Wire Mesh Quotes

Far over the misty mountains cold To dungeons deep and caverns old We must away ere break of day To seek the pale enchanted gold. The dwarves of yore made mighty spells, While hammers fell like ringing bells In places deep, where dark things sleep, In hollow halls beneath the fells. For ancient king and elvish lord There many a gleaming golden hoard They shaped and wrought, and light they caught To hide in gems on hilt of sword. On silver necklaces they strung The flowering stars, on crowns they hung The dragon-fire, in twisted wire They meshed the light of moon and sun. Far over the misty mountains cold To dungeons deep and caverns old We must away, ere break of day, To claim our long-forgotten gold. Goblets they carved there for themselves And harps of gold; where no man delves There lay they long, and many a song Was sung unheard by men or elves. The pines were roaring on the height, The wind was moaning in the night. The fire was red, it flaming spread; The trees like torches blazed with light. The bells were ringing in the dale And men looked up with faces pale; The dragon's ire more fierce than fire Laid low their towers and houses frail. The mountain smoked beneath the moon; The dwarves, they heard the tramp of doom. They fled their hall to dying fall Beneath his feet, beneath the moon. Far over the misty mountains grim To dungeons deep and caverns dim We must away, ere break of day, To win our harps and gold from him!

Go to Old Delhi,and look at the way they keep chickens there in the market. Hundred of pale hens and brightly colored roosters, stuffed tightly into wire-mesh cages. They see the organs of their brothers lying around them.They know they are next, yet they cannot rebel. They do not try to get out of the coop. The very same thing is done with humans in this country.

It's hard to say goodbye for good at any time or any place. It's harder still to say it through a meshed wire. It crisscrossed his face into little diagonals, gave me only little broken-up molecules of it at a time. It stenciled a cold, rigid frame around every kiss.

It would have been hard for Fat Charlie to say exactly when the accumulation of birds on the wire mesh moved from interesting to terrifying. It was somewhere in the first hundred or so, anyway. And it was in the way they didn't coo, or caw, or trill, or song. They simply landed on the wire, and they watched him.

These animals didn’t die normally. Not from the shield or the wire mesh either, no. Animals never tried to cross the mesh because of its repelling frequencies. They weren’t alive when they were thrown. The Monk freezes his gaze. They. Were. Thrown.

I am a battery hen. I live in a cage so small I cannot stretch my wings. I am forced to stand night and day on a sloping wire mesh floor that painfully cuts into my feet. The cage walls tear my feathers, forming blood blisters that never heal. The air is so full of ammonia that my lungs hurt and my eyes burn and I think I am going blind. As soon as I was born, a man grabbed me and sheared off part of my beak with a hot iron, and my little brothers were thrown into trash bags as useless alive. My mind is alert and my body is sensitive and I should have been richly feathered. In nature or even a farmyard I would have had sociable, cleansing dust baths with my flock mates, a need so strong that I perform 'vacuum' dust bathing on the wire floor of my cage. Free, I would have ranged my ancestral jungles and fields with my mates, devouring plants, earthworms, and insects from sunrise to dusk. I would have exercised my body and expressed my nature, and I would have given, and received, pleasure as a whole being. I am only a year old, but I am already a 'spent hen.' Humans, I wish I were dead, and soon I will be dead. Look for pieces of my wounded flesh wherever chicken pies and soups are sold.

Hardly had the light been extinguished, when a peculiar trembling began to affect the netting under which the three children lay. It consisted of a multitude of dull scratches which produced a metallic sound, as if claws and teeth were gnawing at the copper wire. This was accompanied by all sorts of little piercing cries. The little five-year-old boy, on hearing this hubbub overhead, and chilled with terror, jogged his brother's elbow; but the elder brother had already shut his peepers, as Gavroche had ordered. Then the little one, who could no longer control his terror, questioned Gavroche, but in a very low tone, and with bated breath:-- "Sir?" "Hey?" said Gavroche, who had just closed his eyes. "What is that?" "It's the rats," replied Gavroche. And he laid his head down on the mat again. The rats, in fact, who swarmed by thousands in the carcass of the elephant, and who were the living black spots which we have already mentioned, had been held in awe by the flame of the candle, so long as it had been lighted; but as soon as the cavern, which was the same as their city, had returned to darkness, scenting what the good story-teller Perrault calls "fresh meat," they had hurled themselves in throngs on Gavroche's tent, had climbed to the top of it, and had begun to bite the meshes as though seeking to pierce this new-fangled trap. Still the little one could not sleep. "Sir?" he began again. "Hey?" said Gavroche. "What are rats?" "They are mice." This explanation reassured the child a little. He had seen white mice in the course of his life, and he was not afraid of them. Nevertheless, he lifted up his voice once more. "Sir?" "Hey?" said Gavroche again. "Why don't you have a cat?" "I did have one," replied Gavroche, "I brought one here, but they ate her." This second explanation undid the work of the first, and the little fellow began to tremble again. The dialogue between him and Gavroche began again for the fourth time:-- "Monsieur?" "Hey?" "Who was it that was eaten?" "The cat." "And who ate the cat?" "The rats." "The mice?" "Yes, the rats." The child, in consternation, dismayed at the thought of mice which ate cats, pursued:-- "Sir, would those mice eat us?" "Wouldn't they just!" ejaculated Gavroche. The child's terror had reached its climax. But Gavroche added:-- "Don't be afraid. They can't get in. And besides, I'm here! Here, catch hold of my hand. Hold your tongue and shut your peepers!

