We Draw Tree Quotes

I can draw a seedling with two tiny branches. Yours and mine. We’ll be on our own brand-new, tiny family tree—one that starts with us.

It is not our job to remain whole. We came to lose our leaves Like the trees, and be born again, Drawing up from the great roots.

Having a Coke with You is even more fun than going to San Sebastian, Irún, Hendaye, Biarritz, Bayonne or being sick to my stomach on the Travesera de Gracia in Barcelona partly because in your orange shirt you look like a better happier St. Sebastian partly because of my love for you, partly because of your love for yoghurt partly because of the fluorescent orange tulips around the birches partly because of the secrecy our smiles take on before people and statuary it is hard to believe when I’m with you that there can be anything as still as solemn as unpleasantly definitive as statuary when right in front of it in the warm New York 4 o’clock light we are drifting back and forth between each other like a tree breathing through its spectacles and the portrait show seems to have no faces in it at all, just paint you suddenly wonder why in the world anyone ever did them I look at you and I would rather look at you than all the portraits in the world except possibly for the Polish Rider occasionally and anyway it’s in the Frick which thank heavens you haven’t gone to yet so we can go together the first time and the fact that you move so beautifully more or less takes care of Futurism just as at home I never think of the Nude Descending a Staircase or at a rehearsal a single drawing of Leonardo or Michelangelo that used to wow me and what good does all the research of the Impressionists do them when they never got the right person to stand near the tree when the sun sank or for that matter Marino Marini when he didn’t pick the rider as carefully as the horse it seems they were all cheated of some marvelous experience which is not going to go wasted on me which is why I am telling you about it

The best teachers have showed me that things have to be done bit by bit. Nothing that means anything happens quickly--we only think it does. The motion of drawing back a bow and sending an arrow straight into a target takes only a split second, but it is a skill many years in the making. So it is with a life, anyone's life. I may list things that might be described as my accomplishments in these few pages, but they are only shadows of the larger truth, fragments separated from the whole cycle of becoming. And if I can tell an old-time story now about a man who is walking about, waudjoset ndatlokugan, a forest lodge man, alesakamigwi udlagwedewugan, it is because I spent many years walking about myself, listening to voices that came not just from the people but from animals and trees and stones.

I told you in the course of this paper that Shakespeare had a sister; but do not look for her in Sir Sidney Lee’s life of the poet. She died young—alas, she never wrote a word. She lies buried where the omnibuses now stop, opposite the Elephant and Castle. Now my belief is that this poet who never wrote a word and was buried at the cross–roads still lives. She lives in you and in me, and in many other women who are not here to–night, for they are washing up the dishes and putting the children to bed. But she lives; for great poets do not die; they are continuing presences; they need only the opportunity to walk among us in the flesh. This opportunity, as I think, it is now coming within your power to give her. For my belief is that if we live another century or so—I am talking of the common life which is the real life and not of the little separate lives which we live as individuals—and have five hundred a year each of us and rooms of our own; if we have the habit of freedom and the courage to write exactly what we think; if we escape a little from the common sitting–room and see human beings not always in their relation to each other but in relation to reality; and the sky. too, and the trees or whatever it may be in themselves; if we look past Milton’s bogey, for no human being should shut out the view; if we face the fact, for it is a fact, that there is no arm to cling to, but that we go alone and that our relation is to the world of reality and not only to the world of men and women, then the opportunity will come and the dead poet who was Shakespeare’s sister will put on the body which she has so often laid down. Drawing her life from the lives of the unknown who were her forerunners, as her brother did before her, she will be born. As for her coming without that preparation, without that effort on our part, without that determination that when she is born again she shall find it possible to live and write her poetry, that we cannot expect, for that would he impossible. But I maintain that she would come if we worked for her, and that so to work, even in poverty and obscurity, is worth while.

Every morning the maple leaves. Every morning another chapter where the hero shifts from one foot to the other. Every morning the same big and little words all spelling out desire, all spelling out You will be alone always and then you will die. So maybe I wanted to give you something more than a catalog of non-definitive acts, something other than the desperation. Dear So-and-So, I’m sorry I couldn’t come to your party. Dear So-and-So, I’m sorry I came to your party and seduced you and left you bruised and ruined, you poor sad thing. You want a better story. Who wouldn’t? A forest, then. Beautiful trees. And a lady singing. Love on the water, love underwater, love, love and so on. What a sweet lady. Sing lady, sing! Of course, she wakes the dragon. Love always wakes the dragon and suddenly flames everywhere. I can tell already you think I’m the dragon, that would be so like me, but I’m not. I’m not the dragon. I’m not the princess either. Who am I? I’m just a writer. I write things down. I walk through your dreams and invent the future. Sure, I sink the boat of love, but that comes later. And yes, I swallow glass, but that comes later. Let me do it right for once, for the record, let me make a thing of cream and stars that becomes, you know the story, simply heaven. Inside your head you hear a phone ringing and when you open your eyes only a clearing with deer in it. Hello deer. Inside your head the sound of glass, a car crash sound as the trucks roll over and explode in slow motion. Hello darling, sorry about that. Sorry about the bony elbows, sorry we lived here, sorry about the scene at the bottom of the stairwell and how I ruined everything by saying it out loud. Especially that, but I should have known. Inside your head you hear a phone ringing, and when you open your eyes you’re washing up in a stranger’s bathroom, standing by the window in a yellow towel, only twenty minutes away from the dirtiest thing you know. All the rooms of the castle except this one, says someone, and suddenly darkness, suddenly only darkness. In the living room, in the broken yard, in the back of the car as the lights go by. In the airport bathroom’s gurgle and flush, bathed in a pharmacy of unnatural light, my hands looking weird, my face weird, my feet too far away. I arrived in the city and you met me at the station, smiling in a way that made me frightened. Down the alley, around the arcade, up the stairs of the building to the little room with the broken faucets, your drawings, all your things, I looked out the window and said This doesn’t look that much different from home, because it didn’t, but then I noticed the black sky and all those lights. We were inside the train car when I started to cry. You were crying too, smiling and crying in a way that made me even more hysterical. You said I could have anything I wanted, but I just couldn’t say it out loud. Actually, you said Love, for you, is larger than the usual romantic love. It’s like a religion. It’s terrifying. No one will ever want to sleep with you. Okay, if you’re so great, you do it— here’s the pencil, make it work … If the window is on your right, you are in your own bed. If the window is over your heart, and it is painted shut, then we are breathing river water. Dear Forgiveness, you know that recently we have had our difficulties and there are many things I want to ask you. I tried that one time, high school, second lunch, and then again, years later, in the chlorinated pool. I am still talking to you about help. I still do not have these luxuries. I have told you where I’m coming from, so put it together. I want more applesauce. I want more seats reserved for heroes. Dear Forgiveness, I saved a plate for you. Quit milling around the yard and come inside.

Tragedy was foresworn, in ritual denial of the ripe knowledge that we are drawing away from one another, that we share only one thing, share the fear of belonging to another, or to others, or to God; love or money, tender equated in advertising and the world, where only money is currency, and under dead trees and brittle ornaments prehensile hands exchange forgeries of what the heart dare not surrender.

We did not come to remain whole. We came to lose our leaves like the trees, Trees that start again, Drawing up from the great roots.

A tree has roots in the soil yet reaches to the sky. It tells us that in order to aspire we need to be grounded and that no matter how high we go it is from our roots that we draw sustenance. It is a reminder to all of us who have had success that we cannot forget where we came from. It signifies that no matter how powerful we become in government or how many awards we receive, our power and strength and our ability to reach our goals depend on the people, those whose work remain unseen, who are the soil out of which we grow, the shoulders on which we stand

She's never asked for a drawing before. I'm horrible at giving them away. 'For the sun, stars, oceans, and all the trees, I'll consider it,' I say, knowing she'll never agree. She knows how badly I want the sun and trees. We've been dividing up the world since we were five. I'm kicking butt at the moment - universe domination is within my grasp for the first time. 'Are you kidding?' she says, standing up straight. It annoys me how tall she's getting. It's like she's being stretched at night. 'That leaves me just the flowers, Noah.' Fine, I think. She'll never do it. It's settled, but it isn't. She reaches over and props up the pad, gazing at the portrait like she's expecting the English guy to speak to her. 'Okay,' she says. 'Trees, stars, oceans. Fine.' 'And the sun, Jude.' 'Oh, all right," she says, totally surprising me. 'I'll give you the sun.

Having a Coke with You is even more fun than going to San Sebastian, Irún, Hendaye, Biarritz, Bayonne or being sick to my stomach on the Travesera de Gracia in Barcelona partly because in your orange shirt you look like a better happier St. Sebastian partly because of my love for you, partly because of your love for yoghurt partly because of the fluorescent orange tulips around the birches partly because of the secrecy our smiles take on before people and statuary it is hard to believe when I’m with you that there can be anything as still as solemn as unpleasantly definitive as statuary when right in front of it in the warm New York 4 o’clock light we are drifting back and forth between each other like a tree breathing through its spectacles and the portrait show seems to have no faces in it at all, just paint you suddenly wonder why in the world anyone ever did them I look at you and I would rather look at you than all the portraits in the world except possibly for the Polish Rider occasionally and anyway it’s in the Frick which thank heavens you haven’t gone to yet so we can go together the first time and the fact that you move so beautifully more or less takes care of Futurism just as at home I never think of the Nude Descending a Staircase or at a rehearsal a single drawing of Leonardo or Michelangelo that used to wow me and what good does all the research of the Impressionists do them when they never got the right person to stand near the tree when the sun sank or for that matter Marino Marini when he didn’t pick the rider as carefully as the horse it seems they were all cheated of some marvelous experience which is not going to go wasted on me which is why I am telling you about it.

To the eyes of the American soldiers who drove past, I looked no different from the women around me; and as I thought of it, who could say I was any different? If you no longer have leaves, or bark, or roots, can you go on calling yourself a tree? "I am a peasant," I said to myself, "and not a geisha at all any longer." It was a frightening feeling to look at my hands and see their roughness. To draw my mind away from my fears, I turned my attention again to the truckloads of soldiers driving past. Weren't these the very American soldiers we'd been taught to hate, who had bombed our cities with such horrifying weapons? Now they rode through our neighborhood, throwing pieces of candy to the children.

He says, "I'll find out if they's trees in hell" And he rode away, and that was all...we ever seen...of Paul.

I closed what little distance was left between us, one hand sliding through his soft hair, the other gathering the back of his shirt into my fist. When my lips finally pressed against his, I felt something coil deep inside of me. There was nothing outside of him, not even the grating of cicadas, not even the gray-bodied trees. My heart thundered in my chest. More, more, more—a steady beat. His body relaxed under my hands, shuddering at my touch. Breathing him in wasn’t enough, I wanted to inhale him. The leather, the smoke, the sweetness. I felt his fingers counting up my bare ribs. Liam shifted his legs around mine to draw me closer. I was off-balance on my toes; the world swaying dangerously under me as his lips traveled to my cheek, to my jaw, to where my pulse throbbed in my neck. He seemed so sure of himself, like he had already plotted out this course. I didn’t feel it happen, the slip. Even if I had, I was so wrapped up in him that I couldn’t imagine pulling back or letting go of his warm skin or that moment. His touch was feather-light, stroking my skin with a kind of reverence, but the instant his lips found mine again, a single thought was enough to rocket me out of the honey-sweet haze. The memory of Clancy’s face as he had leaned in to do exactly what Liam was doing now suddenly flooded my mind, twisting its way through me until I couldn’t ignore it. Until I was seeing it play out glossy and burning like it was someone else’s memory and not mine. And then I realized—I wasn’t the only one seeing it. Liam was seeing it, too. How, how, how? That wasn’t possible, was it? Memories flowed to me, not from me. But I felt him grow still, then pull back. And I knew, I knew by the look on his face, that he had seen it. Air filled my chest. “Oh my God, I’m sorry, I didn’t want—he—” Liam caught one of my wrists and pulled me back to him, his hands cupping my cheeks. I wondered which one of us was breathing harder as he brushed my hair from my face. I tried to squirm away, ashamed of what he’d seen, and afraid of what he’d think of me. When Liam spoke, it was in a measured, would-be-calm voice. “What did he do?” “Nothing—” “Don’t lie,” he begged. “Please don’t lie to me. I felt it…my whole body. God, it was like being turned to stone. You were scared—I felt it, you were scared!” His fingers came up and wove through my hair, bringing my face close to his again. “He…” I started. “He asked to see a memory, and I let him, but when I tried to move away…I couldn’t get out, I couldn’t move, and then I blacked out. I don’t know what he did, but it hurt—it hurt so much.” Liam pulled back and pressed his lips to my forehead. I felt the muscles in his arms strain, shake. “Go to the cabin.” He didn’t let me protest. “Start packing.” “Lee—” “I’m going to find Chubs,” he said. “And the three of us are getting the hell out of here. Tonight.” “We can’t,” I said. “You know we can’t.” But he was already crashing back through the dark path. “Lee!

In vain do we extend our view into the heavens, and pry into the entrails of the earth, in vain do we consult the writings of learned men, and trace the dark footsteps of antiquity; we need only draw the curtain of words, to behold the fairest tree of knowledge, whose fruit is excellent, and within the reach of our hand.

Because I can see people’s souls sometimes when I draw them, I know the following: Mom has a massive sunflower for a soul so big there’s hardly any room in her for organs. Jude and me have one soul between us that we have to share: a tree with its leaves on fire. And Dad has a plate of maggots for his.

And what is this wild summons? What art is asked of us? The gift offered is different for each but all are equal in grandeur. To paint, draw, dance, compose. To write songs, poems, letters, diaries, prayers. To set a violet on the sill, stitch a quilt,; bake bread; plant marigolds, beans, apple trees. To follow the track of the forest elk, the neighborhood coyote, the cupboard mouse. To open the windows, air beds, sweep clean the corners. To hold the child’s hand, listen to the vagrant’s story, paint the elder friend's fingernails a delightful shade of pink while wrapped in a blanket she knit with deft young fingers of her past. To wander paths, nibble purslane, notice spiders. To be rained upon. To listen with changed ears and sing back what we hear.

I don't know. I guess the cards we draw are those we get. You wouldn't like to re-deal would you, dealer? No. They only deal to you once and then you pick them up and play them. I can play them, if I draw any damn thing at all...

The longer you’re gone, the less I’ll need food. I’ll grow into this tree right here.” He pressed his head back into it. “And I’ll become tree, and tree will become me. When you come back you’ll see just the outline of my face and body in the bark. And then you can live here at the foot of this tree, and sleep under my branches.” He reached out and grasped her by her folded arms, drawing her toward him. “And when you dream, we’ll be together.” And he kissed her. Oddly,

Instead of consoling us, my mother spoke sternly. 'Pull yourselves together. Surely I've brought you up better than this? we come into the world alone, and we leave it alone. And in between, too, if it is destined, we'll be alone. Draw on your inner strength. Remember, you can be your own worst enemy - or your best friend. It's up to you. And also this: what you can't change, you must endure.' I knew it was mostly to me that she'd spoken. 'Endure'. A word solid as a tree trunk. A good word upon which to build a life, I thought. I would learn it, and it would help me through dark times.

We are not living in a world where all roads are radii of a circle and where all, if followed long enough, will therefore draw gradually nearer and finally meet at the centre: rather in a world where every road, after a few miles,forks into two, and each of those into two again, and at each fork you must make a decision. Even on the biological level life is not like a river but like a tree. It does not move towards unity but away from it and the creatures grow further apart as they increase in perfection. Good, as it ripens, becomes continually more different not only from evil but from other good.

