowledge of America often ends at the color line. You end up erasing the black story as the American story, black history as American history. You certainly have an insatiable thirst for history, but only if that history justifies whiteness. Most black folk can’t help but notice what many whites rarely wish, or are compelled, to see: you embrace history as your faithful flame when she kisses you, and yet you spurn her as a cheating mate when she nods or winks at others. You love history when it’s yet another book about, say, the Founding Fathers. No amount of minutia is too tedious. No new fact is too obscure to report. The curiosity about presidents is nearly inexhaustible. History is a friend to white America when it celebrates the glories of American exceptionalism, the beauty of American invention, the genius of the American soul. History is unrestrained bliss when it sings Walt Whitman’s body electric or touts the lyrical vision of the Transcendentalists. History that swings at the plate with Babe Ruth or slides into home with Joe DiMaggio is the American pastime at its best. History hovers low in solemn regard for the men who gave up the ghost at Appomattox and speaks with quiet reverence for the Confederate flags that gleefully waved to secession. Of course all of you don’t sing from the same hymnal. But American history, the collective force of white identity that picks up velocity across the centuries, mouths every note.

I glanced over and saw Wyatt glaring at me. Journey’s “Lovin’ Touchin’, Squeezin’” was playing on the radio. “What?” I asked. “You secretly hate me, don’t you.” He gestured toward the radio. “You can’t stand the thought of me taking a much needed nap and leaving you to drive without conversation. You’re torturing me with this sappy stuff.” “It’s Journey. I love this song.” Wyatt mumbled something under his breath, picked up the CD case, and started looking through it. He paused with a choked noise, his eyes growing huge. “You’re joking, Sam. Justin Bieber? What are you, a twelve-year old girl?” There’s gonna be one less lonely girl, I sang in my head. That was a great song. How could he not like that song? Still, I squirmed a bit in embarrassment. “A twelve-year old girl gave me that CD,” I lied. “For my birthday.” Wyatt snorted. “It’s a good thing you’re a terrible liar. Otherwise, I’d be horrified at the thought that a demon has been hanging out with a bunch of giggling pre-teens.” He continued to thumb through the CDs. “Air Supply Greatest Hits? No, no, I’m wrong here. It’s an Air Supply cover band in Spanish.” He waved the offending CD in my face. “Sam, what on earth are you thinking? How did you even get this thing?” “Some tenant left it behind,” I told him. “We evicted him, and there were all these CDs. Most were in Spanish, but I’ve got a Barry Manilow in there, too. That one’s in English.” Wyatt looked at me a moment, and with the fastest movement I’ve ever seen, rolled down the window and tossed the case of CDs out onto the highway. It barely hit the road before a semi plowed over it. I was pissed. “You asshole. I liked those CDs. I don’t come over to your house and trash your video games, or drive over your controllers. If you think that will make me listen to that Dubstep crap for the next two hours, then you better fucking think again.” “I’m sorry Sam, but it’s past time for a musical intervention here. You can’t keep listening to this stuff. It wasn’t even remotely good when it was popular, and it certainly hasn’t gained anything over time. You need to pull yourself together and try to expand your musical interests a bit. You’re on a downward spiral, and if you keep this up, you’ll find yourself friendless, living in a box in a back alley, stinking of your own excrement, and covered in track marks.” I looked at him in surprise. I had no idea Air Supply led to lack of bowel control and hard core drug usage. I wondered if it was something subliminal, a kind of compulsion programmed into the lyrics. Was Russell Hitchcock a sorcerer? He didn’t look that menacing to me, but sorcerers were pretty sneaky. Even so, I was sure Justin Bieber was okay. As soon as we hit a rest stop, I was ordering a replacement from my iPhone.