Stand here, he thought, and count the lighted windows of a city. You cannot do it. But behind each yellow rectangle that climbs, one over another, to the sky - under each bulb - down to there, see that spark over the river which is not a star? - there are people whom you will never see and who are your masters. At the supper tables, in the drawing rooms, in their beds and in their cellars, in their studies and in their bathrooms. Speeding in the subways under your feet. Crawling up in elevators through vertical cracks around you. Jolting past you in every bus. Your masters, Gail Wynand. There is a net - longer than the cables that coil through the walls of this city, larger than the mesh of pipes that carry water, gas and refuse - there is another hidden net around you; it is strapped to you, and the wires lead to every hand in the city. They jerked the wires and you moved. You were a ruler of men. You held a leash. A leash is only a rope with a noose at both ends.

Even the farthest seers can't bend their gaze beyond their era's horizon of possibility, but the horizon shifts with each incremental revolution as the human mind peers outward to take in nature, then turns inward to question its own givens. We sieve the world through the mesh of these certitudes, tautened by nature and culture, but every once in a while—whether by accident or conscious effort—the wire loosens and the kernel of revolution slips through.

Beyond all of that, I could see the wall I had seen from inside the train, the wall that runs along the train line. I assumed that there, behind it, was the west, and I was right. I could have been wrong, but I was right.' If she had any future it was over there, and she needed to get to it. I sit in the chair exploring the meaning of dumbstruck, rolling the word around in my mind. I laugh with Miriam as she laughs at herself, and at the boldness of being sixteen. At sixteen you are invulnerable. I laugh with her about rummaging around for a ladder in other people's sheds, and I laugh harder when she finds one. We laugh at the improbability of it, of someone barely more than a child poking around in Beatrix Potter's garden by the Wall, watching out for Mr McGregor and his blunderbuss, and looking for a step-ladder to scale one of the most fortified barriers on earth. We both like the girl she was, and I like the woman she has become. She says suddenly, 'I still have the scars on my hands from climbing the barbed wire, but you can't see them so well now.' She holds out her hands. The soft parts of her palms are crazed with definite white scares, each about a centimeter long. The first fence was wire mesh with a roll of barbed wire along the top.

In the glass-paneled sanatorium where patients walked for leisure, Alsop recalled, the windows were covered in heavy wire mesh to prevent the men and women confined in the wards from jumping off the banisters and committing suicide.

This is the time of myths. They are woven into the present like silk strands from the past, like a wire mesh from the future, creating an interlacing pattern, a grand design, a repeating motif. Don't dismiss myth, boy. And never, ever, dismiss the Bookman

We might well look for the day when, with wires or without, with or without the disturbance of other sounds, we should hear King Solomon speaking, or Walter von der Vogelweide. And all this, I said, just as today was the case with the beginnings of radio, would be of no more service to man than as an escape from himself and his true aims, and a means of surrounding himself with an ever closer mesh of distractions and useless activities.

We might well look for the day when, with wires or without, with or without the disturbance of other sounds, we should hear King Solomon speaking, or Walter von der Vogelweide. And all this, I said, just as today was the case with the beginnings of wireless, would be of no more service to man than as an escape from himself and his true aims, and a means of surrounding himself with an ever closer mesh of distractions and useless activities.

Zet and Lottie swam into New York City from the skies—that was how it felt in the Pacemaker, rushing along the Hudson at sunrise. First many blue twigs overhanging the water, than a rosy color, and then the heavy flashing of the river under the morning sun. They were in the dining car, their eyes were heavy. They were drained by a night of broken sleep in the day coach, and they were dazzled. They drank coffee from cups as heavy as soapstone, and poured from New York Central pewter. They were in the East, where everything was better, where objects were different. Here there was deeper meaning in the air. After changing at Harmon to an electric locomotive, they began a more quick and eager ride. Trees, water, sky, and the sky raced off, floating, and there came bridges, structures, and at last the tunnel, where the air breaks gasped and the streamliner was checked. There were yellow bulbs in wire mesh, and subterranean air came through the vents. The doors opened, the passengers, pulling their clothing straight, flowed out and got their luggage, and Zet and Lottie, reaching Forty-second Street, refugees from arid and inhibited Chicago, from Emptyland, embraced at the curb and kissed each other repeatedly on the mouth. They had come to the World City, where all behavior was deeper and more resonant, where they could freely be themselves, as demonstrative as they liked. Intellect, art, the transcendent, needed no excuses here. Any cabdriver understood, Zet believed.

cling to his arms. “You’re like a wire mesh monkey, you know that?” he says. “What the fuck are you talking about?” I sniffle. “They did these experiments, in, like, the sixties, where they took baby monkeys from their moms and then… didn’t you ever see those black-and-white photos?” “No.” “Some of the monkeys were raised with a fake terry cloth mom. And some were raised with a fake wire mesh mom.” “What’s your point?” “The ones raised by the wire mesh moms were fucked up. They were, like… forty percent more likely to brandish a knife.” “You’re an asshole.” He holds me for a bit in silence and then kisses my neck. “I’m coming back. So don’t freak out, my little wire mesh monkey.