What was he doing during the trip? What was he thinking about? As he had during the morning, he watched the trees go by, the thatched roofs, the cultivated fields, and the dissolving views of the countryside that change at every turn of the road. Scenes like that are sometimes enough for the soul, and almost eliminate the need for thought. To see a thousand objects for the first and last time, what could be more profoundly melancholy? Traveling is a constant birth and death. It may be that in the murkiest part of his mind, he was drawing a comparison between these changing horizons and human existence. All aspects of life are in perpetual flight before us. Darkness and light alternate: after a flash, an eclipse; we look, we hurry, we stretch out our hands to seize what is passing; every event is a turn in the road; and suddenly we are old. We feel a slight shock, everything is black, we can make out a dark door, the gloomy horse of life that was carrying us stops, and we see a veiled and unknown form that turns him out into the darkness. (pg. 248)

Apples are kissing other apples. Gray cats are kissing other gray cats. Trees are kissing trees. You and I are not kissing. We work in an office together. We are both married to other people. It is okay because we only have ideas, you and I, about whether we should kiss or not. These ideas are both good and bad, probably. At work, we do not say these words aloud but make elaborate diagrams for one another. You write these words: Kissing you would be like this, and draw a picture of two butterflies being struck by lightning. I stare at it and wonder if you may be right. I do my own drawing and write, Kissing you would be like this, and sketch a picture of a man made of ice kissing a woman who is actually a stove. We have made hundreds of these drawings. We do not actually do any work.

The land we grow up on patterns us, we become a part of the energetic mosaic of the living experience that draws its life from the land and draws its breath from the trees.

We believe that ghosts draw electromagnetic energy from the plant life, trees, and bushes and that this energy is one of the reasons they often project a brilliant light. Indoors, ghosts draw on human sources for their energy and their glow.

Ruby?” His hair was pale silver in this light, curled and tangled in its usual way. I couldn’t hide from him. I had never been able to. “Mike came and got me,” he said, taking a careful step toward me. His hands were out in front of him, as if trying to coax a wild animal into letting him approach. “What are you doing out here? What’s going on?” “Please just go,” I begged. “I need to be alone.” He kept coming straight at me. “Please,” I shouted, “go away!” “I’m not going anywhere until you tell me what’s going on!” Liam said. He got a better look at me and swallowed, his Adam’s apple bobbing. “Where were you this morning? Did something happen? Chubs told me you’ve been gone all day, and now you’re out here like…this…did he do something to you?” I looked away. “Nothing I didn’t ask for.” Liam’s only response was to move back a few paces back. Giving me space. “I don’t believe you for a second,” he said, calmly. “Not one damn second. If you want to get rid of me, you’re going to have to try harder than that.” “I don’t want you here.” He shook his head. “Doesn’t mean I’m leaving you here alone. You can take all the time you want, as long as you need, but you and me? We’re having this out tonight. Right now.” Liam pulled his black sweater over his head and threw it toward me. “Put it on, or you’ll catch a cold.” I caught it with one hand and pressed it to my chest. It was still warm. He began to pace, his hands on his hips. “Is it me? Is it that you can’t talk to me about it? Do you want me to get Chubs?” I couldn’t bring myself to answer. “Ruby, you’re scaring the hell out of me.” “Good.” I balled up his sweater and threw it into the darkness as hard as I could. He blew out a shaky sigh, bracing a hand against the nearest tree. “Good? What’s good about it?” I hadn’t really understood what Clancy had been trying to tell me that night, not until right then, when Liam looked up and his eyes met mine. The trickle of blood in my ears turned into a roar. I squeezed my eyes shut, digging the heels of my palms against my forehead. “I can’t do this anymore,” I cried. “Why won’t you just leave me alone?” “Because you would never leave me.” His feet shuffled through the underbrush as he took a few steps closer. The air around me heated, taking on a charge I recognized. I gritted my teeth, furious with him for coming so close when he knew I couldn’t handle it. When he knew I could hurt him. His hands came up to pull mine away from my face, but I wasn’t about to let him be gentle. I shoved him back, throwing my full weight into it. Liam stumbled. “Ruby—” I pushed him again and again, harder each time, because it was the only way I could tell him what I was desperate to say. I saw bursts of his glossy memories. I saw all of his brilliant dreams. It wasn’t until I knocked his back into a tree that I realized I was crying. Up this close, I saw a new cut under his left eye and the bruise forming around it. Liam’s lips parted. His hands were no longer out in front of him, but hovering over my hips. “Ruby…” I closed what little distance was left between us, one hand sliding through his soft hair, the other gathering the back of his shirt into my fist. When my lips finally pressed against his, I felt something coil deep inside of me. There was nothing outside of him, not even the grating of cicadas, not even the gray-bodied trees. My heart thundered in my chest. More, more, more—a steady beat. His body relaxed under my hands, shuddering at my touch. Breathing him in wasn’t enough, I wanted to inhale him. The leather, the smoke, the sweetness. I felt his fingers counting up my bare ribs. Liam shifted his legs around mine to draw me closer. I was off-balance on my toes; the world swaying dangerously under me as his lips traveled to my cheek, to my jaw, to where my pulse throbbed in my neck. He seemed so sure of himself, like he had already plotted out this course.

For a six-year-old, she’s got some talent, and this drawing is among her better ones, in a way. The six figures actually resemble us—Patrick, Steven, the twins, me, and Sonia. We’re all standing in our garden, holding hands under a tree that’s blooming with white stars. She’s got the twins in matching outfits and she’s drawn something that looks more like a suitcase than a briefcase in Patrick’s free hand. Steven wears his new pin; my hair is pulled back into a ponytail. Around my wrist and Sonia’s are bracelets: red for her and black for me. We’re all smiling under a sun she’s decorated with orange hearts. “Beautiful,” I say, taking the drawing. But I don’t think it’s beautiful. I think it’s the ugliest fucking thing I’ve ever seen.

Oh yes, you can make the most marvelous drawings and you are nowhere at all. Particularly artists. Anybody can make drawings, even little children, and it means precious little. You see, the drawing must be an expression of a fact, of a psychological experience, and you must know that it is such an expression, you must be conscious of it. Otherwise you might just as well be a fish in the water or a tree in the woods. For every plant makes marvelous mandalas. A composite flower is a mandala, it is an image of the sun, but the flower does not know it. The human eye is a mandala, but we are not conscious of it. So it requires long and painstaking work in analysis to get people to the point where they become conscious of the impersonal [non-ego] character of the [or their] problem.

The trees reminded me of unity, all lined up peacefully. I thought about who we all are as people, how we come together in moments we need hope. I thought about how we draw inspiration from each other, how we long to be in love with another. I wondered how many of us have someone else to rely on, what happens when we don’t. The nightmares that play over and over again when the days seem like they are running out of hope. And I wanted to stretch my arms out wide, welcome the hopes and dreams of others, nurture them, support them, remind you that things keep moving no matter how strange and difficult the world seems. The trees will continue to line the roads; the sun will shine through the clouds; and despite a very real feeling of doubt, just know that of you, I’ll always be proud.

Tyson emails back: “I’m going to tell you the same thing that I told Henry Louis Gates” (Gates had asked Tyson to appear on his show Finding Your Roots): My philosophy of root-finding may be unorthodox. I just don’t care. And that’s not a passive, but active absence of caring. In the tree of life, any two people in the world share a common ancestor—depending only on how far back you look. So the line we draw to establish family and heritage is entirely arbitrary. When I wonder what I am capable of achieving, I don’t look to family lineage, I look to all human beings. That’s the genetic relationship that matters to me. The genius of Isaac Newton, the courage of Gandhi and MLK, the bravery of Joan of Arc, the athletic feats of Michael Jordan, the oratorical skills of Sir Winston Churchill, the compassion of Mother Teresa. I look to the entire human race for inspiration for what I can be—because I am human. Couldn’t care less if I were a descendant of kings or paupers, saints or sinners, the valorous or cowardly. My life is what I make of it.

BOWLS OF FOOD Moon and evening star do their slow tambourine dance to praise this universe. The purpose of every gathering is discovered: to recognize beauty and love what’s beautiful. “Once it was like that, now it’s like this,” the saying goes around town, and serious consequences too. Men and women turn their faces to the wall in grief. They lose appetite. Then they start eating the fire of pleasure, as camels chew pungent grass for the sake of their souls. Winter blocks the road. Flowers are taken prisoner underground. Then green justice tenders a spear. Go outside to the orchard. These visitors came a long way, past all the houses of the zodiac, learning Something new at each stop. And they’re here for such a short time, sitting at these tables set on the prow of the wind. Bowls of food are brought out as answers, but still no one knows the answer. Food for the soul stays secret. Body food gets put out in the open like us. Those who work at a bakery don’t know the taste of bread like the hungry beggars do. Because the beloved wants to know, unseen things become manifest. Hiding is the hidden purpose of creation: bury your seed and wait. After you die, All the thoughts you had will throng around like children. The heart is the secret inside the secret. Call the secret language, and never be sure what you conceal. It’s unsure people who get the blessing. Climbing cypress, opening rose, Nightingale song, fruit, these are inside the chill November wind. They are its secret. We climb and fall so often. Plants have an inner Being, and separate ways of talking and feeling. An ear of corn bends in thought. Tulip, so embarrassed. Pink rose deciding to open a competing store. A bunch of grapes sits with its feet stuck out. Narcissus gossiping about iris. Willow, what do you learn from running water? Humility. Red apple, what has the Friend taught you? To be sour. Peach tree, why so low? To let you reach. Look at the poplar, tall but without fruit or flower. Yes, if I had those, I’d be self-absorbed like you. I gave up self to watch the enlightened ones. Pomegranate questions quince, Why so pale? For the pearl you hid inside me. How did you discover my secret? Your laugh. The core of the seen and unseen universes smiles, but remember, smiles come best from those who weep. Lightning, then the rain-laughter. Dark earth receives that clear and grows a trunk. Melon and cucumber come dragging along on pilgrimage. You have to be to be blessed! Pumpkin begins climbing a rope! Where did he learn that? Grass, thorns, a hundred thousand ants and snakes, everything is looking for food. Don’t you hear the noise? Every herb cures some illness. Camels delight to eat thorns. We prefer the inside of a walnut, not the shell. The inside of an egg, the outside of a date. What about your inside and outside? The same way a branch draws water up many feet, God is pulling your soul along. Wind carries pollen from blossom to ground. Wings and Arabian stallions gallop toward the warmth of spring. They visit; they sing and tell what they think they know: so-and-so will travel to such-and-such. The hoopoe carries a letter to Solomon. The wise stork says lek-lek. Please translate. It’s time to go to the high plain, to leave the winter house. Be your own watchman as birds are. Let the remembering beads encircle you. I make promises to myself and break them. Words are coins: the vein of ore and the mine shaft, what they speak of. Now consider the sun. It’s neither oriental nor occidental. Only the soul knows what love is. This moment in time and space is an eggshell with an embryo crumpled inside, soaked in belief-yolk, under the wing of grace, until it breaks free of mind to become the song of an actual bird, and God.

All great, simple images reveal a psychic state. The house, even more than the landscape, is a "psychic state," and even when reproduced as it appears from the outside, it bespeaks intimacy. Psychologists generally, and Francoise Minkowska in particular, together with those whom she has succeeded interesting in the subject, have studied the drawing of houses made by children, and even used them for testing. Indeed, the house-test has the advantage of welcoming spontaneity, for many children draw a house spontaneously while dreaming over their paper and pencil. To quote Anne Balif: "Asking a child to draw his house is asking him to reveal the deepest dream shelter he has found for his happiness. If he is happy, he will succeed in drawing a snug, protected house which is well built on deeply-rooted foundations." It will have the right shape, and nearly always there will be some indication of its inner strength. In certain drawings, quite obviously, to quote Mme. Balif, "it is warm indoors, and there is a fire burning, such a big fire, in fact, that it can be seen coming out of the chimney." When the house is happy, soft smoke rises in gay rings above the roof. If the child is unhappy, however, the house bears traces of his distress. In this connection, I recall that Francoise Minkowska organized an unusually moving exhibition of drawings by Polish and Jewish children who had suffered the cruelties of the German occupation during the last war. One child, who had been hidden in a closet every time there was an alert, continued to draw narrow, cold, closed houses long after those evil times were over. These are what Mme. Minkowska calls "motionless" houses, houses that have become motionless in their rigidity. "This rigidity and motionlessness are present in the smoke as well as in the window curtains. The surrounding trees are quite straight and give the impression of standing guard over the house". Mme. Minkowska knows that a live house is not really "motionless," that, particularly, it integrates the movements by means of which one accedes to the door. Thus the path that leads to the house is often a climbing one. At times, even, it is inviting. In any case, it always possesses certain kinesthetic features. If we were making a Rorschach test, we should say that the house has "K." Often a simple detail suffices for Mme. Minkowska, a distinguished psychologist, to recognize the way the house functions. In one house, drawn by an eight-year-old child, she notes that there is " a knob on the door; people go in the house, they live there." It is not merely a constructed house, it is also a house that is "lived-in." Quite obviously the door-knob has a functional significance. This is the kinesthetic sign, so frequently forgotten in the drawings of "tense" children. Naturally, too, the door-knob could hardly be drawn in scale with the house, its function taking precedence over any question of size. For it expresses the function of opening, and only a logical mind could object that it is used to close as well as to open the door. In the domain of values, on the other hand, a key closes more often than it opens, whereas the door-knob opens more often than it closes. And the gesture of closing is always sharper, firmer, and briefer than that of opening. It is by weighing such fine points as these that, like Francoise Minkowska, one becomes a psychologist of houses.

Much as the sweeping canopy of the oak draws its vitality and luster from its roots, majesty draws its power from the hidden things that both feed it and inspire it. Therefore, we would be wise to attend to the hidden things as without them majesty might venture into a forest, but it will never grow one.

December 1931 was drawing to a close and Hollywood was aglow with Christmas spirit, undaunted by sizzling sunshine, palm trees, and the dry encircling hills that would never feel the kiss of snow. But the “Know-how” that would transform the Chaplin studio in the frozen Chilkoot Pass could easily achieve a white Christmas. In Wilson’s Rolls-Royce convertible, we drove past Christmas trees heavy with fake snow. An entire estate on Fairfax Avenue had been draped in cotton batting; carolers straight out of Dickens were at its gate, perspiring under mufflers and greatcoats. The street signs on Hollywood Boulevard had been changed to Santa Claus Lane. They drooped with heavy glass icicles. A parade was led by a band blaring out “Santa Claus is Coming to Town,” followed by Santa driving a sleigh. But Hollywood granted Santa the extra dimension of a Sweetheart and seated beside him was Clara Bow (or was it Mabel Normand?)

The air smelled of paper and dust and years. Jon plucked a scroll from a bin, blew off the worst of the dust. A corner flaked off between his fingers as he unrolled it. “Look, this one is crumbling,” he said, frowning over the faded script. “Be gentle.” Sam came around the table and took the scroll from his hand, holding it as if it were a wounded animal. “The important books used to be copied over when they needed them. Some of the oldest have been copied half a hundred times, probably.” “Well, don’t bother copying that one. Twenty-three barrels of pickled cod, eighteen jars of fish oil, a cask of salt . . .” “An inventory,” Sam said, “or perhaps a bill of sale.” “Who cares how much pickled cod they ate six hundred years ago?” Jon wondered. “I would.” Sam carefully replaced the scroll in the bin from which Jon had plucked it. “You can learn so much from ledgers like that, truly you can. It can tell you how many men were in the Night’s Watch then, how they lived, what they ate . . .” “They ate food,” said Jon, “and they lived as we live.” “You’d be surprised. This vault is a treasure, Jon.” “If you say so.” Jon was doubtful. Treasure meant gold, silver, and jewels, not dust, spiders, and rotting leather. “I do,” the fat boy blurted. He was older than Jon, a man grown by law, but it was hard to think of him as anything but a boy. “I found drawings of the faces in the trees, and a book about the tongue of the children of the forest . . . works that even the Citadel doesn’t have, scrolls from old Valyria, counts of the seasons written by maesters dead a thousand years . . .” “The books will still be here when we return.” “If we return . . .