Smiling to myself, I pictured our family one sunny afternoon last fall. It had been a warm day, and we were on our way to the city aquarium. Dad had the car windows rolled down, and I recalled the feel of the wind in my hair and the scent of Mom’s perfume wafting from the seat in front of me. Mom and Dad were chatting and I was scrolling through my Instagram feed. But the moment the song sounded on the radio, I squealed. “Turn it up!” I said, leaning forward in my seat, enough that the belt tightened across my chest. As soon as Dad reached over and turned the knob, I started singing the lyrics aloud. Both Mom and Dad joined in. With the wind in my hair and the music filling the car, a warmth had filled my insides, almost as if I were wrapped in my favorite fuzzy blanket. The memory was fresh in my mind and I could still see Mom’s head bob up and down as she sang while Dad tapped his fingers on the steering wheel. “Come on, Dad!” I said, giggling. “Sing with us.” He glanced over his shoulder at me. “I’m waiting for my favorite part. I don’t want to stretch my singing muscles.” “What singing muscles?” Mom smiled at him. He put a finger in the air for her to wait. “Here we go.” When the chorus of the song began, Dad screeched out the lyrics in a really high voice. He was trying to mimic the singer’s voice but he wasn’t even close and the sound he made was terrible. I burst out laughing. He ignored me and continued to sing, all the while, waving a hand through the air with wide flourishes, as if conducting an orchestra. He tilted his head back and belted out the high notes. When we pulled up at a red traffic light and the car slowed to a stop, Dad was oblivious of the carload of people alongside us watching him. The passengers of the other car had their windows open too and I stared at them in horror. Their eyes were glued to Dad and they shook their heads and rolled their eyes. “Dad!” I called to him. “Those people are watching you.” But he didn’t hear me and continued to sing. I sank into my seat, my cheeks flushing. He finally realized he had an audience but instead of being embarrassed, he waved to them. “Hello, there!” he said. “Did you enjoy my singing?” The light turned green, and the carload of people cracked up laughing as their car lurched forward in their hurry to escape the weird man in the car next to theirs. Dad shrugged. “I guess not.’ Mom and I burst out laughing too, unable to hold it in any longer. Dad waved a dismissive hand. “They wouldn’t know good music if it hit them in the face.” Tears sprang from my eyes because I was laughing so hard. My dad could be so embarrassing sometimes, but that day, it didn’t bother me at all. Dad had always managed to make me laugh at the silliest things. He had a way of making me feel happy, regardless of what mood I was in. Deep down I thought he was a really cool dad. My friends thought so too. He wasn’t boring and super strict like their dads. He was fun to be around and everyone loved him for it, including my friends. Our little family was perfect, and I wouldn’t have changed it for the world.

Were those statues there before?” Buer waves his little cuttlefish tentacles and moves his finger across the paper. “They’re new. A different icon for each of the Seven Noble Virtues.” He’s not lying. They’re all there. All the personality quirks that give Hellions a massive cultural hard-on. Cunning. Ruthlessness. Ferocity. Deception. Silence. Strength. Joy. They’re represented by a collection of demonic marble figures with leathery wings and forked tongues, bent spines and razor dorsal fins, clusters of eyestalks and spider legs. The colonnades look like the most fucked-up miniature golf course in the universe and they’re on what’s supposed to be the new City Hall. “I have an idea. How about instead of the Legion of Doom we put up the Rat Pack and the lyrics to ‘Luck Be a Lady’?” “Excuse me?” says Buer. “What I mean is, it looks a little fascist.” “Thank you.” “That wasn’t a compliment.

During the taxi ride on the way to the hotel, I had to laugh to myself as I experienced another special moment between the Universe and I. I have been referring to this trip as a journey into my heart, and have been envisioning Tulum as a physical symbol of heaven on earth. So what do you think is the first song that plays once the taxi driver turns on his tape cassette? As I hear the lyrics fill up the van, I almost can’t believe the synchronicity myself. It is the most perfect, fitting song in the world to be playing at this moment in time: “When you walk into the room You pull me close and we start to move, And we’re spinning with the stars above, And you lift me up in a wave of love… (Wait for it…) Ooh, baby, do you know what that’s worth? Ooh heaven is a place on earth They say in heaven, love comes first We’ll make heaven a place on earth Ooh heaven is a place on earth.

I dare you to…” He pauses, and I want him to say it. I want him to want a kiss, because I realize I’d do it so fast it’d make his head spin. “I dare you to do your happy dance,” he says instead. “Happy dance?” “Come on, everyone has a happy dance.” “But… I have to be extremely happy to do a happy dance. It’s not something I can just, you know, jump into.” “How about I give you some inspiration.” He pulls his phone out of his pocket and presses a few buttons. A song with an upbeat keyboard begins, and Logan stands up. The happy lyrics say something about a birdhouse and a bee. He waves his hand at me to follow. Bouncing on the balls of his feet, he looks at me expectantly. I stand up to face him and try to sway a little. He shakes his head as he turns the volume up. “I just can’t, I’m not happy enough.” “Pretend like the Natchitoches Central Chiefs just won the Super Bowl.” He bounces a little more enthusiastically. “That’s good, I guess.” My sway becomes a little more pronounced. A smile takes hold, not because of the thought of the Chiefs winning the Super Bowl, but because Logan is such an awkward dancer. He’s gone from bouncing to alternating snaps of his fingers as he bobs his head. Plus, he’s a little off rhythm. “There’s a Tangled marathon on in two minutes!” He has to yell over the music now. “That’s better.” I start nodding my head to the beat. “It’s Christmas! You just got your Hogwarts acceptance letter, a copy ofAction Comics #1, and a brand new car that runs on water!” “Hell yeah!” I scream and let go.