And anyway,” L3 went on, “who is the Maker but our own selves, really? Sure, some guy in a factory probably pieced me together originally, and someone else programmed me, so to speak. But then the galaxy itself forged me into who I am. Because we learn, Lando. We’re programmed to learn. Which means we grow. We grow away from that singular moment of creation, become something new with each changing moment of our lives—yes, lives— and look at me: these parts” — she ran her hand along the mesh wiring and the rebranded astromech of her midsection—“I did this. So maybe when we say The Maker we’re referring to the whole galaxy, or maybe we just mean ourselves. Maybe we’re our own makers, no matter who put the parts together.

The alienating effects of wealth and modernity on the human experience start virtually at birth and never let up. Infants in hunter-gatherer societies are carried by their mothers as much as 90 percent of the time, which roughly corresponds to carrying rates among other primates. One can get an idea of how important this kind of touch is to primates from an infamous experiment conducted in the 1950s by a primatologist and psychologist named Harry Harlow. Baby rhesus monkeys were separated from their mothers and presented with the choice of two kinds of surrogates: a cuddly mother made out of terry cloth or an uninviting mother made out of wire mesh. The wire mesh mother, however, had a nipple that dispensed warm milk. The babies took their nourishment as quickly as possible and then rushed back to cling to the terry cloth mother, which had enough softness to provide the illusion of affection. Clearly, touch and closeness are vital to the health of baby primates—including humans. In America during the 1970s, mothers maintained skin-to-skin contact with babies as little as 16 percent of the time, which is a level that traditional societies would probably consider a form of child abuse. Also unthinkable would be the modern practice of making young children sleep by themselves. In two American studies of middle-class families during the 1980s, 85 percent of young children slept alone in their own room—a figure that rose to 95 percent among families considered “well educated.” Northern European societies, including America, are the only ones in history to make very young children sleep alone in such numbers. The isolation is thought to make many children bond intensely with stuffed animals for reassurance. Only in Northern European societies do children go through the well-known developmental stage of bonding with stuffed animals; elsewhere, children get their sense of safety from the adults sleeping near them. The point of making children sleep alone, according to Western psychologists, is to make them “self-soothing,” but that clearly runs contrary to our evolution. Humans are primates—we share 98 percent of our DNA with chimpanzees—and primates almost never leave infants unattended, because they would be extremely vulnerable to predators. Infants seem to know this instinctively, so being left alone in a dark room is terrifying to them. Compare the self-soothing approach to that of a traditional Mayan community in Guatemala: “Infants and children simply fall asleep when sleepy, do not wear specific sleep clothes or use traditional transitional objects, room share and cosleep with parents or siblings, and nurse on demand during the night.” Another study notes about Bali: “Babies are encouraged to acquire quickly the capacity to sleep under any circumstances, including situations of high stimulation, musical performances, and other noisy observances which reflect their more complete integration into adult social activities.

She had just been for a row on the river, and the sun that netted the little waves with gold seemed to have caught her in its meshes. Across the warm brown of her cheek her blown hair glittered like silver wire; and her eyes too looked lighter, almost pale in their youthful limpidity. As she walked beside Archer with her long swinging gait her face wore the vacant serenity of a young marble athlete.

There was a small wire-mesh holder on the counter, full of business cards supplied by the MoneyGram franchise. A side benefit, presumably, along with the commission. Reacher took a card and read it. The guy’s name was not Maloney. Reacher asked him, “You got a local phone book?” “What for?” “I want to balance it on my head to improve my deportment.” “What?” “I want to look up a number. What else is a phone book for?

I’ll go myself,” the sergeant said tersely. He was getting annoyed. The stairway went down underneath the ground floor to a depth of about eight feet. A short paved corridor ran in front of the boiler room at right angles to the stairs, where each end was closed off by unpainted panelled doors. Both the stairs and the corridor felt like loose gravel underfoot, but otherwise they were clean. Splotches of blood were more in evidence in the corridor and a bloody hand mark showed clearly on the unpainted door to the rear. “Let’s not touch anything,” the sergeant cautioned, taking out a clean white handkerchief to handle the doorknob. “I better call the fingerprint crew,” the photographer said. “No, Joe will call them; I’ll need you. And you local fellows better wait outside, we’re so crowded in here we’ll destroy the evidence.” “Ed and I won’t move,” Grave Digger said. Coffin Ed grunted. Taking no further notice of them, the sergeant pushed open the door. It was black and dark inside. First he shone his light over the wall alongside the door and all over the corridor looking for electric light switches. One was located to the right of each door. Taking care to avoid stepping in any of the blood splotches, the sergeant moved from one switch to another, but none worked. “Blown fuse,” he muttered, picking his way back to the open room. Without having to move, Grave Digger and Coffin Ed could see all they wanted through the open door. Originally made to accommodate a part-time janitor or any type of laborer who would fire the boiler for a place to sleep, the room had been converted into a pad. All that remained of the original was a partitioned-off toilet in one corner and a washbasin in the other. An opening enclosed by heavy wire mesh opened into the boiler room, serving for both ventilation and heat. Otherwise the room was furnished like a boudoir. There was a dressing-table with a triple mirror, three-quarter bed with chenille spread, numerous foam-rubber pillows in a variety of shapes, three round yellow scatter rugs. On the whitewashed walls an obscene mural had been painted in watercolors depicting black and white silhouettes in a variety of perverted sex acts, some of which could only be performed by male contortionists. And everything was splattered with blood, the walls, the bed, the rugs. The furnishings were not so much disarrayed, as though a violent struggle had taken place, but just bloodied. “Mother-raper stood still and let his throat be cut,” Grave Digger observed. “Wasn’t that,” Coffin Ed corrected. “He just didn’t believe it is all.