Secondly, it is the very nature of spiritual life to grow. Wherever they principle of this life is to be found, it can be no different for it must grow. "But the path of the just is as the shining light, that shineth more and more unto the perfect day" (Prov. 4:18); "The righteous also shall hold on his way, and he that hath clean hands shall be stronger and stronger" (Job 17:9). This refers to the children of GOd, who are compared to palm and cedar trees (Psa. 92:12). As natural as it is for children and trees to grow, so natural is growth for the regenerated children of God. Thirdly, the growth of His children is the goal and objective God has in view by administering the means of grace to them. "And He gave some, apostles; and some, prophets; and some, evangelists; and some, pastors and teachers; for the perfecting of the saints...that we henceforth be no more children...but speaking the truth in love, may grow up into Him in all things, which is the Head" (Eph. 4:11-15). This is also to be observed in 1 Peter 2:2: "as newborn babes, desire the sincere milk of the word, that ye may grow thereby, " God will reach His goal and His word will not return to Him void; thus God's children will grow in grace. Fourthly, is is the duty to which God's children are continually exhorted, and their activity is to consist in a striving for growth. That it is their duty is to be observed in the following passages: "But grow in grace, and in the knowledge of our Lord and Saviour Jesus Christ" (2 Peter 3:18); "He that is righteous, let him be righteous still: and he that is holy, let him be holy still" (Rev. 22:11). The nature of this activity is expressed as follows: "Not as though I had already attained, either were already perfect: but I follow after" (Phil. 3:12). If it were not necessary for believers to grow the exhortations to that end would be in vain. Some remain feeble, having but little life and strength. this can be due to a lack of nourishment, living under a barren ministry, or being without guidance. It can also be that they naturally have a slow mind and a lazy disposition; that they have strong corruptions which draw them away; that they are without much are without much strife; that they are too busy from early morning till late evening, due to heavy labor, or to having a family with many children, and thus must struggle or are poverty-stricken. Furthermore, it can be that they either do not have the opportunity to converse with the godly; that they do not avail themselves of such opportunities; or that they are lazy as far as reading in God's Word and prayer are concerned. Such persons are generally subject to many ups and downs. At one time they lift up their heads out of all their troubles, by renewal becoming serious, and they seek God with their whole heart. It does not take long, however , and they are quickly cast down in despondency - or their lusts gain the upper hand. Thus they remain feeble and are, so to speak, continually on the verge of death. Some of them occasionally make good progress, but then grieve the Spirit of God and backslide rapidly. For some this lasts for a season, after which they are restored, but others are as those who suffer from consumption - they languish until they die. Oh what a sad condition this is! (Chapter 89. Spiritual Growth, pg. 140, 142-143)

A search engine often draws our attention to a particular snippet of text, a few words or sentences that have strong relevance to whatever we're searching for at the moment, while providing little incentive for taking in the work as a whole. We don't see the forest when we search the Web. We don't even see the trees. We see twigs and leaves.

But what after all is one night? A short space, especially when the darkness dims so soon, and so soon a bird sings, a cock crows, or a faint green quickens, like a turning leaf, in the hollows of the wave. Night, however, succeeds to night. The winter holds a pack of them in store and deals them equally, evenly, with indefatigable fingers. They lengthen; they darken. Some of them hold aloft clear planets, plates of brightness. The autumn trees, ravaged as they are, take on the flesh of tattered flags kindling in the doom of cool cathedral caves where gold letters on marble pages describe death in battle and how bones bleach and burn far away in Indian sands. The autumn trees gleam in the yellow moonlight, in the light of harvest moons, the light which mellows the energy of labour, and smooths the stubble, and brings the wave lapping blue to the shore. It seemed now as if, touched by human penitence and all its toil, divine goodness had parted the curtain and displayed behind it, single, distinct, the hare erect; the wave falling; the boat rocking; which, did we deserve them, should be ours always. But alas, divine goodness, twitching the cord, draws the curtain; it does not please him; he covers his treasures in a drench of hail, and so breaks them, so confuses them that it seems impossible that their calm should ever return or that we should ever compose from their fragments a perfect whole or read in the littered pieces the clear words of truth. For our penitence deserves a glimpse only; our toil respite only. The nights now are full of wind and destruction; the trees plunge and bend and their leaves fly helter skelter until the lawn is plastered with them and they lie packed in gutters and choke rain pipes and scatter damp paths. Also the sea tosses itself and breaks itself, and should any sleeper fancying that he might find on the beach an answer to his doubts, a sharer of his solitude, throw off his bedclothes and go down by himself to walk on the sand, no image with semblance of serving and divine promptitude comes readily to hand bringing the night to order and making the world reflect the compass of the soul. The hand dwindles in his hand; the voice bellows in his ear. Almost it would appear that it is useless in such confusion to ask the night those questions as to what, and why, and wherefore, which tempt the sleeper from his bed to seek an answer.

The heart of man is not compound of lies, but draws some wisdom from the only Wise, and still recalls Him. Though now long estranged, Man is not wholly lost nor wholly changed. Dis-graced he may be, yet is not de-throned, and keeps the rags of lordship once he owned: Man, Sub-creator, the refracted light through whom is splintered from a single White to many hues, and endlessly combined in living shapes that move from mind to mind. Though all the crannies of the world we filled with Elves and Goblins, though we dared to build Gods and their houses out of dark and light, and sowed the seed of dragons – 'twas our right (used or misused). That right has not decayed: we make still by the law in which we're made.

It seems comfortable to sink down on a sofa in a corner, to look, to listen. Then it happens that two figures standing with their backs against the window appear against the branches of a spreading tree. With a shock of emotion one feels 'There are figures without features robed in beauty'. In the pause that follows while the ripples spread, the girl to whom one should be talking says to herself, 'He is old'. But she is wrong. It is not age; it is that a drop has fallen; another drop. Time has given the arrangement another shake. Out we creep from the arch of the currant leaves, out into a wider world. The true order of things – this is our perpetual illusion – is now apparent. Thus in a moment, in a drawing-room, our life adjusts itself to the majestic march of day across the sky.

I look into the chocolaterie. It looks warm in there, almost intimate. Candles are burning on the tables; the Advent window is lit with a rose glow. It smells of orange and clove from the pomander hanging above the door; of pine from the tree; of the mulled wine that we are serving alongside our spiced hot chocolate; and of fresh gingerbread straight out of the oven. It draws them in- three or four at a time- regulars and strangers and tourists alike. They stop at the window, catch the scent, and in they come, looking a little dazed, perhaps, at the many scents and colors and all their favorites in their little glass boxes- bitter orange cracknel; mendiants du roi; hot chili squares; peach brandy truffle; white chocolate angel; lavender brittle- all whispering inaudibly- Try me. Taste me. Test me.

Christ is all in the entire work of salvation. Let me just take you back to the period before this world was made. There was a time when this great world, the sun, the moon, the stars, and all which now exist throughout the whole of the vast universe, lay in the mind of God, like unborn forests in an acorn cup. There was a time when the Great Creator lived alone, and yet he could foresee that he would make a world, and that men would be born to people it; and in that vast eternity a great scheme was devised, whereby he might save a fallen race. Do you know who devised it? God planned it from first to last. Neither Gabriel nor any of the holy angels had anything to do with it. I question whether they were even told how God might be just, and yet save the transgressors. God was all in the drawing up of the scheme, and Christ was all in carrying it out. There was a dark and doleful night! Jesus was in the garden, sweating great drops of blood, which fell to the ground; nobody then came to bear the load that had been laid upon him. An angel stood there to strengthen him, but not to bear the sentence. The cup was put into his hands, and Jesus said, "Father, must I drink it?" and his Father replied, "If thou dost not drink, sinners cannot be saved"; and he took the cup and drained it to its very dregs. No man helped him. And when he hung upon that accursed tree of Calvary, when his precious hands were pierced, when: "From his head, his hands, his feet, Sorrow and love flowed mingled down," there was nobody to help him. He was "all" in the work of salvation. And, my friends, if any of you shall be saved, it must be by Christ alone. There must be no patchwork; Christ did it all, and will not be helped in the matter. Christ will not allow you, as some say, to do what you can, and leave him to make up the rest. What can you do that is not sinful? Christ has done all for us; the work of redemption is all finished. Christ planned it all, and worked out all; and we, therefore, preach a full salvation through Jesus Christ.

can i have it?" This shocks me. She's never asked for a drawing before. I'm horrible at giving them away. "For the sun, stars, oceans, and all the trees, I'll consider it," | say knowing she'll never agree. She knows how badly I want the sun and the trees. we've been dividing up the world since we were five. |'m kicking butt at the moment - universe domination is within my grasp for the first time. "Are you kidding?" she says, standing up straight. It annoys me how tall she's getting. It's like she's being stretched at night. "That leaves me just the flowers, Noah." Fine, i think. She'll never do it. It's settled, but it isn't. She reaches over and props up the pad, gazing at the portrait like she's expecting the english guy to speak to her. "Okay," she says. "Trees, stars, oceans. Fine." "And the sun, Jude." "Oh, all right," she says, totally surprising me. "I'll give you the sun.

The Beginning Meet me back at the beginning. Where the stars lined up and parted the skies, drawing a line from me to you. Meet me in the space. Where we reached inside the darkness, touched hearts, and found each other. Meet me under the trees. Where we lay, spending countless hours retelling our pasts in grand detail. Meet me under the arch. Where we professed our love and promised for better or for worse. Meet me at worse. Where we chose to ignore the promises and the trees as we navigated the dark void of stars.

I glance around the set—everyone is buzzing like worker bees getting ready for the shot. Cordelia’s getting primped and powdered by a makeup girl, Vanessa is speaking with a few of the cameramen, and the convertible I’m supposed to drive is just sitting there . . . all by its lonesome. And look at that—someone left the keys in the ignition. Stealthily, I sidle up to Sarah. “Have you ever driven in a convertible?” She looks up sharply, like she didn’t see me approach. “Of course I have.” My hands slide into my pockets and I lean back on my heels. “Have you ever been in a convertible driven by a prince?” Her eyes are lighter in the sun, with a hint of gold. They crinkle as she smiles. “No.” I nod. “Perfect. We do this in three.” Now she looks nervous. “Do what?” I spot James across the way, eyes scanning the crowd—far enough away that he’ll never get over here in time. “Three . . .” “I don’t know what you mean.” “Two . . .” “Henry . . .” “One.” “I . . .” “Go, go, go!” “Go where?” she asks, loud enough to draw attention. So I wrap my arm around her waist, lift her off her feet, carry her to the car, and swing her up and into the passenger seat. Then, I jump into the driver’s side. “Shit!” James curses. But then the engine is roaring to life. I back out, knocking over a food service table, and the tires screech as I turn around and drive across the grounds . . . toward the woods. “The road is that way!” Sarah yells, the wind making her long, dark hair dance and swirl. “I know a shortcut. Buckle up.” We fly into the woods, sending a flurry of leaves in our wake. The car bounces and jostles, and I feel Sarah’s hand wrapped around my arm—holding on. It feels good. “Duck.” “What?” I push her head down and crouch at the same time, to avoid getting whipped in the face by the low-branch of a pine tree. After we’re past it, Sarah sits up, owl-eyed, and looks back at the branch and then at me. I smirk. “If you wanted me to push your head down, love, you could’ve just said so.” “You’re insane!” I hit the gas hard, swerving around a stump. “What? You’re the only one who gets to make dirty jokes?” We have a sharp turn coming up ahead. I lay my arm across Sarah’s middle. “Hold on.

Did you ever hear what happened to Oliver Cromwell’s head? It was originally lashed to the roof of Westminster Hall as a potent warning not to mess with the government of the day, but in 1685 a violent storm blew it off its perch and a captain of the guard had it away and hid it up his chimney, where it stayed until he admitted the crime on his death bed. So can you picture the scene? Cromwell died in 1658. 27 years later this geezer nicks his head and shoves it up his chimney. He’s about to croak it, the whole family’s gathered around his death bed, everybody’s in tears and they’re all wondering if he’ll come out with any famous last words. Perhaps, “Farewell, my children, forever. I go to your father,” or maybe, “Let us pass over the river and rest under the shade of the trees,” or even, “Don’t let it end like this, tell them I said something.” Not this fucking joker! No! What does he say? He says, “Here Jackie, the sausages tasted a bit off tonight. Did I ever tell you I nicked Oliver Cromwell’s head and shoved it up the chimney? It’s still there,” and he draws back the veil of his earthly life and succumbs to eternal peace. They all look at each other, “What did he fucking say?” “He said he nicked Oliver Cromwell’s head.” “What do you mean; he nicked Oliver Cromwell’s head?” “That’s what he said, don’t blame me!” “Fuck’s sake!” “Well, do you think we should look?” “Don’t talk bollocks! You honestly want to look up the chimney to see if Oliver Cromwell’s head’s up there?” “I’m just saying …..” Anyway, one of them had a look up the chimney, found the head and by 1710 it was appearing in a freak show under the banner, ‘The Monster’s Head.’ True story

After situating herself on a huge flat-sided rock, Baby Suggs bowed her head and prayed silently. The company watched her from the trees. They knew she was ready when she put her stick down. Then she shouted, 'Let the children come!' and they ran from the trees toward her. 'Let your mothers hear you laugh,' she told them, and the woods rang. The adults looked on and could not help smiling. Then 'Let the grown men come,' she shouted. They stepped out one by one from among the ringing trees. 'Let your wives and your children see you dance,' she told them, and groundlife shuddered under their feet. Finally she called the women to her. 'Cry,' she told them. 'For the living and the dead. Just cry.' And without covering their eyes the women let loose. It started that way: laughing children, dancing men, crying women and then it got mixed up. Women stopped crying and danced; men sat down and cried; children danced, women laughed, children cried until, exhausted and riven, all and each lay about the Clearing damp and gasping for breath. In the silence that followed, Baby Suggs, holy, offered up to them her great big heart. She did not tell them to clean up their lives or to go and sin no more. She did not tell them they were the blessed of the earth, its inheriting meek or its glorybound pure. She told them that the only grace they could have was the grace they could imagine. That if they could not see it, they would not have it. 'Here,' she said, 'in this here place, we flesh; flesh that weeps, laughs; flesh that dances on bare feet in grass. Love it. Love it hard. Yonder they do not love your flesh. They despise it. They don't love your eyes; they'd just as soon pick em out. No more do they love the skin on your back. Yonder they flay it. And O my people they do not love your hands. These they only use, tie, bind, chop off and leave empty. Love your hands! Love them. Raise them up and kiss them. Touch others with them, pat them together, stroke them on your face 'cause they don't love that either. You got to love it, you! And nom they ain't in love with your mouth. Yonder, out there, they will see it broken and break it again. What you say out of it they will not heed. What you scream from it they do not hear. Flesh that needs to be loved. Feet that need to rest and to dance; backs that need support; shoulders that need arms, strong arms I'm telling you. And O my people, out yonder, hear me, they do not love your neck unnoosed and straight. So love your neck; put a hand on it, grace it, stroke it and hold it up. And all your inside parts that they'd just as soon slop for hogs, you got to love them. The dark, dark liver-love it, love it, and the beat and beating heart, love that too. More than eyes or feet. More than lungs that have yet to draw free air. More than your life-holding womb and your life-giving private parts, hear me now, love your heart. For this is the prize.

Celestial Music” I have a friend who still believes in heaven. Not a stupid person, yet with all she knows, she literally talks to god, she thinks someone listens in heaven. On earth, she’s unusually competent. Brave, too, able to face unpleasantness. We found a caterpillar dying in the dirt, greedy ants crawling over it. I’m always moved by weakness, by disaster, always eager to oppose vitality. But timid, also, quick to shut my eyes. Whereas my friend was able to watch, to let events play out according to nature. For my sake, she intervened, brushing a few ants off the torn thing, and set it down across the road. My friend says I shut my eyes to god, that nothing else explains my aversion to reality. She says I’m like the child who buries her head in the pillow so as not to see, the child who tells herself that light causes sadness— My friend is like the mother. Patient, urging me to wake up an adult like herself, a courageous person— In my dreams, my friend reproaches me. We’re walking on the same road, except it’s winter now; she’s telling me that when you love the world you hear celestial music: look up, she says. When I look up, nothing. Only clouds, snow, a white business in the trees like brides leaping to a great height— Then I’m afraid for her; I see her caught in a net deliberately cast over the earth— In reality, we sit by the side of the road, watching the sun set; from time to time, the silence pierced by a birdcall. It’s this moment we’re both trying to explain, the fact that we’re at ease with death, with solitude. My friend draws a circle in the dirt; inside, the caterpillar doesn’t move. She’s always trying to make something whole, something beautiful, an image capable of life apart from her. We’re very quiet. It’s peaceful sitting here, not speaking, the composition fixed, the road turning suddenly dark, the air going cool, here and there the rocks shining and glittering— it’s this stillness that we both love. The love of form is a love of endings.