Peace died in the homeland of peace Justice succumbed When the City of Jerusalem fell Love retreated and in the hearts of the world, war settled The child in the grotto and his mother Mary are crying, and I am praying. —Fairuz, lyrics from “Jerusalem Flower of all the Cities” (1971)

Who the hell is that?” Chase barks. He watches Pete’s prideful swagger all the way down the aisle until he disappears from sight. Chase looks down at me. I shrug. “He’s a friend.” “Since when do you have friends like that?” he asks. He steps toward me, and I step back, until my back is against the shelves behind me. I don’t like to be cornered, but Chase has no way of knowing that. I skitter to the side so that I’m not hemmed in. “Friends like what?” I ask. I know he’s referring to the tattoos. Pete walks by the end of the aisle and waves at us, and then he winks at me. A grin tugs at my lips. I shrug again. “He’s really very nice.” “Where did you meet him?” I can tell the truth or I can lie. But then I hear Pete one aisle over as he starts to sing the lyrics to Elvis Presley’s “Jailhouse Rock.” I grin. I can’t help it. “He’s helping out at the camp this week,” I say instead of the truth. Well, it’s sort of the truth. “Where’s he from?” Chase asks. “New York City,” I say. Pete’s song changes from Elvis to AC/DC’s “Jailbreak.” I laugh out loud this time. I can’t help it. “Your dad’s all right with you hanging out with him?” My dad is covered in tattoos, too, but most of his are hidden by his clothing. “He likes Pete,” I say. “I do, too.” Chase puts one arm on the shelf behind me and leans toward my body. I dodge him again, and he looks crossly at me. “Don’t box me in,” I warn. He holds up both hands like he’s surrendering to the cops. But he still looks curious. “So, about tomorrow,” he says. “I can’t,” I blurt out. I think I hear a quickly hissed, “Yes!” from the other side of the aisle, but I can’t be sure. Chase touches my elbow, and it makes my skin crawl. I pull my elbow back. “Don’t touch me,” I say. Suddenly, Pete’s striding down the aisle toward us. His expression is thunderous, and I step in front of him so that he has to run into me instead of pummeling Chase like I’m guessing he wants to do. I lay a hand on his chest. “You ready to go?” I ask. He looks down at me, his eyes asking if I’m all right. His hand lands on my waist and slides around my back, pulling me flush against him. He’s testing me. And I don’t want to fight him. I admit it. Chase makes my skin crawl, and Pete makes my skin tingle. It’s not an altogether pleasant sensation, but only because I can’t control it. He holds me close, one hand on the center of my back, and the other full of breath mints and assorted sundries. He steps toward Chase, and Pete and I are so close together that I have to step backward when he steps forward. I repeat my question. “You get everything?” He finally looks down at me. “I got everything I need,” he says. His tone is polite but clear and soft as butter.

Remember my heart laid bare at your feet- you kicked it way across the Universe Never thought I'd travel this much, I'm beat Lip-stitched, still smile and wave from the hearse

Walking down the shore, he approached the child. She turned and looked at him as though surprised he was still there. Taking a step forward, the sole of his shoes getting wet, Stuart crouched to be on her level. Helen couldn’t hear what he said, but he gestured once toward her, and the girl looked up at Helen as he talked. He tried to rest a hand on her shoulder, but Lyric cringed away with her whole body, even taking a step away. Stuart retracted his hand, and from the porch, Helen could see the hurt in his eyes. With that, he tilted his head toward the sea, and the girl didn’t hesitate to run back to the shallow waves. When he turned, his gaze caught with Helen’s, but both looked away quickly. Too quickly. Helen felt heat creep up her neck as he walked around the side of the house and away.

for fantasy permeated the popular folk music of the time—the imagery in lyrics by musicians like Mark Bolan, Donovan, and Cat Stevens, and in old British ballads performed by new folk-rock bands like Fairport Convention, Pentangle, and Steel-eye Span. I suspect that I am not the only reader of fantastic fiction who came to it through this musical back door; and here is another example of the endurance of the old stories, adapting themselves to the radio air-waves and the bass line beat of rock and roll.