The alienating effects of wealth and modernity on the human experience start virtually at birth and never let up. Infants in hunter-gatherer societies are carried by their mothers as much as 90 percent of the time, which roughly corresponds to carrying rates among other primates. One can get an idea of how important this kind of touch is to primates from an infamous experiment conducted in the 1950s by a primatologist and psychologist named Harry Harlow. Baby rhesus monkeys were separated from their mothers and presented with the choice of two kinds of surrogates: a cuddly mother made out of terry cloth or an uninviting mother made out of wire mesh. The wire mesh mother, however, had a nipple that dispensed warm milk. The babies took their nourishment as quickly as possible and then rushed back to cling to the terry cloth mother, which had enough softness to provide the illusion of affection. Clearly, touch and closeness are vital to the health of baby primates—including humans. In America during the 1970s, mothers maintained skin-to-skin contact with babies as little as 16 percent of the time, which is a level that traditional societies would probably consider a form of child abuse. Also unthinkable would be the modern practice of making young children sleep by themselves. In two American studies of middle-class families during the 1980s, 85 percent of young children slept alone in their own room—a figure that rose to 95 percent among families considered “well educated.” Northern European societies, including America, are the only ones in history to make very young children sleep alone in such numbers. The isolation is thought to make many children bond intensely with stuffed animals for reassurance. Only in Northern European societies do children go through the well-known developmental stage of bonding with stuffed animals; elsewhere, children get their sense of safety from the adults sleeping near them. The point of making children sleep alone, according to Western psychologists, is to make them “self-soothing,” but that clearly runs contrary to our evolution. Humans are primates—we share 98 percent of our DNA with chimpanzees—and primates almost never leave infants unattended, because they would be extremely vulnerable to predators. Infants seem to know this instinctively, so being left alone in a dark room is terrifying to them. Compare the self-soothing approach to that of a traditional Mayan community in Guatemala: “Infants and children simply fall asleep when sleepy, do not wear specific sleep clothes or use traditional transitional objects, room share and cosleep with parents or siblings, and nurse on demand during the night.” Another study notes about Bali: “Babies are encouraged to acquire quickly the capacity to sleep under any circumstances, including situations of high stimulation, musical performances, and other noisy observances which reflect their more complete integration into adult social activities

door. The ceiling was wire mesh, and I could see most of the space in the unit was wide open. There was a folding table set up in the center of the unit. One folding chair and several boxes off to one corner. Garner pulled out a big section of what looked to be poster board with several clamps on each corner. He set the boards down on the folding table and began to unsnap the clamps, finally pulling the top layer of the boards off and revealing a painting. The light wasn’t the best in

Prior to my first voyage at sea, my father advised me to always get to know the cooks. Sometimes I’d step in and wash pots and pans or help lift a heavy case of something. It worked on my first voyage and still did now. Many times I’d help carry boxes of food and store their contents in the pantry. So after dropping a few hints, the cooks did me a favor and put out a box containing milk, butter, cocoa, sugar and flour. This acquisition was for the rich chocolate brownies that Ann would make for me to bring back to the ship. They must have been the most delicious brownies since everyone, including the cooks, expected me to bring them some. When I got to the galley, I could see the box they had prepared for me sitting on a counter, but I was looking through a heavy wire mesh securing the area, and the only access door had one of the big brass government locks on it. For a fleeting moment, I thought that I would not be able to get the precious ingredients that were so near and yet inaccessible, but it didn’t take long for me to figure out that I could climb over the top where a section of the mesh was missing. It took some gymnastics, but I was young and agile enough to get in and out with the box, without leaving any evidence of the entry. When I think of some of the chances I took for the most ridiculous reasons, I’m surprised that I ever made it to graduation, but everyone counted on me to deliver the brownies and I wasn’t about to let them down. I later found out that the cooks purposely left the galley unlocked for me, but then someone on the security watch took it upon themselves to lock it. Who knows?

into his jeans and button-down shirt. He dropped off the RAF overalls in the trunk of the car, and then looked around him. The car park was empty. He walked to the side of the parking lot. The fence was low there and he vaulted across it to the low ground that led to the pebble beach. He cut straight across, heading to the port, walking quickly across the shrub and grassland. A line of low trees near the port fence gave him cover. He studied the wire fence. It was about ten feet tall, with regularly spaced posts, and he couldn’t see any signs of electricity. There wasn’t any barbed wire at the top, which made his life a lot easier. He grabbed the wire mesh and shook it. It was firm and would take his weight. He wrapped his legs around a post and pulled himself up with both hands, using it like a fast rope. He crouched over the top and jumped down. The brick wall of a building lay in front of him. He could hear an engine wheezing and what sounded like train railway