That fact that motherhood overwhelms us is not a sign of weakness but an indicator of importance. It distinguishes mothering as one of the few endeavors in our lifetime worthy of such an enormous and all-encompassing investment. We are similarly overwhelmed by such things as love, beauty, justice, and the pursuit of a meaningful existence. When we honor the immensity of motherhood as we do other powerful gifts—instead of resisting or trying to tame it—it changes us. Like native trees on a tropical coastline, we have the potential to grow stronger with every storm, thrive when we grow in groups, dance with the wind and waves, and draw our strength from a well deep within.

In real life, a group of boys actually were shipwrecked on a remote Polynesian island in 1965, as Rutger Bregman described in his book Humankind. What happened in this true story? The kids hollowed out tree trunks to catch rain water. They worked in pairs, drawing up a schedule of chores to ensure that gardening, cooking, and guard duty all got taken care of. They started a fire and kept it going for 15 months, until they were rescued. How did they manage such remarkable cooperation? Whenever they got into conflicts, they had a ritual. Each boy would go to opposite ends of the island to calm down. They created time and space, in other words. Then, after about four hours apart, they’d come back together and apologize.

Friendship is not merely devoid of virtue, like conversation, it is fatal to us as well. For the sense of boredom which those of us whose law of development is purely internal cannot help but feel in a friend’s company (when, that is to say, we must remain on the surface of ourselves, instead of pursuing our voyage of discovery into the depths)—that first impression of boredom our friendship impels us to correct when we are alone again, to recall with emotion the words which our friend said to us, to look upon them as a valuable addition to our substance, when the fact is that we are not like buildings to which stones can be added from without, but like trees which draw from their own sap the next knot that will appear on their trunks, the spreading roof of their foliage.

In camp, too, a man might draw the attention of a comrade working next to him to a nice view of the setting sun shining through the tall trees of the Bavarian woods (as in the famous water color by Dürer), the same woods in which we had built an enormous, hidden munitions plant. One evening, when we were already resting on the floor of our hut, dead tired, soup bowls in hand, a fellow prisoner rushed in and asked us to run out to the assembly grounds and see the wonderful sunset. Standing outside we saw sinister clouds glowing in the west and the whole sky alive with clouds of ever-changing shapes and colors, from steel blue to blood red. The desolate grey mud huts provided a sharp contrast, while the puddles on the muddy ground reflected the glowing sky. Then, after minutes of moving silence, one prisoner said to another, “How beautiful the world could be!

Necessities 1 A map of the world. Not the one in the atlas, but the one in our heads, the one we keep coloring in. With the blue thread of the river by which we grew up. The green smear of the woods we first made love in. The yellow city we thought was our future. The red highways not traveled, the green ones with their missed exits, the black side roads which took us where we had not meant to go. The high peaks, recorded by relatives, though we prefer certain unmarked elevations, the private alps no one knows we have climbed. The careful boundaries we draw and erase. And always, around the edges, the opaque wash of blue, concealing the drop-off they have stepped into before us, singly, mapless, not looking back. 2 The illusion of progress. Imagine our lives without it: tape measures rolled back, yardsticks chopped off. Wheels turning but going nowhere. Paintings flat, with no vanishing point. The plots of all novels circular; page numbers reversing themselves past the middle. The mountaintop no longer a goal, merely the point between ascent and descent. All streets looping back on themselves; life as a beckoning road an absurd idea. Our children refusing to grow out of their childhoods; the years refusing to drag themselves toward the new century. And hope, the puppy that bounds ahead, no longer a household animal. 3 Answers to questions, an endless supply. New ones that startle, old ones that reassure us. All of them wrong perhaps, but for the moment solutions, like kisses or surgery. Rising inflections countered by level voices, words beginning with w hushed by declarative sentences. The small, bold sphere of the period chasing after the hook, the doubter that walks on water and treads air and refuses to go away. 4 Evidence that we matter. The crash of the plane which, at the last moment, we did not take. The involuntary turn of the head, which caused the bullet to miss us. The obscene caller who wakes us at midnight to the smell of gas. The moon's full blessing when we fell in love, its black mood when it was all over. Confirm us, we say to the world, with your weather, your gifts, your warnings, your ringing telephones, your long, bleak silences. 5 Even now, the old things first things, which taught us language. Things of day and of night. Irrational lightning, fickle clouds, the incorruptible moon. Fire as revolution, grass as the heir to all revolutions. Snow as the alphabet of the dead, subtle, undeciphered. The river as what we wish it to be. Trees in their humanness, animals in their otherness. Summits. Chasms. Clearings. And stars, which gave us the word distance, so we could name our deepest sadness.

Although his intimacy with Stephen Maturin did not allow him to ask questions that might be judged impertinent, it was of such a rare kind that he could ask for money without the least hesitation. "Have you any money, Stephen?" he said, the Marine having vanished in the trees. "How I hope you have. I shall have to borrow the Marine's guinea from you, and a great deal more besides, if his message is what I dearly trust. My half-pay is not due until the month after next, and we are living on credit." "Money, is it?" said Stephen, who had been thinking about lemurs. There were lemurs in Madagascar: might there not be lemurs on Reunion? Lemurs concealed among the forests and the mountains of the interior? "Money? Oh, yes, I have money galore." He felt in his pockets. "The question is, where is it?" He felt again, patted his bosom, and brought out a couple of greasy two pound notes on a country bank. "That is not it," he muttered, going through his pockets again. "Yet I was sure--was it in my other coat? did I perhaps leave it in London?--you are growing old, Maturin--ah, you dog, there you are!" he cried triumphantly, returning to the first pocket and drawing forth a neat roll, tied with tape. "There. I had confused it with my lancet-case. It was Mrs Broad of the Grapes that did it up, finding it in a Bank of England wrapper that I had--that I had neglected. A most ingenious way of carrying money, calculated to deceive the pick-pocket. I hope it will suffice." "How much is it?" asked Jack. "Sixty or seventy pound, I dare say." "But, Stephen, the top note is a fifty, and so is the next. I do not believe you ever counted them." "Well, never mind, never mind," said Stephen testily. "I meant a hundred and sixty. Indeed, I said as much, only you did not attend.

You can’t be in here.” Ian stated it as a fact. Sam sank back onto the bed. He was definitely growing stronger, but standing could be troublesome on shaky legs. The pain of his wound had definitely receded. “Why not?” he asked a little belligerently. “She can’t; it’s impossible. I was standing guard at her door.” Ian’s gaze met Azami’s. “To protect you of course.” “Of course, because there are so many enemies creeping around your halls,” Azami said, her voice soft and pleasant, a musical quality lending innocence and sweetness. Ian’s frown deepened as if he was puzzled. She certainly couldn’t have meant that the way it came out, anyone listening would be certain of it. “Just what are you two doing in here anyway?” he asked, suspicion lending his tone a dark melodrama. He even wiggled his eyebrows like a villain. Sam kept a straight face with difficulty. Ian was a large man with red hair and freckles. He didn’t look in the least bit mean or threatening, even when he tried. “Azami was just telling me how when she left her room to inquire after my health, there was a giant man with carroty hair snoring in the hallway beside her door.” “There was no way to get past me,” Ian insisted. Sam grinned at him. “Are you saying you did fall asleep on the job, then?” “Hell no.” Ian scowled at him. “I was wide awake and she didn’t slap past me.” “You say,” Sam pointed out, his tone mocking as he folded his arms across his chest and leaned back casually, pleased he could tease his friend. “Still, she’s here and that proves you were looking the other way or sleeping, just like that time in Indonesia when we parachuted in and you fell asleep on the way down. I believe that time you got tangled in a very large tree right in the center of the enemies’ camp.” Azami’s lashes fluttered, drawing Sam’s attention. He almost reached out to her, wanting to hold her hand, but she’d mentioned a couple of times she didn’t show affection in public. “You fell asleep while parachuting?” she asked, clearly uncertain whether or not they were joking. Ian shook his head. “I did not. A gust of heavy wind came along and pushed me right into that tree. Gator told everyone I was snoring when he shoved me out of the plane. The entire episode is all vicious fabrication. On the other hand, Sam here, actually did fall asleep while he was driving as we were escaping a very angry drug lord in Brazil.” Azami raised her eyebrow as she turned to Sam for an explanation. Her eyes laughed at him and again he had a wild urge to pull her to him and hold her tight. Primitive urges had never been a part of his makeup until she’d come along; now he figured he was becoming a caveman. Her gaze slid to his face as if she knew what he was thinking—which was probably the case. He flashed a grin at her.

..what is wrong in depending on others? The ego does not want to depend on anybody. But you are dependent. You are not separate from existence, you are part of it. Everything is joined together. We exist together, in a togetherness. Existence is a togetherness..If you will eat food, you will have to depend on the trees, on the plants. They are supplying food to you. Will you not drink water? - then you will have to depend on rivers. And will you not need the sun? We are all together, interdependent. Even the king is dependent on his slave, as much as the slave is dependent on the king. It is an interdependence. The world is an interdependence. We are like the knots of a net - energies go on passing through us. When many energies pass through a point, that point becomes an individual, that's all. Draw a line on paper, then draw another line across it; where these two lines cross, individuality arises. To understand it, is all. Then you are simply interdependent, and you accept.

Unchopping a Tree. Start with the leaves, the small twigs, and the nests that have been shaken, ripped, or broken off by the fall; these must be gathered and attached once again to their respective places. It is not arduous work, unless major limbs have been smashed or mutilated. If the fall was carefully and correctly planned, the chances of anything of the kind happening will have been reduced. Again, much depends upon the size, age, shape, and species of the tree. Still, you will be lucky if you can get through this stages without having to use machinery. Even in the best of circumstances it is a labor that will make you wish often that you had won the favor of the universe of ants, the empire of mice, or at least a local tribe of squirrels, and could enlist their labors and their talents. But no, they leave you to it. They have learned, with time. This is men's work. It goes without saying that if the tree was hollow in whole or in part, and contained old nests of bird or mammal or insect, or hoards of nuts or such structures as wasps or bees build for their survival, the contents will have to repaired where necessary, and reassembled, insofar as possible, in their original order, including the shells of nuts already opened. With spider's webs you must simply do the best you can. We do not have the spider's weaving equipment, nor any substitute for the leaf's living bond with its point of attachment and nourishment. It is even harder to simulate the latter when the leaves have once become dry — as they are bound to do, for this is not the labor of a moment. Also it hardly needs saying that this the time fro repairing any neighboring trees or bushes or other growth that might have been damaged by the fall. The same rules apply. Where neighboring trees were of the same species it is difficult not to waste time conveying a detached leaf back to the wrong tree. Practice, practice. Put your hope in that. Now the tackle must be put into place, or the scaffolding, depending on the surroundings and the dimension of the tree. It is ticklish work. Almost always it involves, in itself, further damage to the area, which will have to be corrected later. But, as you've heard, it can't be helped. And care now is likely to save you considerable trouble later. Be careful to grind nothing into the ground. At last the time comes for the erecting of the trunk. By now it will scarcely be necessary to remind you of the delicacy of this huge skeleton. Every motion of the tackle, every slightly upward heave of the trunk, the branches, their elaborately reassembled panoply of leaves (now dead) will draw from you an involuntary gasp. You will watch for a lead or a twig to be snapped off yet again. You will listen for the nuts to shift in the hollow limb and you will hear whether they are indeed falling into place or are spilling in disorder — in which case, or in the event of anything else of the kind — operations will have to cease, of course, while you correct the matter. The raising itself is no small enterprise, from the moment when the chains tighten around the old bandages until the boles hands vertical above the stump, splinter above splinter. How the final straightening of the splinters themselves can take place (the preliminary work is best done while the wood is still green and soft, but at times when the splinters are not badly twisted most of the straightening is left until now, when the torn ends are face to face with each other). When the splinters are perfectly complementary the appropriate fixative is applied. Again we have no duplicate of the original substance. Ours is extremely strong, but it is rigid. It is limited to surfaces, and there is no play in it. However the core is not the part of the trunk that conducted life from the roots up to the branches and back again. It was relatively inert. The fixative for this part is not the same as the one for the outer layers and the bark, and if either of these is involved

You who thoroughly cultivated loving-kindness are the spiritual guide of all beings. Unshakeable like Mount Meru, you remain utterly unperturbed. —THE KING OF MEDITATION SUTRA, CHAPTER 14 When the Buddha sat beneath the Bodhi Tree and the hordes of demons, known as maras, rose up around him, hurling spears and shooting arrows, his samadhi transformed the weapons into a rain of blossoms. Loving-kindness has the power to turn enemies into teachers and aggressions into adornments. It is the ground from which the other three immeasurables draw their power. When we train in loving-kindness, we expand outward into the experience of those around us. Our tightness loosens, our compassion grows. We feel the joys and sufferings of others more deeply, and we are moved to help them. We take delight in the successes of our friends. Our equanimity becomes rooted in an indestructibly pure intention, in which distance and closeness of relation are no longer relevant. This is why the Buddha said we can become unshakeable like Mount Meru.

This is a classic New Labour document, being printed on glossy paper and illustrated with colour pictures of the Elysium that is the new Britain. Happy people, many from ethnic minorities, gaze productively at computer screens. Pensioners get off a gleaming, streamlined tram which has just delivered them promptly and inexpensively to their grandchildren … The prose has the same unreal quality. Nothing actually happens. Nothing tangible is planned. But we are promised there will be ‘innovative developments’, ‘local strategic partnerships’ and ‘urban policy units’. Town councils will have new powers to ‘promote well-being’ … and, just in case we think this will never happen, we are promised that ‘visions for the future will be developed’. There will be a ‘key focus’ here and a ‘co-ordinated effort’ there. The government in its wisdom has ‘established a framework’. The whole thing resembles those fantastical architect’s drawings in which slim, well-dressed figures stroll across tree-festooned piazzas with no mention of empty burger boxes or gangs of glowering youths.

I lie flat, the damp air above me like a lid. Like earth. I wish it would rain. Better still, a thunderstorm, black clouds, lightning, ear-splitting sound. The electricity might go off. I could go down to the kitchen then, say I’m afraid, sit with Rita and Cora around the kitchen table, they would permit my fear because it’s one they share, they’d let me in. There would be candles burning, we would watch each other’s faces come and go in the flickering, in the white flashes of jagged light from outside the windows. Oh Lord, Cora would say. Oh Lord save us. The air would be clear after that, and lighter. I look up at the ceiling, the round circle of plaster flowers. Draw a circle, step into it, it will protect you. From the center was the chandelier, and from the chandelier a twisted strip of sheet was hanging down. That’s where she was swinging, just lightly, like a pendulum; the way you could swing as a child, hanging by your hands from a tree branch. She was safe then, protected altogether, by the time Cora opened the door. Sometimes I think she’s still in here, with me. I feel buried.

I lie flat, the damp air above me like a lid. Like earth. I wish it would rain. Better still, a thunderstorm, black clouds, lightning, car-splitting sound. The electricity might go off. I could go down to the kitchen then, say I'm afraid, sit with Rita and Cora around the kitchen table, they would permit my fear because it's one they share, they'd let me in. There would be candles burning, we would watch each other's faces come and go in the flickering, in the white flashes of jagged light from outside the windows. Oh Lord, Cora would say. Oh Lord save us. The air would be clear after that, and lighter. I look up at the ceiling, the round circle of plaster flowers. Draw a circle, step into it, it will protect you. From the center was the chandelier, and from the chandelier a twisted strip of sheet was hanging down. That's where she was swinging, just lightly, like a pendulum; the way you could swing as a child, hanging by your hands from a tree branch. She was safe then, protected altogether, by the time Cora opened the door. Sometimes I think she's still in here, with me. I feel buried.