Do provocative stories tell us what it means to be human? Do spine-tingling stories assist us to comprehend what it takes to make our way in an amorphous world littered with anarchy and despair? Is a collection of stories a cognitive effort to draw out conceptual insight and hand down derived wisdom? Is storytelling a therapeutic modality? Does the structural mechanics of folktales, short stories, and novels serve as a storehouse of useful information, or does their precision gadgetry provide for an interactive interface to wring more awareness out of human experience? How does the amorous meandering of a conscientious voice wending its way through beloved stories help us perform our own romantic shape making? Can reading and writing along with telling our personal stories with lyrical realism actually burn new neural routes through the brain? Can merely sharing bands of thought waves connect the reader to the writer, and connect the speaker to the listener?

For a moment, Stuart and Helen stood silent, just watching Lyric darting in and out of the white-fringed brine. Helen wondered if perhaps the child was smiling, maybe just a tiny bit, but her back was to them and it was difficult to get a glimpse of her face. But this Helen knew—the only times this strange, quiet child seemed to find any shard of peace was when she was close to water. The waves seemed thrilled to see her, and together they reared up like wild horses greeting each other before the waves crashed down on the stony shore with their hooves. When smaller waves came, the girl closed her eyes and slowly let her arms sway from side to side, as though listening to some music that the others could not hear. It made Helen’s ears prick up and strain, but it was lost to her.

The sky was clear and the beat of the waves was almost hypnotic as Helen hung clothes on the line, watching Lyric through the flutters of dresses and blouses. In the child’s outfit of purple, she stood out against the churning waves. Each day, Lyric played in the ocean as if it was her first and last. As though she’d never seen water before, or as though tomorrow it would die and be gone. Its wonder never wore on her and Helen marveled at that, at how many things in this world would leave us utterly astounded if we weren’t so terribly used to them. Fire. Soap. Flavor in food. Though Lyric hadn’t smiled since that first day in the waves, Helen could see the child’s awe whenever she was shown something new. Her eyes would widen, and she’d give a quick gasp. Without a word, the girl had shown Helen how everything was a miracle, everything was sacred.

Lyric To The Isles Charles Sangster Here the spirit of Beauty keepeth Jubilee for evermore; Here the voice of Gladness leapeth, Echoing from shore to shore. O'er the hidden watery valley, O'er each buried wood and glade, Dances our delighted galley, Through the sunlight and the shade; Dances o'er the granite cells, Where the soul of Beauty dwells; Here the flowers are ever springing, While the summer breezes blow; Here the Hours are ever clinging, Loitering before they go; Playing round each beauteous islet, Loath to leave the sunny shore, Where, upon her couch of violet, Beauty sits for evermore; Sits and smiles by day and night, Hand in hand with pure Delight. Here the spirit of Beauty dwelleth In each palpitating tree, In each amber wave that welleth From its home beneath the sea; In the moss upon the granite In each calm, secluded bay, With the zephyr trains that fan it With their sweet breaths all the day– On the waters, on the shore, Beauty dwelleth evermore!

Lyric To The Isles Here the spirit of Beauty keepeth Jubilee for evermore; Here the voice of Gladness leapeth, Echoing from shore to shore. O'er the hidden watery valley, O'er each buried wood and glade, Dances our delighted galley, Through the sunlight and the shade; Dances o'er the granite cells, Where the soul of Beauty dwells; Here the flowers are ever springing, While the summer breezes blow; Here the Hours are ever clinging, Loitering before they go; Playing round each beauteous islet, Loath to leave the sunny shore, Where, upon her couch of violet, Beauty sits for evermore; Sits and smiles by day and night, Hand in hand with pure Delight. Here the spirit of Beauty dwelleth In each palpitating tree, In each amber wave that welleth From its home beneath the sea; In the moss upon the granite In each calm, secluded bay, With the zephyr trains that fan it With their sweet breaths all the day– On the waters, on the shore, Beauty dwelleth evermore!