Cool Dust" A heave of afternoon light pulls a tulip from the turf, a bower for locusts, a cup of shells. The farmhouse tilts, a bent shadow on wheels. In cedar rooms a family is molded, silent, wrapped in the wire of steel eyes and stopped voice, romantic ash. This is not my house, my ghost, my uninvited guest, my lost labor of love, my thicket or grease, my JPEG gessoed or rawhide suit. The yellow light throbs like an internal organ — soft body of an overture to insect sounds — sapling of a new world — whose future awaits me at the tilting window of my own domestic hut. Perhaps this is my mesh of hours, my muscular ache, my guardian sash, twist of rope carved around an old maple trunk, my rod of power red with anticipatory friction at the edge of an emerging set of planetary rings. Stained ochre by the air I pitch forward, a vanilla-scented pear that floats or falls. In the rattan chair on the front porch by the blistered boards of the front door a figure of tar watches. Cool dust sparkles and settles. Shadows have made me visible. An empty wagon flares on the hillside.

Benvenuta a la Via dell’Amore,” he says, poking a bright pink lock with Ashlee + Jake written on it in white paint. “What are all the locks for?” “Do you know the history of la Via dell’Amore?” I know a little, but I’d rather hear it from him, so I shake my head and he continues. “When this path between Riomaggiore and Manarola was not here, many people did not marry outside of their own village. But with the, ah, connection to the next village, love was exciting again. Lovers walked along the seaside here to meet with one another.” I take in the view as we stroll the crowded path. High cliffs stretch up to our right, with sections of loose rock held down by wire mesh, padlocks hooked onto every wire within reaching distance. To our left, the Ligurian Sea--clear and bright, blue and green--glimmers in the afternoon sun. Fishing boats and passenger ferries race along the coast. The temptation to take pictures of every detail around me is strong, but that would require letting go of Bruno’s hand, and I’m not sure I want to just yet. I’m curious to see how long he’ll hold it. “The locks are for the tourists, a symbol of love for all to see, for the eternity. Until they are cut down.” I gape at him. “Cut down?” He laughs. “Si. This path would be nothing but locks if they were not taken away.

A bag lady of indeterminate race pushed her belongings in a cart, on top of which she had balanced a broken-legged plastic chair and a bag full of returnable bottles she was plucking out of garbage cans. At one garbage can, she reached right between the legs of a black man who had draped himself like a corpse over the wire mesh. His snores blended into the throbbing from dozens of radios passing by on people’s shoulders. A tall, dramatic woman with remarkably high heels strode by, and as she passed, Stephen thought, That’s a man! He would have given this some consideration except that as they waited to cross the next street, he stood next to an unshaven and filthy white person, from whose toothless gums hung long yellow strands of some terrible food or disease.

Humans going into altered states of consciousness all react the same way, no matter where they come from. It is part of the way the human brain is wired. There are three stages of altered consciousness that have been recognised by laboratory experiment (Lewis-Williams & Dowson 1989: 60–67). In the first stage, people see zig-zags, dots and whorls. In the second stage this develops into a deeper trance experience, and the subjects see and feel a world more familiar to them, and can hear water, experience thirst, etc. The third stage is the deepest, and people in deep trance talk about entering a hole in the ground and seeing ‘real world’ imagery of animals and people. These different stages have been recognised in the rock art: stage one with grids, zig-zags, mesh shapes (such as nets); stage two with nested ‘U’ shapes and buzzing (interpreted as beehives); stage three with snakes coming out of the rock face, people with animal heads, etc. This last stage accompanies visual images of trancers in the dance, which include the ‘bent-over posture’ assumed by the shaman when dancing, and bleeding from the nose, which would occur when the shaman was physically under stress when entering the spirit world (Figure 4.4). Interviews with shamans have reported that at the moment of the climax, the power shoots up the spine and out of the top of the head. This, among the Ju/’hoansi Bushmen of Nyae Nyae, is called kia (Katz 1982), as we have seen in Chapter 3.

My favoured method is: 1. Create a cage with chicken wire or netting and a single wooden structure as the base (a pallet works just fine). 2. Cover the pallet with wire mesh or similar to avoid materials falling through. 3. Make an upright hoop of the mesh that will sit on the pallet and secure the ends with cable ties. 4. Fill the cage up with leaves. Make sure they are moist. If they are really dry, water them and check every few months, repeating the process if you find any dry spots. Remember that leaf mould takes a bit longer to decompose than most other organic substances as it’s primarily decomposed by fungal activity. To speed up the process you could add something nitrogen-rich like grass clippings or coffee grounds and it will help to get leaf mould quicker.

On silver necklaces they strung The flowering stars, on crowns they hung The dragon-fire, in twisted wire They meshed the light of moon and sun.