Ordinarily to look at the sky for any length of time is impossible. Pedestrians would be impeded and disconcerted by a public sky-gazer. What snatches we get of it are mutilated by chimneys and churches, serve as a background for man, signify wet weather or fine, daub windows gold, and, filling in the branches, complete the pathos of dishevelled autumnal plane trees in London squares. Now, become as the leaf or the daisy, lying recumbent, staring straight up, the sky is discovered to be something so different from this that really it is a little shocking. This then has been going on all the time without our knowing it!—this incessant making up of shapes and casting them down, this buffeting of clouds together, and drawing vast trains of ships and waggons from North to South, this incessant ringing up and down of curtains of light and shade, this interminable experiment with gold shafts and blue shadows, with veiling the sun and unveiling it, with making rock ramparts and wafting them away—this endless activity, with the waste of Heaven knows how many million horse power of energy, has been left to work its will year in year out.

A horror of great darkness fell upon me; I felt my chamber invaded by one I had known formerly, but had thought for ever departed. I was temporarily a prey to hypochondria. She had been my acquaintance, nay, my guest, once before in boyhood; I had entertained her at bed and board for a year; for that space of time I had her to myself in secret; she lay with me, she ate with me, she walked out with me, showing me nooks in woods, hollows in hills, where we could sit together, and where she could drop her drear veil over me, and so hide sky and sun, grass and green tree; taking me entirely to her death-cold bosom, and holding me with arms of bone. What tales she would tell me at such hours! What songs she would recite in my ears! How she would discourse to me of her own country—the grave—and again and again prom- ise to conduct me there ere long; and, drawing me to the very brink of a black, sullen river, show me, on the other side, shores unequal with mound, monument, and tablet, standing up in a glimmer more hoary than moonlight. “Necropolis!” she would whisper, pointing to the pale piles, and add, “It contains a mansion prepared for you.

Darwin singled out the eye as posing a particularly challenging problem: 'To suppose that the eye with all its inimitable contrivances for adjusting the focus to different distances, for admitting different amounts of light, and for the correction of spherical and chromatic aberration, could have been formed by natural selection, seems, I freely confess, absurd in the highest degree.' Creationists gleefully quote this sentence again and again. Needless to say, they never quote what follows. Darwin's fulsomely free confession turned out to be a rhetorical device. He was drawing his opponents towards him so that his punch, when it came, struck the harder. The punch, of course, was Darwin's effortless explanation of exactly how the eye evolved by gradual degrees. Darwin may not have used the phrase 'irreducible complexity', or 'the smooth gradient up Mount Improbable', but he clearly understood the principle of both. 'What is the use of half an eye?' and 'What is the use of half a wing?' are both instances of the argument from 'irreducible complexity'. A functioning unit is said to be irreducibly complex if the removal of one of its parts causes the whole to cease functioning. This has been assumed to be self-evident for both eyes and wings. But as soon as we give these assumptions a moment's thought, we immediately see the fallacy. A cataract patient with the lens of her eye surgically removed can't see clear images without glasses, but can see enough not to bump into a tree or fall over a cliff. Half a wing is indeed not as good as a whole wing, but it is certainly better than no wing at all. Half a wing could save your life by easing your fall from a tree of a certain height. And 51 per cent of a wing could save you if you fall from a slightly taller tree. Whatever fraction of a wing you have, there is a fall from which it will save your life where a slightly smaller winglet would not. The thought experiment of trees of different height, from which one might fall, is just one way to see, in theory, that there must be a smooth gradient of advantage all the way from 1 per cent of a wing to 100 per cent. The forests are replete with gliding or parachuting animals illustrating, in practice, every step of the way up that particular slope of Mount Improbable. By analogy with the trees of different height, it is easy to imagine situations in which half an eye would save the life of an animal where 49 per cent of an eye would not. Smooth gradients are provided by variations in lighting conditions, variations in the distance at which you catch sight of your prey—or your predators. And, as with wings and flight surfaces, plausible intermediates are not only easy to imagine: they are abundant all around the animal kingdom. A flatworm has an eye that, by any sensible measure, is less than half a human eye. Nautilus (and perhaps its extinct ammonite cousins who dominated Paleozoic and Mesozoic seas) has an eye that is intermediate in quality between flatworm and human. Unlike the flatworm eye, which can detect light and shade but see no image, the Nautilus 'pinhole camera' eye makes a real image; but it is a blurred and dim image compared to ours. It would be spurious precision to put numbers on the improvement, but nobody could sanely deny that these invertebrate eyes, and many others, are all better than no eye at all, and all lie on a continuous and shallow slope up Mount Improbable, with our eyes near a peak—not the highest peak but a high one.

There once was a female snake that roamed around a small village in the countryside of Egypt. She was commonly seen by villagers with her small baby as they grazed around the trees. One day, several men noticed the mother snake was searching back and forth throughout the village in a frenzy — without her young. Apparently, her baby had slithered off on its own to play while she was out looking for food. Yet the mother snake went on looking for her baby for days because it still hadn't returned back to her. So one day, one of the elder women in the village caught sight of the big snake climbing on top of their water supply — an open clay jug harvesting all the village's water. The snake latched its teeth on the big jug's opening and sprayed its venom into it. The woman who witnessed the event was mentally handicapped, so when she went to warn the other villagers, nobody really understood what she was saying. And when she approached the jug to try to knock it over, she was reprimanded by her two brothers and they locked her away in her room. Then early the next day, the mother snake returned to the village after a long evening searching for her baby. The children villagers quickly surrounded her while clapping and singing because she had finally found her baby. And as the mother snake watched the children rejoice in the reunion with her child, she suddenly took off straight for the water supply — leaving behind her baby with the villagers' children. Before an old man could gather some water to make some tea, she hissed in his direction, forcing him to step back as she immediately wrapped herself around the jug and squeezed it super hard. When the jug broke burst into a hundred fragments, she slithered away to gather her child and return to the safety of her hole. Many people reading this true story may not understand that the same feelings we are capable of having, snakes have too. Thinking the villagers killed her baby, the mother snake sought out revenge by poisoning the water to destroy those she thought had hurt her child. But when she found her baby and saw the villagers' children, her guilt and protective instincts urged her to save them before other mothers would be forced to experience the pain and grief of losing a child. Animals have hearts and minds too. They are capable of love, hatred, jealousy, revenge, hunger, fear, joy, and caring for their own and others. We look at animals as if they are inferior because they are savage and not civilized, but in truth, we are the ones who are not being civil by drawing a thick line between us and them — us and nature. A wild animal's life is very straightforward. They spend their time searching and gathering food, mating, building homes, and meditating and playing with their loved ones. They enjoy the simplicity of life without any of our technological gadgetry, materialism, mass consumption, wastefulness, superficiality, mindless wars, excessive greed and hatred. While we get excited by the vibrations coming from our TV sets, headphones and car stereos, they get stimulated by the vibrations of nature. So, just because animals may lack the sophisticated minds to create the technology we do or make brick homes and highways like us, does not mean their connections to the etheric world isn't more sophisticated than anything we could ever imagine. That means they are more spiritual, reflective, cosmic, and tuned into alternate universes beyond what our eyes can see. So in other words, animals are more advanced than us. They have the simple beauty we lack and the spiritual contentment we may never achieve.

[…] if sophistication is the ability to put a smile on one's existential desperation, then the fear of a glossy sheen is actually the fear that surface equals depth. *** […] we wake up, we do something—anything—we go to sleep, and we repeat it about 22,000 more times, and then we die. *** Part of our new boredom is that our brain doesn't have any downtime. Even the smallest amount of time not being engaged creates a spooky sensatino that maybe you're on the wrong track. Reboot your computer and sit there waiting for it to do its thing, and within seventeen seconds you experience a small existential implosion when you remember that fifteen years ago life was nothing but this kind of moment. Gosh, mabe I'll read a book. Or go for a walk. Sorry. Probably not going to happen. Hey, is that the new trailer for Ex Machina? *** In the 1990s there was that expression, "Get a life!" You used to say it to people who were overly fixating on some sort of minutia or detail or thought thread, and by saying, "Get a life," you were trying to snap them out of their obsession and get them to join the rest of us who are still out in the world, taking walks and contemplating trees and birds. The expression made sense at the time, but it's been years since I've heard anyone use it anywhere. What did it mean then, "getting a life"? Did we all get one? Or maybe we've all not got lives anymore, and calling attention to one person without a life would put the spotlight on all of humanity and our now full-time pursuit of minutia, details and tangential idea threads. *** I don't buy lottery tickets because they spook me. If you buy a one-in-fifty-million chance to win a cash jackpoint, you're simultaneously tempting fate and adding all sorts of other bonus probabilities to your plance of existence: car crashes, random shootings, being struck by a meteorite. Why open a door that didn't need opening? *** I read something last week and it made sense to me: people want other people to do well in life but not too well. I've never won a raffle or prize or lottery draw, and I can't help but wonder how it must feel. One moment you're just plain old you, and then whaam, you're a winner and now everyone hates you and wants your money. It must be bittersweet. You hear all those stories about how big lottery winners' lives are ruined by winning, but that's not an urban legend. It's pretty much the norm. Be careful what you wish for and, while you're doing so, be sure to use the numbers between thirty-two and forty-nine.

We, therefore, pray to the most kind Father through you, his only-begotten Son, who for us became man, was crucified and glorified, that he send us out of his treasures the Spirit of sevenfold grace who rested upon you in all fullness: the Spirit, I say, of WISDOM, that we may taste the life-giving flavors of the fruit of the tree of life, which you truly are; the gift also of UNDERSTANDING, by which the intentions of our mind are illumined; the gift of COUNSEL, by which we may follow in your footsteps on the right paths; the gift of FORTITUDE, by which we may be able to weaken the violence of our enemies’ attacks; the gift of KNOWLEDGE, by which we may be filled with the brilliant light of your sacred teaching to distinguish good and evil; the gift of PIETY, by which we may acqire a merciful heart; the gift of FEAR, by which we may draw away from all evil and be set at peace by submitting in awe to your eternal majesty. for you have wished that we ask for these things in that sacred prayer which you have taught us; and now we ask to obtain them, through your cross, for the praise of your most holy name. to you, with the Father and the Holy Spirit, be honor and glory, thanksgiving, beauty and power, forever and ever. Amen. -From Prayer “To Obtain the Seven Gifts of the Holy Spirit” included at the closing The Tree of Life

The path of what was to come was awful. It was the enormous dying, a sea of blood. From it the new sun arose, awful and a reversal of that which we call day. We have seized the darkness and its sun will shine above us, bloody and burning like a great downfall. When I comprehended my darkness, a truly magnificent night came over me and my dream plunged me into the depths of the millennia, and from it my phoenix ascended. But what happened to my day? Torches were kindled, bloody anger and disputes erupted. As darkness seized the world, the terrible war arose and the darkness destroyed the light of the world, since it was incomprehensible to the darkness and good for nothing anymore. And so we had to taste Hell. I saw which vices the virtues of this time changed into, how your mildness became hard, your goodness became brutality; your love became hate, and your understanding became madness. Why did you want to comprehend the darkness! But you had to or else it would have seized you. Happy the man who anticipates this grasp. Did you ever think of the evil in you? Oh, you spoke of it, you mentioned it, and you confessed it smilingly; as a generally human vice, or a recurring misunderstanding. But did you know 1 what evil is, and that it stands precisely right behind your virtues, that it is also your virtues themselves, as their inevitable substance?7! You locked Satan in the abyss for a millennium, and when the millennium had passed, you laughed at him, since he had become a children's fairy tale.72 But if the dreadful great one raises his head, the world winces. The most extreme coldness draws near. With horror you see that you are defenseless, and that the army of your vices falls powerless to its knees. With the power of daimons, you seize the evil, and your virtues cross over to him. You are completely alone in this struggle, since your Gods have become deaf You do not know which devils are greater, your vices, or your virtues. But ofone thing you are certain, that virtues and vices are brothers. 73We need the coldness of death to see clearly. Life wants to live and to die, to begin and to end.74 You are not forced to live eternally; but you can also die, since there is a will in you for both. Life and death must strike a balance in your existence.75 Today's men need a large slice of death, since too much incorrectness lives in them, and too much correctness died in them. What stays in balance is correct, what disturbs balance is incorrect. But if balance has been attained, then that which preserves it is incorrect and that which disturbs it is correct. Balance is at once life and death. For the completion of life a balance with death is fitting. If I accept death, then my tree greens, since dying increases life. If I plunge into the death encompassing the world, then my buds break open. How much our life needs death!

Mum: I loved watching you work on it because you were concentrating so hard and it looked like you were enjoying it. Do you like it? Grace: I like the path. It’s easy to follow and stay safe. But the trees don’t look right. I just made round tops. Trees are hard to draw. Mum: Yes … Trees can be tough … Lots of artists spend their whole lives practising trees. We can look at some next time we go to the art gallery, okay? We can see all the ways that different artists draw trees. It’s okay to draw them any way you want to. And you can try different ways. Grace: Okay. I’m going to do a new picture and practise my trees. Mum: [smiling] I love how you keep practising things you want to get good at! What has Grace learned? That her Mum values ‘concentrating so hard’ and enjoying working at something. That her mother is interested in the witches of her inner world. That her mother values the work she does, but that she is the one to evaluate it. That even skilled adults practise. That her own work has some relationship to the work hanging in an art gallery. That she can try different ways and do things the ways she wants to. That whether to practise more is her own choice but will give her the results she wants in her work. That she can take joy in sharing her inner life through the creative process. Grace is accessing her unique gifts, honing them and enjoying the process of sharing them with the world. She is well on her way to developing mastery. Mastery

He hopes at least after pulling himself up from one branch to another he will be able to see farther, discover where the roads lead; but the foliage beneath him is dense, the ground is soon out of sight, and if he raises his eyes toward the top of the tree he is blinded by The Sun, whose piercing rays make the leaves gleam with every colour against the light. However, the meaning of those two children seen in the tarot should also be explained: they must indicate that, looking up, the young man has realized he is no longer alone in the tree; two urchins have preceeded him, scrambling up the boughs. They seem twins: identical, barefoot, golden blond. At this point the young man spoke, asked: “what are you two doing here?” or else: “how far is it to the top?” And the twins replied, indicating with confused gesticulation toward something seen on the horizon of the drawing, beneath the sun’s rays: the walls of a city. But where are these walls located, with respect to the tree? The Ace of Cups portrays, in fact, a city, with many towers and spires and minarets and domes rising above the walls. And also palm fronds, pheasants’ wings, fins of blue moonfish which certainly jut from the city’s gardens, aviaries, aquariums, among which we can imagine the two urchins, chasing each other and vanishing. And this city seems balanced on top of a pyramid, which could also be the top of a great tree; in other words, it would be a city suspended on the highest branches like a bird’s nest, with hanging foundations like the aerial roots of certain plants.

Elizabeth,” he said, trying not to laugh. “At a wedding reception, the guests cannot leave until the bride and groom retire. If you look over there, you’ll notice my great-aunts are already nodding in their chairs.” “Oh!” she exclaimed, instantly contrite. “I didn’t know. Why didn’t you tell me earlier?” “Because,” he said, taking her elbow and beginning to guide her from the ballroom, “I wanted you to enjoy every minute of our ball, even if we had to prop the guests up on the shrubbery.” “Speaking of shrubbery,” she teased, pausing on the balcony to cast a last fond look at the “arbor” of potted trees with silk blossoms that occupied one-fourth the length of the entire ballroom, “everyone is talking about having gardens and arbors as themes for future balls. I think you’ve stared a new ‘rage.’” “You should have seen your face,” he teased, drawing her away, “when you recognized what I had done.” “We are probably the only couple,” she returned her face turned up to his in laughing conspiracy, “ever to lead off a ball by dancing a waltz on the sidelines.” When the orchestra had struck up the opening waltz, Ian had led her into the mock “arbor,” and they had started the ball from there. “Did you mind?” “You know I didn’t,” she returned, walking beside him up the curving staircase. He stopped outside her bed chamber, opened the door for her, and started to pull her into his arms, then checked himself as a pair of servants came marching down the hall bearing armloads of linens. “There’s time for this later,” he whispered. “All the time we want.