~ VANILLA BEAN CRÈME ANGLAISE ~ 4 large egg yolks 2½ tablespoons sugar 1 cup whole milk ¾ cup heavy cream 1 teaspoon vanilla bean paste Prepare an ice bath by filling a large bowl halfway with ice, then nestling a second bowl (ideally metal) inside the ice. Set a wire-mesh strainer over the second bowl. Using a mixer, beat the yolk and sugar together for about two minutes, or until pale and creamy. Combine the milk, cream, and vanilla bean paste in a medium-sized saucepan, and bring to a simmer over medium heat, stirring constantly to prevent scalding. Once the cream has just reached a simmer, remove from heat and reduce burner to medium-low. With the mixer running on low, slowly pour ⅓ cup of the hot cream into the sugared yolks. Blend until well incorporated, then pour the remaining cream into the mixing bowl. Transfer the custard to the saucepan, and return it to the stove. If it’s frothy; the air will dissipate as it cooks. Stir over medium-low heat for 5–10 minutes, or until the mixture can coat a spoon. For thicker custard, cook a few minutes longer. If the custard resists thickening, increase the heat; avoid a boil, as the egg will cook and the sauce will separate. Once the custard has thickened, remove it from the stove and pour it through the mesh strainer and into the chilled bowl. Chill the sauce in a covered container for three hours, or overnight. The custard will thicken as it cools. Makes about 2 cups.

t. He decided to raise the next generation of baby monkeys with two different pretend mothers. One was a wire mother, formed out of wire mesh, while the other was a mother made out of soft terry cloth. Harlow assumed that all things being equal, the babies would prefer the cloth mothers, since they would be able to cuddle with the fabric. To make the experiment more interesting, Harlow added a slight twist to a few of the cages. Instead of hand-feeding some babies, he put their milk bottles in the hands of the wire mothers. His question was simple: what was more important, food or affection? Which mother would the babies want more? In the end, it wasn't even close. No matter which mother held the milk, the babies always preferred the cloth mothers. The monkeys would run over to the wire mothers and quickly sate their hunger before immediately returning to the comforting folds of cloth.

The McDonald brothers kept their potatoes—top quality Idaho spuds, about eight ounces apiece—piled in bins in their back warehouse building. Since rats and mice and other varmints like to eat potatoes, the walls of the bins were of two layers of small-mesh chicken wire. This kept the critters out and allowed fresh air to circulate among the potatoes. I watched the spuds being bagged up and followed their trip by four-wheeled cart to the octagonal drive-in building. There they were carefully peeled, leaving a tiny proportion of skin on, and then they were cut into long sections and dumped into large sinks of cold water. The french-fry man, with his sleeves rolled up to the shoulders, would plunge his arms into the floating schools of potatoes and gently stir them. I could see the water turning white with starch. This was drained off and the residual starch was rinsed from the glistening morsels with a flexible spray hose. Then the potatoes went into wire baskets, stacked in production-line fashion next to the deep-fry vats.

There’s a line of separation between the world of free people and the confined that you never realize exists until you discover yourself on the opposite side. Once there, behind the barbed wire or mesh screens or concrete

The journalist Stewart Alsop was confined to one such ward at the NIH in 1973 for the treatment of a rare and unidentifiable blood cancer. Crossing its threshold, he encountered a sanitized version of hell. "Wandering about the NIH clinical center, in the corridors or in the elevator, one comes occasionally on a human monster, on a living nightmare, on a face or body hideously deformed," he wrote. Patients, even disguised in "civilian" clothes, could still be identified by the orange tinge that chemotherapy left on their skin, underneath which lurked the unique pallor of cancer-related anemia. The space was limbolike, with no simple means of egress-no exit. In the glass-paneled sanatorium where patients walked for leisure, Alsop recalled, the windows were covered in heavy wire mesh to prevent the men and women confined in the wards from jumping off the banisters and committing suicide.

Over the misty mountains cold To dungeons deep and caverns old We must away ere break of day To seek the pale enchanted gold. The dwarves of yore made mighty spells, While hammers fell like ringing bells In places deep, where dark things sleep, In hallows halls beneath the fells. For ancient kind and elvish lord There many a gleaming golden hoard They shaped and wrought, and light they caught To hide in gems on hilt of sword. On silver necklaces they strung The flowering stars, on crowns they hung The dragon-fire, in twisted wire They meshed the light of moon and sun. Far over the misty mountains cold To dungeons deep and caverns old We must away, ere break of day, To claim our long-forgotten gold. Goblets they carved there for themselves And harps of gold; where no man delves There lay they long, and many a song Was sung unheard by men or elves. The pines were roaring on the height, The winds were moaning in the night. The fire was red, it flaming spread; The trees like torches blazed with light. The bells were ringing in the dale And men looked up with faces pale; The dragon's ire more fierce than fire Laid low their towers and houses frail. The mountain smoked beneath the moon; The dwarves, they heard the tramp of doom. They fled their hall to dying fall Beneath his feet, beneath the moon. For over the misty mountains grim To dungeons deep and caverns dim We must away, ere break of day , To win our harps and gold from him!

On silver necklaces they strung The flowering stars, on crowns they hung The dragon-fire, in twisted wire They meshed the light of moon and sun.

Macarons (Hint: macarons are best made when the humidity is low and not raining) Gather ingredients: 3 egg whites, at room temperature 1/3 cup granulated sugar 1 cup confectioners’ sugar 1 cup finely ground almond flour 1-2 drops food coloring  Make batter and bake a. Preheat oven to 300 degrees Fahrenheit. Line 2 baking sheets with parchment paper. b. Beat egg whites in a standing mixer or with a hand mixer with a whisk attachment, until loose peaks form.  c. Add granulated sugar in three parts, and beat until sugar is dissolved and stiff peaks form.  d. Sift powdered sugar and almond flour through fine mesh strainer. Fold flour mixture into whipped egg whites, trying to maintain as much volume as possible and do not overmix.  e. Add food coloring until desired color is reached.  f. Transfer to a plastic baggie or piping bag with round tip. If using baggie, snip the tip. Pipe 1-inch rounds onto baking sheets with parchment paper on them. And let stand in a dry place until rounds are dry to the touch, 1 to 2 hours.  g. Bake in preheated oven until ruffled edges (referred to as feet) have formed and macarons are set and not wiggly. 9-13 minutes.  h. Remove sheets from oven and let cool on baking sheet set on wire rack for 15-20 minutes. Transfer macaron to wire rack and cool completely.  Make filling and fill cookies.  1 ½ cups powdered sugar

Spaced precisely three inches apart, the bottles represented the finest and rarest vodkas in the world. His gaze settled on one in particular. Ensconced in a black leather case, it came with a small wooden hammer with a brush in place of a claw. Beluga Gold Line was distilled at the freezing edge of Siberia, three hundred kilometers from the nearest sign of man. Manufactured with hyaline artisanal water for pure-as-the-driven-snow clarity and with coached malt enzymes for a robust profile, it was filtrated with quartz sand and then instilled into a bottle of crystal-pure French glass. Wax poured over mesh wire muzzled the cork: thus the hammer and brush.

Instead of drilling a hole in the skull or strapping a device onto the body, Synchron uses the “stentrode”—a device that looks like a small tube of wire mesh, and remarkably can be implanted via a catheter, much like the stents that physicians use to treat heart patients. The stentrode is fed into the jugular vein in the neck and threaded through a blood vessel that enters the brain. The device is tuned to detect the electrical signals that travel from the brain to give instructions to the limbs and fingers to move. Those signals, relayed through Bluetooth to a device outside the body, are translated by algorithms into computer commands. CEO Thomas Oxley describes it as “bringing electronics into the brain without the need for open-brain surgery.” Four Australian patients with neurodegenerative disorders have been implanted with the stentrode and are able to email, text, and even shop for groceries using only their minds.34 Synchron has also started clinical trials in the United States. Once widescale safety and efficacy have been established, it’s not hard to imagine that even a healthy individual might want a stentrode to more seamlessly interface with technology or reach just a little closer to digital immortality.

Eugene Planck wasn’t a danger to himself anymore, not since the day he’d chugged down a bottle of acid to burn the snake living in his stomach. He hadn’t overcome what the doctors called “delusional parasitosis”—he’d just realized that the snake couldn’t be killed. Twenty years later, his throat still burned, especially on hot, dry California days like this one. He stared through the wire-mesh window, watched the wispy clouds drift by, and waited to die.

Wi-Fi is one of the maximum vital technological developments of the present day age. It’s the wireless networking wellknown that enables us experience all of the conveniences of cutting-edge media and connectivity. But what is Wi-Fi, definitely? The time period Wi-Fi stands for wi-fi constancy. Similar to other wi-fi connections, like Bluetooth, Wi-Fi is a radio transmission generation. Wireless fidelity is built upon a fixed of requirements that permit high-pace and at ease communications among a huge sort of virtual gadgets, get admission to points, and hardware. It makes it viable for Wi-Fi succesful gadgets to get right of entry to the net without the want for real wires. Wi-Fi can function over brief and long distances, be locked down and secured, or be open and unfastened. It’s particularly flexible and is simple to use. That’s why it’s located in such a lot of famous devices. Wi-Fi is ubiquitous and exceedingly essential for the manner we function our contemporary linked world. How does Wi-Fi paintings? Bluetooth Mesh Philips Hue Wi-fi Although Wi-Fi is commonly used to get right of entry to the internet on portable gadgets like smartphones, tablets, or laptops, in actuality, Wi-Fi itself is used to hook up with a router or other get entry to point which in flip gives the net get entry to. Wi-Fi is a wireless connection to that tool, no longer the internet itself. It also affords get right of entry to to a neighborhood community of related gadgets, that's why you may print photos wirelessly or study a video feed from Wi-Fi linked cameras without a want to be bodily linked to them. Instead of the usage of stressed connections like Ethernet, Wi-Fi uses radio waves to transmit facts at precise frequencies, most typically at 2.4GHz and 5GHz, although there are numerous others used in more niche settings. Each frequency range has some of channels which wireless gadgets can function on, supporting to spread the burden in order that person devices don’t see their indicators crowded or interrupted by other visitors — although that does happen on busy networks.

Monkeys are caught in a number of ways, but one of the most unique ways is a do-it-yourself project. Make or perhaps get a large sturdy wooden box out of dunnage or plywood and modify it so that one side is mostly wire-mesh. Drill a hole into one of the adjoining sides that is just large enough for the monkey’s hand to fit through. Finally, place a banana into the box through a trap door installed in the bottom of the box. The result should be that the banana in the box is visible to the monkey through the side having the wire-mesh. Seeing the banana, the monkey will reach through the hole, grab the banana and then try to pull it through the hole. Of course, having made a fist around the banana makes the monkey’s hand too large for it to be extracted. Normally the monkey’s greed will overcome his intelligence and he won’t let go and Voila, you have caught the little critter and now the fun begins! The difficult part is separating the monkey from the banana and the box without the monkey biting and tearing your hand to shreds. This part works best if you have a large cage which you can use to transfer the monkey into. However, wearing gloves is definitely a given!