When they had gone less than a bowshot from the shore, Drinian said, “Look! What’s that?” and everyone stopped. “Are they great trees?” said Caspian. “Towers, I think,” said Eustace. “It might be giants,” said Edmund in a lower voice. “The way to find out is to go right in among them,” said Reepicheep, drawing his sword and pattering off ahead of everyone else. “I think it’s a ruin,” said Lucy when they had got a good deal nearer, and her guess was the best so far. What they now saw was a wide oblong space flagged with smooth stones and surrounded by gray pillars but unroofed. And from end to end of it ran a long table laid with a rich crimson cloth that came down nearly to the pavement. At either side of it were many chairs of stone richly carved and with silken cushions upon the seats. But on the table itself there was set out such a banquet as had never been seen, not even when Peter the High King kept his court at Cair Paravel. There were turkeys and geese and peacocks, there were boars’ heads and sides of venison, there were pies shaped like ships under full sail or like dragons and elephants, there were ice puddings and bright lobsters and gleaming salmon, there were nuts and grapes, pineapples and peaches, pomegranates and melons and tomatoes. There were flagons of gold and silver and curiously-wrought glass; and the smell of the fruit and the wine blew toward them like a promise of all happiness. “I say!” said Lucy. They came nearer and nearer, all very quietly. “But where are the guests?” asked Eustace. “We can provide that, Sir,” said Rhince.

Again I see before me the usual street. The canopy of civilization is burnt out. The sky is dark as polished whalebone. But there is a kindling in the sky whether of lamplight or of dawn. There is a stir of some sort--sparrows on plane trees somewhere chirping. There is a sense of the break of day. I will not call it dawn. What is dawn in the city to an elderly man standing in the street looking up rather dizzily at the sky? Dawn is some sort of whitening of the sky; some sort of renewal. Another day; another Friday; another twentieth of March, January, or September. Another general awakening. The stars draw back and are extinguished. The bars deepen themselves between the waves. The film of mist thickens on the fields. A redness gathers on the roses, even on the pale rose that hangs by the bedroom window. A bird chirps. Cottagers light their early candles. Yes, this is the eternal renewal, the incessant rise and fall and fall and rise again. 'And in me too the wave rises. It swells; it arches its back. I am aware once more of a new desire, something rising beneath me like the proud horse whose rider first spurs and then pulls him back. What enemy do we now perceive advancing against us, you whom I ride now, as we stand pawing this stretch of pavement? It is death. Death is the enemy. It is death against whom I ride with my spear couched and my hair flying back like a young man's, like Percival's, when he galloped in India. I strike spurs into my horse. Against you I will fling myself, unvanquished and unyielding, O Death!' The waves broke on the shore.

(Orual's challenge to the gods) Now, you who read, judge between the gods and me. They gave me nothing in the world to love but Psyche and then took her from me. But that was not enough. They then brought me to her at such a place and time that it hung on my word whether she should continue in bliss or be cast out into misery. They would not tell me whether she was the bride of a god, or mad, or a brute's or villain's spoil. They would give no clear sign, though I begged for it. I had to guess. And because I guessed wrong they punished me - what's worse punished me through her. And even that was not enough; they have now sent out a lying story in which I was given no riddle to guess, but knew and saw that she was the god's bride, and of my own free will destroyed her, and that for jealousy. As if I were another Redival. I say the gods deal very unrightly with us. For they will neither (which would be best of all) go away and leave us to live our own short days to ourselves, nor will they show themselves openly and tell us what they would have us do. For that too would be endurable. But to hint and hover, to draw us in dreams and oracles, or in a waking vision that vanishes as soon as seen, to be dead silent when we question them and then glide back and whisper (words we cannot understand) in our ears when we most wish to be free of them, and to show to one what they hide from another; what is all this but cat-and-mouse play, blindman's bluff, and mere jugglery? Why must holy places be dark places? I say, therefore, that there is no creature (toad, scorpion, or serpent) so noxious to man as the gods. Let them answer my charge if they can. It may well be that, instead of answering, they'll strike me mad or leprous or turn me into beast, bird, or tree. But will not all the world then know (and the gods will know it knows) that this is because they have no answer?

It could be said that Borluut was in love with the town. But we only have one heart for all our loves, consequently his love was somewhat like the affection one feels for a woman, the devotion one entertains for a work of art, for a religion. He loved Bruges for its beauty and, like a lover, he would have loved it the more, the more beautiful it was. His passion had nothing to do with the local patriotism which unites those living in a town through habits, shared tastes, alliances, parochial pride. On the contrary, Borluut was almost solitary, kept himself apart, mingled little with the slow-witted inhabitants. Even out in the streets he scarcely saw the passers-by. As a solitary wanderer, he began to favour the canals, the weeping trees, the tunnel bridges, the bells he could sense in the air, the old walls of the old districts. Instead of living beings, his interest focused on things. The town took on a personality, became almost human. He loved It, wished to embellish it, to adorn its beauty, a beauty mysterious in its sadness. And, above all, so unostentatious. Other towns are showy, amassing palaces, terraced gardens, fine geometrical monuments. Here everything was muted, nuanced. Storiated architecture, facades like reliquaries, stepped gables, trefoil doors and windows, ridges crowned with finials, mouldings, gargoyles, bas-reliefs - incessant surprises making the town into a kind of complex landscape of stone. It was a mixture of Gothic and Renaissance, that sinuous transition which suddenly draws out forms that are too rigid and too bare in supple, flowing lines. It was if an unexpected spring had sprouted on the walls, as if they had been transubstantiated by a dream - all at once there were faces and bunches of flowers on them. This blossoming on the facades had lasted until the present, blackened by the ravages of time, abiding but already blurred.

Sam’s the man who’s come to chop us up to bits. No wonder I kicked him out. No wonder I changed the locks. If he cannot stop death, what good is he? ‘Open the door. Please. I’m so tired,’ he says. I look at the night that absorbed my life. How am I supposed to know what’s love, what’s fear? ‘If you’re Sam who am I?’ ‘I know who you are.’ ‘You do?’ ‘Yeah.’ ‘Who?’ Don’t say wife, I think. Don’t say mother. I put my face to the glass, but it’s dark. I don’t reflect. Sam and I watch each other through the window of the kitchen door. He coughs some more. ‘I want to come home,’ he says. ‘I want us to be okay. That’s it. Simple. I want to come home and be a family.’ ‘But I am not simple.’ My body’s coursing with secret genes and hormones and proteins. My body made eyeballs and I have no idea how. There’s nothing simple about eyeballs. My body made food to feed those eyeballs. How? And how can I not know or understand the things that happen inside my body? That seems very dangerous. There’s nothing simple here. I’m ruled by elixirs and compounds. I am a chemistry project conducted by a wild child. I am potentially explosive. Maybe I love Sam because hormones say I need a man to kill the coyotes at night, to bring my babies meat. But I don’t want caveman love. I want love that lives outside the body. I want love that lives. ‘In what ways are you not simple?’ I think of the women I collected upstairs. They’re inside me. And they are only a small fraction of the catalog. I think of molds, of the sea, the biodiversity of plankton. I think of my dad when he was a boy, when he was a tree bud. ‘It’s complicated,’ I say, and then the things I don’t say yet. Words aren’t going to be the best way here. How to explain something that’s coming into existence? ‘I get that now.’ His shoulders tremble some. They jerk. He coughs. I have infected him. ‘Sam.’ We see each other through the glass. We witness each other. That’s something, to be seen by another human, to be seen over all the years. That’s something, too. Love plus time. Love that’s movable, invisible as a liquid or gas, love that finds a way in. Love that leaks. ‘Unlock the door,’ he says. ‘I don’t want to love you because I’m scared.’ ‘So you imagine bad things about me. You imagine me doing things I’ve never done to get rid of me. Kick me out so you won’t have to worry about me leaving?’ ‘Yeah,’ I say. ‘Right.’ And I’m glad he gets that. Sam cocks his head the same way a coyote might, a coyote who’s been temporarily confused by a question of biology versus mortality. What’s the difference between living and imagining? What’s the difference between love and security? Coyotes are not moral. ‘Unlock the door?’ he asks. This family is an experiment, the biggest I’ve ever been part of, an experiment called: How do you let someone in? ‘Unlock the door,’ he says again. ‘Please.’ I release the lock. I open the door. That’s the best definition of love. Sam comes inside. He turns to shut the door, then stops himself. He stares out into the darkness where he came from. What does he think is out there? What does he know? Or is he scared I’ll kick him out again? That is scary. ‘What if we just left the door open?’ he asks. ‘Open.’ And more, more things I don’ts say about the bodies of women. ‘Yeah.’ ‘What about skunks?’ I mean burglars, gangs, evil. We both peer out into the dark, looking for thees scary things. We watch a long while. The night does nothing. ‘We could let them in if they want in,’ he says, but seems uncertain still. ‘Really?’ He draws the door open wider and we leave it that way, looking out at what we can’t see. Unguarded, unafraid, love and loved. We keep the door open as if there are no doors, no walls, no skin, no houses, no difference between us and all the things we think of as the night.

Callie prayed and prayed, hoping he was all right. At long last, she heard a cheering roar from the people of the village. Turning around, she saw the group of men coming toward them. And in their midst… Nay. It couldn't be. Callie frowned, then blinked, trying to see if her eyes were deceiving her. Angus was the first to reach the village. "I'll beat the first one of you who laughs," he said in warning. "No mon who fights like that for our women and children will be mocked. You hear me?" "We wouldn't dream of it, Angus MacDougal," Peg said. Choking on her laughter and filled with tremendous relief that he was unhurt, Callie ran to her husband and wrapped her arms around him. Her heart pounded at the feel of his strong arms holding her close. Och, how she loved this wonderful man. She kissed his cheek, then pulled away to look him over one more time and make sure he really was unharmed. Again, she had to purse her lips to keep from smiling. In truth, she had no idea how the village refrained from laughing at the sight of her proud husband. He only had one boot on and his breeches were shredded. The kirtle he'd wrapped around the swatter was now wrapped around his body in a poor, ill-fitting state. He was covered in mud and looked like some half-formed fey beastie. Sin looked at her with humor dancing in his midnight eyes. "Go ahead and laugh, dove. I promise I won't be offended." He draped an arm over her shoulders, drawing her close to him again, and looked around at the people gathered to welcome him back. "By the way, methinks I owe someone a new dress." Several snickers broke out and were silenced as Angus turned a feral glare to the crowd. "Where's the bull?" Callie asked. "Tied to a tree, eating my boot. I'm just glad my leg is no longer in it." That succeeded in making everyone laugh. Angus shook his head as he drew near. "Lad, how did you manage it?" "I run fast when chased by large bulls." -Angus, Peg, Sin, & Callie

The phosphorescence was particularly good that night. By plunging your hand into the water and dragging it along you could draw a wide golden-green ribbon of cold fire across the sea, and when you dived as you hit the surface it seemed as though you had plunged into a frosty furnace of glinting light. When we were tired we waded out of the sea, the water running off our bodies so that we seemed to be on fire, and lay on the sand to eat. Then, as the wine was opened at the end of the meal, as if by arrangement, a few fireflies appeared in the olives behind us – a sort of overture to the show. First of all there were just two or three green specks, sliding smoothly through the trees, winking regularly. But gradually more and more appeared, until parts of the olive-grove were lit with a weird green glow. Never had we seen so many fireflies congregated in one spot; they flicked through the trees in swarms, they crawled on the grass, the bushes and olive-trunks, they drifted in swarms over our heads and landed on the rocks, like green embers. Glittering streams of them flew out over the bay, swirling over the water, and then, right on cue, the porpoises appeared, swimming in line into the bay, rocking rhythmically through the water, their backs as if painted with phosphorus. In the centre of the bay they swam around, diving and rolling, occasionally leaping high in the air and falling back into a conflagration of light. With the fireflies above and illuminated porpoises below it was a fantastic sight. We could even see the luminous trails beneath the surface where the porpoises swam in fiery patterns across the sandy bottom, and when they leapt high in the air drops of emerald glowing water flicked from them, and you could not tell if it was phosphorescence or fireflies you were looking at. For an hour or so we watched this pageant, and then slowly the fireflies drifted back inland farther down the coast. Then the porpoises lined up and sped out to sea, leaving a flaming path behind them flickered and glowed, and then died slowly, like a glowing branch laid across the bay.

It is easy for the student to feel that with all his labour he is collecting only a few leaves, many of them now torn or decayed, from the countless foliage of the Tree of Tales, with which the Forest of Days is carpeted. It seems vain to add to the litter. Who can design a new leaf? The patterns from bud to unfolding, and the colours from spring to autumn were all discovered by men long ago. But that is not true. The seed of the tree can be replanted in almost any soil, even in one so smoke-ridden (as Lang said) as that of England. Spring is, of course, not really less beautiful because we have seen or heard of other like events: like events, never from world's beginning to world's end the same event. Each leaf, of oak and ash and thorn, is a unique embodiment of the pattern, and for some this very year may be the embodiment, the first ever seen and recognized, though oaks have put forth leaves for countless generations of men. We do not, or need not, despair of drawing because all lines must be either curved or straight, nor of painting because there are only three 'primary' colours. We may indeed be older now, in so far as we are heirs in enjoyment or in practice of many generations of ancestors in the arts. In this inheritance of wealth there may be a danger of boredom or of anxiety to be original, and that may lead to a distaste for fine drawing, delicate pattern, and 'pretty' colours, or else to mere manipulation and over-elaboration of old material, clever and heartless. But the true road of escape from such weariness is not to be found in the willfully awkward, clumsy, or misshapen, not in making all things dark or unremittingly violent; nor in the mixing of colours on through subtlety to drabness, and the fantastical complication of shapes to the point of silliness and on towards delirium. Before we reach such states we need recovery. We should look at green again, and be startled anew (but not blinded) by blue and yellow and red. We should meet the centaur and the dragon, and then perhaps suddenly behold, like the ancient shepherds, sheep, and dogs, and horses – and wolves. This recovery fairy-stories help us to make. In that sense only a taste for them may make us, or keep us, childish.

You aren’t worried about tomorrow, are you?” “What do you think?” He propped himself up on his elbows and studied my face. “You told me last spring it was the easiest thing in the whole wide world. You could hardly wait to jump. Why, even when you got sick you worried you’d die without having a chance to do it.” “I must have been a raving lunatic,” I muttered. Theo scowled, but the sound of a Model T chugging up the driveway stopped him from saying more. Its headlamps lit the trees and washed across the house. “It’s John again,” Theo said. “Papa will start charging him room and board soon.” Hidden in the shadows, we watched John jump out of the car and run up the porch steps. Hannah met him at the door. From inside the house, their laughter floated toward us as silvery as moonlight, cutting into my heart like a knife. “Hannah has a beau.” Theo sounded as if he were trying out a new word, testing it for rightness. He giggled. “Do you think she lets him kiss her?” I spat in the grass, a trick I’d learned from Edward. “Don’t be silly.” “What’s silly about smooching? When I’m old enough, I plan to kiss Marie Jenkins till our lips melt.” Making loud smacking sounds with his mouth, Theo demonstrated. Pushing him away, I wrestled him to the ground and started tickling him. As he pleaded for mercy, we heard the screen door open. Thinking Mama was about to call us inside, we broke apart and lay still. It was Hannah and John. “They’re sitting in the swing,” Theo whispered. “Come on, let’s spy on them. I bet a million zillion dollars they start spooning.” Stuffing his jar of fireflies into his shirt, Theo dropped to his knees and crawled across the lawn toward the house. I followed him, sure he was wrong. Hannah wasn’t old enough for kissing. Or silly enough. We reached the bushes beside the porch without being seen. Crouched in the dirt, we were so close I could have reached up and grabbed Hannah’s ankle. To keep from giggling, Theo pressed his hands over his mouth. Sick with jealousy, I watched John put his arm around Hannah and draw her close. As his lips met hers, I felt Theo jab my side. I teetered and lost my balance. The bushes swayed, the leaves rustled, a twig snapped under my feet. “Be quiet,” Theo hissed in my ear. “Do you want to get us killed?” We backed out of the bushes, hoping to escape, but it was too late. Leaving John in the swing, Hannah strode down the porch steps, grabbed us each by an ear, and shook us like rats. “Can’t a body have a second of privacy?

Mr Casaubon’s behaviour about settlements was highly satisfactory to Mr Brooke, and the preliminaries of marriage rolled smoothly along, shortening the weeks of courtship. The betrothed bride must see her future home, and dictate any changes that she would like to have made there. A woman dictates before marriage in order that she may have an appetite for submission afterwards. And certainly, the mistakes that we male and female mortals make when we have our own way might fairly raise some wonder that we are so fond of it. On a grey but dry November morning Dorothea drove to Lowick in company with her uncle and Celia. Mr Casaubon’s home was the manor-house. Close by, visible from some parts of the garden, was the little church, with the old parsonage opposite. In the beginning of his career, Mr Casaubon had only held the living, but the death of his brother had put him in possession of the manor also. It had a small park, with a fine old oak here and there, and an avenue of limes towards the south-west front, with a sunk fence between park and pleasure-ground, so that from the drawing-room windows the glance swept uninterruptedly along a slope of greensward till the limes ended in a level of corn and pastures, which often seemed to melt into a lake under the setting sun. This was the happy side of the house, for the south and east looked rather melancholy even under the brightest morning. The grounds here were more confined, the flower-beds showed no very careful tendance, and large clumps of trees, chiefly of sombre yews, had risen high, not ten yards from the windows. The building, of greenish stone, was in the old English style, not ugly, but small-windowed and melancholy-looking: the sort of house that must have children, many flowers, open windows, and little vistas of bright things, to make it seem a joyous home. In this latter end of autumn, with a sparse remnant of yellow leaves falling slowly athwart the dark evergreens in a stillness without sunshine, the house too had an air of autumnal decline, and Mr Casaubon, when he presented himself, had no bloom that could be thrown into relief by that background. ‘Oh dear!’ Celia said to herself, ‘I am sure Freshitt Hall would have been pleasanter than this.’ She thought of the white freestone, the pillared portico, and the terrace full of flowers, Sir James smiling above them like a prince issuing from his enchantment in a rosebush, with a handkerchief swiftly metamorphosed from the most delicately-odorous petals—Sir James, who talked so agreeably, always about things which had common-sense in them, and not about learning! Celia had those light young feminine tastes which grave and weather-worn gentlemen sometimes prefer in a wife; but happily Mr Casaubon’s bias had been different, for he would have had no chance with Celia.

Because I like you,” she blurted out, and realized that for once it was true. It was a rather unsettling revelation. “You’re . . . , well, you.” Not just a body on a balcony, not just a pair of lips to blot out boredom, but Alex, Alex who argued with her and watched out for her and woke absurdly early in the mornings to ride with her every day, whether he had the time to do so or not. Perhaps this wasn’t such a good idea after all. Alex didn’t seem to think so, either. His dark eyes were intent on her face, watching her in that way of his, as though he were learning her from the inside out, peering into every little dark nook and cranny of her soul. There were plenty of those to choose from. Dark nooks were one of Penelope’s specialties. He might have wanted her last night, in the still of the bungalow, with the lingering scent of moonflowers on the breeze, but not in daylight, when he saw her again for what she was, brash, impetuous, with her face gone unfashionably tan and curry stains on her habit. He was undoubtedly mustering the words with which to turn her down politely. Penelope suddenly, very desperately, didn’t want to hear them. She jumped to her feet, leaning over to gather up the empty tins. “Or we can just ride on,” she said brusquely, not looking at him. A lean brown hand closed around her wrist. Penelope regarded it blankly, as though not quite sure what it was doing there, alien against the white lace frill of her sleeve. Slowly, her breath catching somewhere in the vicinity of her corset, she lifted her eyes to Alex’s face. What she saw banished any doubts she might have had. In his eyes blazed a reflection of the desire she felt in her own. Nothing more needed to be said. Without a word, he drew her down beside him on the blanket, the blanket that had seemed so prosaic only moments before, but now presented the prospect of a host of exotic and illicit possibilities. Penelope plunked down hard on her knees, catching at his shoulders for balance as she tilted her head down to kiss him, enjoying the unusual advantage of height. “Are you sure?” he murmured, his teeth tugging at her earlobe, even as his hands moved intimately up and down her torso. In answer, Penelope pushed hard at his shoulders, sending him toppling back onto the blanket, narrowly missing sheer disaster with a fork. She followed him down, bracing herself on her elbows and scattering kisses across his upturned face as he busied himself with the buttons on her riding jacket. The fabric parted, and his hands slid beneath, burning through the linen of her blouse, drawing her down on top of him with drugging kisses that made the noon sky dim to dusk and the rustling of the tree leaves blur in her ears. Penelope wriggled her hands beneath his shirt, feeling the hard edges of muscle beneath, delighting in the way they contracted with each labored breath, with a flick of her tongue against the hollow of his throat and an exploratory expedition taken by her lips along his collarbone.

Show me." He looks at her, his eyes darker than the air. "If you draw me a map I think I'll understand better." "Do you have paper?" She looks over the empty sweep of the car's interior. "I don't have anything to write with." He holds up his hands, side to side as if they were hinged. "That's okay. You can just use my hands." She smiles, a little confused. He leans forward and the streetlight gives him yellow-brown cat eyes. A car rolling down the street toward them fills the interior with light, then an aftermath of prickling black waves. "All right." She takes his hands, runs her finger along one edge. "Is this what you mean? Like, if the ocean was here on the side and these knuckles are mountains and here on the back it's Santa Monica, Beverly Hills, West L.A., West Hollywood, and X marks the spot." She traces her fingertips over the backs of his hands, her other hand pressing into the soft pads of his palm. "This is where we are- X." "Right now? In this car?" He leans back; his eyes are black marble, dark lamps. She holds his gaze a moment, hears a rush of pulse in her ears like ocean surf. Her breath goes high and tight and shallow; she hopes he can't see her clearly in the car- her translucent skin so vulnerable to the slightest emotion. He turns her hands over, palms up, and says, "Now you." He draws one finger down one side of her palm and says, "This is the Tigris River Valley. In this section there's the desert, and in this point it's plains. The Euphrates runs along there. This is Baghdad here. And here is Tahrir Square." He touches the center of her palm. "At the foot of the Jumhurriya Bridge. The center of everything. All the main streets run out from this spot. In this direction and that direction, there are wide busy sidewalks and apartments piled up on top of shops, men in business suits, women with strollers, street vendors selling kabobs, eggs, fruit drinks. There's the man with his cart who sold me rolls sprinkled with thyme and sesame every morning and then saluted me like a soldier. And there's this one street...." He holds her palm cradled in one hand and traces his finger up along the inside of her arm to the inner crease of her elbow, then up to her shoulder. Everywhere he touches her it feels like it must be glowing, as if he were drawing warm butter all over her skin. "It just goes and goes, all the way from Baghdad to Paris." He circles her shoulder. "And here"- he touches the inner crease of her elbow-"is the home of the Nile crocodile with the beautiful speaking voice. And here"- his fingers return to her shoulder, dip along their clavicle-"is the dangerous singing forest." "The dangerous singing forest?" she whispers. He frowns and looks thoughtful. "Or is that in Madagascar?" His hand slips behind her neck and he inches toward her on the seat. "There's a savanna. Chameleons like emeralds and limes and saffron and rubies. Red cinnamon trees filled with lemurs." "I've always wanted to see Madagascar," she murmurs: his breath is on her face. Their foreheads touch. His hand rises to her face and she can feel that he's trembling and she realizes that she's trembling too. "I'll take you," he whispers.

One can take the ape out of the jungle, but not the jungle out of the ape. This also applies to us, bipedal apes. Ever since our ancestors swung from tree to tree, life in small groups has been an obsession of ours. We can’t get enough of politicians thumping their chests on television, soap opera stars who swing from tryst to tryst, and reality shows about who’s in and who’s out. It would be easy to make fun of all this primate behavior if not for the fact that our fellow simians take the pursuit of power and sex just as seriously as we do. We share more with them than power and sex, though. Fellow-feeling and empathy are equally important, but they’re rarely mentioned as part of our biological heritage. We would much rather blame nature for what we don’t like in ourselves than credit it for what we do like. As Katharine Hepburn famously put it in The African Queen, ”Nature, Mr. Allnut, is what we are put in this world to rise above.” This opinion is still very much with us. Of the millions of pages written over the centuries about human nature, none are as bleak as those of the last three decades, and none as wrong. We hear that we have selfish genes, that human goodness is a sham, and that we act morally only to impress others. But if all that people care about is their own good, why does a day-old baby cry when it hears another baby cry? This is how empathy starts. Not very sophisticated perhaps, but we can be sure that a newborn doesn’t try to impress. We are born with impulses that draw us to others and that later in life make us care about them. The possibility that empathy is part of our primate heritage ought to make us happy, but we’re not in the habit of embracing our nature. When people commit genocide, we call them ”animals”. But when they give to the poor, we praise them for being ”humane”. We like to claim the latter behavior for ourselves. It wasn’t until an ape saved a member of our own species that there was a public awakening to the possibility of nonhuman humaneness. This happened on August 16, 1996, when an eight-year-old female gorilla named Binti Jua helped a three-year-old boy who had fallen eighteen feet into the primate exhibit at Chicago’s Brookfield Zoo. Reacting immediately, Binti scooped up the boy and carried him to safety. She sat down on a log in a stream, cradling the boy in her lap, giving him a few gentle back pats before taking him to the waiting zoo staff. This simple act of sympathy, captured on video and shown around the world, touched many hearts, and Binti was hailed as a heroine. It was the first time in U.S. history that an ape figured in the speeches of leading politicians, who held her up as a model of compassion. That Binti’s behavior caused such surprise among humans says a lot about the way animals are depicted in the media. She really did nothing unusual, or at least nothing an ape wouldn’t do for any juvenile of her own species. While recent nature documentaries focus on ferocious beasts (or the macho men who wrestle them to the ground), I think it’s vital to convey the true breadth and depth of our connection with nature. This book explores the fascinating and frightening parallels between primate behavior and our own, with equal regard for the good, the bad, and the ugly.

Naturally, without intending to, I transitioned from these dreams in which I healed myself to some in which I cared for others: I am flying over the Champs-Élysées Avenue in Paris. Below me, thousands of people are marching, demanding world peace. They carry a cardboard dove a kilometer long with its wings and chest stained with blood. I begin to circle around them to get their attention. The people, astonished, point up at me, seeing me levitate. Then I ask them to join hands and form a chain so that they can fly with me. I gently take one hand and lift. The others, still holding hands, also rise up. I fly through the air, drawing beautiful figures with this human chain. The cardboard dove follows us. Its bloodstains have vanished. I wake up with the feeling of peace and joy that comes from good dreams. Three days later, while walking with my children along the Champs-Élysées Avenue, I saw an elderly gentleman under the trees near the obelisk whose entire body was covered by sparrows. He was sitting completely still on one of the metal benches put there by the city council with his hand outstretched, holding out a piece of cake. There were birds flitting around tearing off crumbs while others waited their turn, lovingly perched on his head, his shoulders, his legs. There were hundreds of birds. I was surprised to see tourists passing by without paying much attention to what I considered a miracle. Unable to contain my curiosity, I approached the old man. As soon as I got within a couple of meters of him, all the sparrows flew away to take refuge in the tree branches. “Excuse me,” I said, “how does this happen?” The gentleman answered me amiably. “I come here every year at this time of the season. The birds know me. They pass on the memory of my person through their generations. I make the cake that I offer. I know what they like and what ingredients to use. The arm and hand must be still and the wrist tilted so that they can clearly see the food. And then, when they come, stop thinking and love them very much. Would you like to try?” I asked my children to sit and wait on a nearby bench. I took the piece of cake, reached my hand out, and stood still. No sparrow dared approach. The kind old man stood beside me and took my hand. Immediately, some of the birds came and landed on my head, shoulders, and arm, while others pecked at the treat. The gentleman let go of me. Immediately the birds fled. He took my hand and asked me to take my son’s hand, and he another hand, so that my children formed a chain. We did. The birds returned and perched fearlessly on our bodies. Every time the old man let go of us, the sparrows fled. I realized that for the birds when their benefactor, full of goodness, took us by the hand, we became part of him. When he let go of us, we went back to being ourselves, frightening humans. I did not want to disrupt the work of this saintly man any longer. I offered him money. He absolutely would not accept. I never saw him again. Thanks to him, I understood certain passages of the Gospels: Jesus blesses children without uttering any prayer, just by putting his hands on them (Matthew 19:13–15). In Mark 16:18, the Messiah commands his apostles, “They shall lay hands on the sick, and they shall recover.” St. John the Apostle says mysteriously in his first epistle, 1.1, “That which was from the beginning, which we have heard, which we have seen with our eyes, which we have looked upon, and our hands have handled, of the Word of life.

For I will be merciful to their unrighteousness, and their sins and their lawless deeds I will remember no more."  13 In that He says, "A new covenant," He has made the first obsolete. Now what is becoming obsolete and growing old is ready to vanish away. (NKJV)        Covenant determines how God relates to people.        The Old (Law) Covenant: God had to relate to sinful people as a Holy Righteous God would/had to. Do bad get cursed, do good get blessed.        The New (Grace) Covenant: God relates to sinful people through Jesus, reconciling them to Himself and no longer relating to them through the Law since Jesus fulfilled the requirements of the law on the behalf of people. Heb 7:18-19              The former regulation is set aside because it was weak and useless 19 (for the law made nothing perfect), and a better hope is introduced, by which we draw near to God. (NIV)        The Law Covenant was weak and useless in providing people with right-standing before God because nobody could ever keep it perfectly (Gal 3:10, James 2:10, James 4:17).        The better hope by which we draw near to God is not our own righteousness or holiness, but through Jesus Christ’s free gift of righteousness. (Eph 2:8-9, Rom 3:20-26)        Because of this Jesus qualifies you to do the same works and greater because you have the same right-standing before God as Jesus has. (John 14:12). Gal 3:11-14              Clearly no one is justified before God by the law, because, "The righteous will live by faith."  12 The law is not based on faith; on the contrary, "The man who does these things will live by them."  13 Christ redeemed us from the curse of the law by becoming a curse for us, for it is written: "Cursed is everyone who is hung on a tree."  14 He redeemed us in order that the blessing given to Abraham might come to the Gentiles through Christ Jesus, so that by faith we might receive the promise of the Spirit. (NIV)        NO ONE is justified by the law. No one can please God by keeping the law and living holy.        Righteousness (right standing before God) is attained by faith in Christ only.        The Law is not of faith which makes relating to God through it not pleasing to Him. (Heb 11:6)        Jesus became a curse for us, removing the right of the curse of the Law to come on us. (This doesn’t mean the curse doesn’t exist)        Living under the Law, trying to be justified by your own efforts to live holy and pleasing to God is A CURSE! No good will come from it.        In fact, you alienate yourself from the life of Christ by doing it. (Gal 5:1-5) 2 Cor 3:4-9              Such confidence as this is ours through Christ before God. 5 Not that we are competent in ourselves to claim anything for ourselves, but our competence comes from God. 6 He has made us competent as ministers of a new covenant- — not of the letter but of the Spirit; for the letter kills, but the Spirit gives life. 7 Now if the ministry that brought death, which was engraved in letters on stone, came with glory, so that the Israelites could not look steadily at the face of Moses because of its glory, fading though it was, 8 will not the ministry of the Spirit be even more glorious? 9 If the ministry that condemns men is glorious, how much more glorious is the ministry that brings righteousness! (NIV)        Law Covenant: Ministry of DEATH and CONDEMNATION.        Engraved on stone: 10 Commandments.        Grace Covenant: Ministry of LIFE and the SPIRIT.        Engraved on our hearts Rom 8:1              There is therefore now no condemnation to those who are in Christ Jesus, who do not walk according to the flesh, but according to the Spirit. (NKJV)

To be shaken out of the ruts of ordinary perception, to be shown for a few timeless hours the outer and the inner world, not as they appear to an animal obsessed with survival or to a human being obsessed with words and notions, but as they are apprehended, directly and unconditionally, by Mind at Large – thus an experience of inestimable value to everyone and especially to the intellectual. For the intellectual is by definition the man for whom, in Goethe’s phrase, ‘the word is essentially fruitful.’ He is the man who feels that ‘what we perceive by the eye is foreign to us as such and need not impress us deeply.’ And yet, though himself an intellectual and one of the supreme masters of language, Goethe did not always agree with his own evaluation of the word. ‘We talk,’ he wrote in middle life, ‘far too much. We should talk less and draw more. I personally should like to renounce speech altogether and, like organic Nature, communicate everything I have to say in sketches. That fig tree, this little snake, the cocoon on my window sill quietly awaiting its future – all these are momentous signatures. A person able to decipher their meaning properly would soon be able to dispense with the written or the spoken word altogether. The more I think of it, there is something futile, mediocre, even (I am tempted to say) foppish about speech. By contrast, how the gravity of Nature and her silence startle you, when you stand face to face with her, undistracted, before a barren ridge or in the desolation of the ancient hills.’ We can never dispense with language and the other symbol systems; for it is by means of them, and only by their means, that we have raised ourselves above the brutes, to the level of human beings. But we can easily become the victims as well as the beneficiaries of these systems. We must learn how to handle words effectively; but at the same time we must preserve and, if necessary, intensify our ability to look at the world directly and not through that half-opaque medium of concepts, which distorts every given fact into the all too familiar likeness of some generic label or explanatory abstraction. Literary or scientific, liberal or specialist, all our education is predominantly verbal and therefore fails to accomplish what it is supposed to do. Instead of transforming children into fully developed adults, it turns out students of the natural sciences who are completely unaware of Nature as the primary fact of experience, it inflicts upon the world students of the Humanities who know nothing of humanity, their own or anyone else’s. In a world where education is predominantly verbal, highly educated people find it all but impossible to pay serious attention to anything but words and notions. There is always money for, there are always doctrines in, the learned foolery of research into what, for scholars, is the all-important problem: Who influenced whom to say what when? Even in this age of technology the verbal humanities are honoured. The non-verbal humanities, the arts of being directly aware of the given facts of our existence, are almost completely ignored. Every individual is at once the beneficiary and the victim of the linguistic tradition into which he has been born - the beneficiary in as much as language gives access to the accumulated records of other people's experience, the victim in so far as it confirms him in the belief that reduced awareness is the only awareness and as it bedevils his sense of reality, so that he is all too apt to take his concepts for data, his words for actual things. That which, in the language of religion, is called "this world" is the universe of reduced awareness, expressed, and, as it were, petrified by language.

Next comes the Curse, as it is called, which God pronounced upon man. The prominent point in that curse turns chiefly on the contrast between man and nature. Man must work in the sweat of his brow: and woman bring forth in sorrow. As to work, if it is the result of the disunion, it is also the victory over it. The beasts have nothing more to do but to pick up the materials required to satisfy their wants: man on the contrary can only satisfy his wants by himself producing and transforming the necessary means. Thus even in these outside things man is dealing with himself. The story does not close with the expulsion from Paradise. We are further told, God said, ‘Behold Adam is become as one of us, to know good and evil.’ Knowledge is now spoken of as divine, and not, as before, as something wrong and forbidden. Such words contain a confutation of the idle talk that philosophy pertains only to the finitude of the mind. Philosophy is knowledge, and it is through knowledge that man first realises his original vocation, to be the image of God. When the record adds that God drove men out of the garden of Eden to prevent their eating of the tree of life, it only means that on his natural side certainly man is finite and mortal, but in knowledge infinite. We all know the theological dogma that man’s nature is evil, tainted with what is called Original Sin. Now while we accept the dogma, we must give up the setting of incident which represents original sin as consequent upon an accidental act of the first man. For the very notion of spirit is enough to show that man is evil by nature, and it is an error to imagine that he could ever be otherwise. To such extent as man is and acts like a creature of nature, his whole behaviour is what it ought not to be. For the spirit it is a duty to be free, and to realise itself by its own act. Nature is for man only the starting-point which he has to transform. The theological doctrine of original sin is a profound truth; but modem enlightenment prefers to believe that man is naturally good, and that he acts right so long as he continues true to nature. The hour when man leaves the path of mere natural being marks the difference between him, a self-conscious agent, and the natural world. But this schism, though it forms a necessary element in the very notion of spirit, is not the final goal of man. It is to this state of inward breach that the whole finite action of thought and will belongs. In that finite sphere man pursues ends of his own and draws from himself the material of his conduct. While he pursues these aims to the uttermost, while his knowledge and his will seek himself, his own narrow self apart from the universal, he is evil; and his evil is to be subjective. We seem at first to have a double evil here: but both are really the same. Man in so far as he is spirit is not the creature of nature: and when he behaves as such, and follows the cravings of appetite, he wills to be so. The natural wickedness of man is therefore unlike the natural life of animals. A mere natural life may be more exactly defined by saying that the natural man as such is an individual: for nature in every part is in the bonds of individualism. Thus when man wills to be a creature of nature, he wills in the same degree to be an individual simply. Yet against such impulsive and appetitive action, due to the individualism of nature, there also steps in the law or general principle. This law may either be an external force, or have the form of divine authority. So long as he continues in his natural state, man is in bondage to the law. It is true that among the instincts and affections of man, there are social or benevolent inclinations, love, sympathy, and others, reaching beyond his selfish isolation. But so long as these tendencies are instinctive, their virtual universality of scope and purport is vitiated by the subjective form which always allows free play to self-seeking and random action.

Sometimes in life, a strange thing happens: we get the chance to reinvent ourselves. Our new self has the ability to draw on the strengths and experiences of the old self, but without the constraints and limiting beliefs that held us back. When this opportunity arrives, we have a choice to make. We can use it as a springboard to greater things. Dreams become goals, and goals become a series of checkpoints along the way. As we achieve the goals and approach the dreams, new dreams appear on the horizon. Or, of course, we can let the opportunity pass us by. That's why it's a choice: take it or leave it. It doesn't force itself in.

If it be but a tooth to pull out, the faster it stands the more pain we have to draw it.  O loosen the roots of thy affections from the world, and the tree will fall more easily.

She held the letter up so he could see the drawing of the tree. “We need to talk.” She expected surprise, at the very least, but Dad’s expression didn’t change. He looked across the room at the person sitting on the couch, partially concealed in shadows. The person Ridley hadn’t noticed until this moment. “Yes,” Dad said. “I think we do.

I can draw a seedling with two tiny branches. Yours and mine. We'll be on our own brand-new, tiny family tree - one that starts with us

He stared at me for a long moment as if he was trying to figure me out and I dropped my eyes before he could. I didn’t want Darius Acrux in my head. My attention snagged on a deep red stain on the sleeve of his pristine white shirt and I pointed it out. “Are you bleeding?” I asked. “No,” he replied forcefully before looking down at the offending stain and waving his hand to clear it away with his water magic. “Well that was obviously blood so-” “I said no, just drop it,” he snarled. I flinched back but he didn’t release me and my heart started beating faster. He sighed heavily and shook his head before letting me go. “Sorry, I just... I’m not bleeding now. It’s not an issue.” “Okay...” I took a step back, wondering why I was even talking to him. This was the guy who had tormented me for weeks and he was clearly going to snap right back into asshole mode after tonight. But something about this nice version of Darius kept drawing me in despite my reservations. “Come on, let’s catch up with the others and get back to the Academy,” he urged, offering me his arm again. The anger which had risen in him a moment ago seemed to have gone so I tentatively accepted his arm and we started walking down the driveway and away from his family. “Careful,” I teased. “Someone might think we don’t even hate each other if you don’t release me soon.” We made it to the edge of the pooling light which lit up the front of his house and he drew me into the darkness beyond it. “I never said I hated you,” he murmured, his voice deep as he tugged me around to face him. I looked up at his striking face, the moonlight highlighting his strong jaw and pulling my attention to his mouth for a moment. “Well I really feel sorry for anyone you do hate,” I muttered, pulling my arm out of his grip. He resisted for a moment like he wanted to keep hold of me but gave in when I tugged a little harder. “The things I’ve done to you... you know it isn’t personal, right?” he asked. I looked up at him for several long seconds, wondering if he seriously bought into that horse shit or if it was just what he was trying to sell me. I wasn’t really sure what I saw there but I definitely didn’t buy his excuses. “Is that how you justify it to yourself?” I asked bitterly, our little bubble of peace well and truly burst now that we were standing in the cold air of the night. Darius hesitated and I gave him an eye roll dramatic enough to fell a small tree. I turned away from him, looking for Orion and the stardust which would take us back to the Academy but his fingers curled around my wrist before I could escape. “Do you hate me, then?” he asked quietly and for some strange reason it sounded like the idea of that didn’t sit well with him. I forced myself to reply in a steady tone, holding his eye as I spoke. “No,” I said and a glimmer of relief spilled through his eyes, almost halting me there but I wasn’t quite so blinded by him as to give him a free pass for all his bullshit. “To hate you, I’d have to care about you. And I don’t give one shit about you,” I said coldly. I shook his hand off of me for the second time and stalked away towards Darcy and Orion. He didn’t follow me and I was glad. Because I had the horrible feeling that that might just have been a lie.(toy)

But it was the ash wood that made their immortal, healing magic falter long enough for a human to make a killing blow. Or so legend and rumor claimed. The only proof we had of the ash’s effectiveness was its sheer rarity. I’d seen drawings of the trees, but never one with my own eyes—not after the High Fae had burned them all long ago.

The afternoon passes, the light fades, and evening is coming when are upon the cold, treeless ridges in austerity and awe, utterly removed from everyday life and everything we are used to in light and sound. As we top the last edge, we see below us Blue Lake. Bottomless, peacock blue, smooth as glass, it lies there like an uncut, shining jewel. Symmetrical pine trees, in thick succession, slope down to its shores. This Blue Lake is the most mysterious thing I have ever seen in nature, having an unknowing impenetrable life of its own, and a definite emanation that rises from it. Here is the source of most of the valley life. From this unending water supply that flows out of the east end and miles and miles of the stream to the Pueblo, fields are irrigated and winds down and feds all our fields and orchards. It has never been surprising to me that the Native Americans call Blue Lake a sacred lake and worship it…it is fitting to sleep beside it and try to draw what one could from its strong being. Most of us are used only to the awesome holiness of churches and lofty arches, cathedral where, with stained glass and brooding silences, priest try to emulate the religious atmosphere that is to be found in the living earth in some of her secret places. 1945 Collected in: Sisters of the Earth: Women's Prose and Poetry About Nature by Lorraine Anderson

It often manifests, he suggests, simply as a dull sense of fear, leading to participation in acts of terror that have been so normalized by the dominant culture as to be scarcely recognizable as such at all. “We are made to be crazy,” Forbes writes, “by other people who are also crazy and who draw for us a map of the world which is ugly, negative, fearful.” The wétiko disease is, above all, an affliction of the psyche and spirit that causes us to become “passive foot-soldiers trained to surrender [our] minds and hearts.” On a societal level, it manifests both in the relentless move toward militarization and in our blind acceptance of this path as inevitable and necessary. Forbes also writes of the long-standing wétiko urge to “de-sanctify” places that have historically been regarded as holy, sacred, and beautiful by native people. He writes, “The significance of de- sanctifying the earth, the animals, the plants, the trees, and even human beings is that the world is made a potentially ugly and very exploitable place.

Children make you see distances. What do you mean “distances”? Lazer paused and picked an olive from the plate. He spun it slowly on the toothpick. Well for example this morning I was sitting at my desk at home looking out on the acacia trees that grow beside the balcony beautiful trees very tall and my daughter was there she likes to stand beside me and draw pictures while I write in my journal. It was very bright this morning unexpectedly clear like a summer day and I looked up and saw a shadow of a bird go flashing across the leaves of the acacia as if on a screen projected and it seemed to me that I was standing on a hill. I have labored up to the top of this hill, here I am it has taken about half my life to get here and on the other side the hill slopes down. Behind me somewhere if I turned around I could see my daughter beginning to climb hand over hand like a little gold animal in the morning sun. That is who we are. Creatures moving on a hill. At different distances, said Geryon.

he heard a voice saying ‘GO’. He crawled to a tree and snapped off a couple of limbs to make improvised ice axes and led Sandra out from under the wing. They stepped and slid down the icy slope an inch at a time. Norman kicked holes with the toes of his trainers and dug the stick in as best he could. Sandra followed behind, her feet half on the snow, half on Norman’s shoulders, her arm still hanging uselessly. The slope slanted across as well as down, drawing them towards an even steeper and icier funnel section of the gulley. Norman tried to keep away from this lethal chute. He looked back up the mountain. They had only gone 9 m (30 ft). They would never make it at this pace. ‘We need to go faster.’ And he turned round to encourage Sandra, only to see her slipping into the insane drop of the funnel. Her hand, her arm, her hip and then her whole body were gone. Norman pushed himself in after her. Momentum took them right across the funnel and Norman caught her as they clattered into jagged rocks on the far side. Bone smashed onto stone as they scrabbled furiously with sticks, fingers, feet – anything to get a grip. Bouncing like a pinball between the boulders they finally came to a stop. Norman’s knuckles were shredded to the bone. But he was too cold to feel any pain. Sandra moaned and started talking about God. There was nothing to do but inch on down the endless chute.

. . . if we can outlast the urge to judge everything we encounter, a miracle starts to surround us in which painting, music, poetry, running, water, flowers, wind through trees, open vistas-- all touch and draw out their counterpart that lives quietly within us.

Is it enough to live in a universe whose laws spontaneously create life? Or do you prefer ... God?” She paused, looking embarrassed. “Sorry, after all we’ve been through tonight, I know that’s a strange question.” “Well,” Langdon said with a laugh, “I think my answer would benefit from a decent night’s sleep. But no, it’s not strange. People ask me all the time if I believe in God.” “And how do you reply?” “I reply with the truth,” he said. “I tell them that, for me, the question of God lies in understanding the difference between codes and patterns.” Ambra glanced over. “I’m not sure I follow you.” “Codes and patterns are very different from each other,” Langdon said. “And a lot of people confuse the two. In my field, it’s crucial to understand their fundamental difference.” “That being?” Langdon stopped walking and turned to her. “A pattern is any distinctly organized sequence. Patterns occur everywhere in nature—the spiraling seeds of a sunflower, the hexagonal cells of a honeycomb, the circular ripples on a pond when a fish jumps, et cetera.” “Okay. And codes?” “Codes are special,” Langdon said, his tone rising. “Codes, by definition, must carry information. They must do more than simply form a pattern—codes must transmit data and convey meaning. Examples of codes include written language, musical notation, mathematical equations, computer language, and even simple symbols like the crucifix. All of these examples can transmit meaning or information in a way that spiraling sunflowers cannot.” Ambra grasped the concept, but not how it related to God. “The other difference between codes and patterns,” Langdon continued, “is that codes do not occur naturally in the world. Musical notation does not sprout from trees, and symbols do not draw themselves in the sand. Codes are the deliberate inventions of intelligent consciousnesses.” Ambra nodded. “So codes always have an intention or awareness behind them.” “Exactly. Codes don’t appear organically; they must be created.” Ambra studied him a long moment. “What about DNA?” A professorial smile appeared on Langdon’s lips. “Bingo,” he said. “The genetic code. That’s the paradox.” Ambra felt a rush of excitement. The genetic code obviously carried data — specific instructions on how to build organisms. By Langdon’s logic, that could mean only one thing. “You think DNA was created by an intelligence!” Langdon held up a hand in mock self-defense. “Easy, tiger!” he said, laughing. “You’re treading on dangerous ground. Let me just say this. Ever since I was a child, I’ve had the gut sense that there’s a consciousness behind the universe. When I witness the precision of mathematics, the reliability of physics, and the symmetries of the cosmos, I don’t feel like I’m observing cold science; I feel as if I’m seeing a living footprint ... the shadow of some greater force that is just beyond our grasp.