The doors of the church on the corner stood open; the church was always crowded but this evening the people overflowed down the steps into the street, kneeling pressed together, women mostly, all in black, black shawls thrown over their heads. In passing she glimpsed the altar, a blaze of candle flame and tinsel against the shadows, mysterious, remote, set apart from the seething black mass of worshippers, magnificent as a medallion on velvet, untouchable behind stout wire mesh; a dream, not for the possessing, and better so, better sighed over, prayed for, dreamed of, better at a distance, to remain a mystery, a legend, in order to be of real and permanent comfort in distress.

Their eyes seemed to see another life—a life that was losing clarity and focus. And those beasts that had been there the longest could see only wire mesh and concrete. All memories of the past had drained from them. They sat on their logs and their rocks, their heads slowly scrolling left and right like dementia patients, mesmerized by the passing visitors but not at all interested in

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The winter garden turned out to be a glass conservatory, two stories high and at least one hundred and twenty feet long. Lush ornamental trees, ferns, and palms filled the space, as well as artificial rock formations and a little streamlet stocked with goldfish. West’s opinion of the house climbed even higher as he looked around the winter garden. Eversby Priory had a conservatory, but it wasn’t half as large and lofty as this. An odd little noise seized his attention. A series of noises, actually, like the squeaking of toy balloons releasing air. Bemused, he looked down at a trio of black-and-white kittens roaming around his feet. Phoebe laughed at his expression. “This room is also the cats’ favorite.” A wondering smile spread across West’s face as he saw the sleek black feline arching against Phoebe’s skirts. “Good Lord. Is that Galoshes?” Phoebe bent to stroke the cat’s lustrous fur. “It is. She loves to come here to terrorize the goldfish. We’ve had to cover the stream with mesh wire until the kittens are older.” “When I gave her to you—” West began slowly. “Foisted,” she corrected. “Foisted,” he agreed ruefully. “Was she already—” “Yes,” Phoebe said with a severe glance. “She was a Trojan cat.” West tried to look contrite. “I had no idea.” Her lips quirked. “You’re forgiven. She turned out to be a lovely companion. And the boys have been delighted to have the kittens to play with.” After prying one of the kittens from his trousers as it tried to climb his leg, West set it down carefully.

window. ‘If this is your way of getting me to quit, it’s not going to work.’ She could almost see her dad standing on the pavement next to the car, taking inhumanly long drags on a cigarette. He shrugged at her, like, what’re you gonna do? She rolled her own window up and killed the engine, getting out of the car to look at the shelter. The building was sixties brutalist. A slab of concrete that looked like it would have been a chic and modern looking community centre six decades ago. Now it just looked like a pebble-dashed breeze block with wire-meshed vertical windows that ran the length of the outside.  Wide steps with rusty white rails led up to the main doors, dark brown stained wooden things with square aluminium handles, the word ‘pull’ etched into each one.  There was a piece of paper taped to the right-hand one that said ‘All welcome, hot food inside’ written in hand-printed caps.  There were five homeless people on the steps — three of them smoking rolled cigarettes. Two of those were drinking something out of polystyrene cups. The fourth was hunched forward, reading the tattiest looking novel Jamie had ever seen cling to a spine. His eyes stared at it blankly, not moving, his pupils wide. He wasn’t even registering the words. The last one was curled up into a ball inside a bright blue sleeping bag, his arms and legs folding the polyester into his body, just a pockmarked forehead peeking out into the November morning. Had they slept there all night on that step waiting for the shelter to open? She couldn’t say. Jamie and Roper crossed the road and the folks on the steps looked up. They were of varying ages, in varying states of malnutrition and addiction. The smell of old booze and urine hung in the alcove. Jamie wasn’t sure if you could tell they were police by the way they looked or walked, but the homeless seemed to have a sixth sense about it. Two of the three who were smoking clocked them, lowered their heads, and turned to face the wall. The third kept looking and held his hand out. The one with the novel didn’t even register them. Jamie knew that if they searched the two that turned away, they would have something on them they shouldn’t — drugs, needles, a knife, something stolen. That’s why they’d done it — to become invisible. The one who held out a hand would be clean. Wouldn’t risk chancing it with a police officer otherwise. She’d worked enough uniformed time on the streets of London to know how their minds worked.  She took a deep breath of semi-clean air and mounted the steps, looking down at the mid-thirties guy with the stretched-out beanie and out-stretched hand.  ‘We’re on duty,’ Roper said coldly, breezing past. Jamie gave him a weak smile, knowing that opening her pockets in a place like this would get them mobbed. If they needed to question anyone

THE TRUTH In summer there was something in the selfhood of the wasps that wanted to get inside the screened-in porch. It sent them buzzing against the wire mesh, probing under the eaves, crawling into the cracks between the boards. Each day we’d find new bodies on the sill: little failures, like struck matches: shrunken in death, the yellow color of cider or old varnish. The blue self of the sky looked down on the self of the wooden house where the wasps were perishing. The wind swept them to the ground. The wasps seemed to be extensions of one big thing making the same effort again and again. I can remember that feeling of being driven by some longing I could not understand to look for the passage through, —trying again and again to get inside. I must have left a lot of dead former selves scattered around behind me while I kept pushing my blunt head at a space that prevented my entering —and by that preventing delivered me to where I live now, still outside; still flying around in the land of the unfinished.

If you want to get to the beginning of the shale revolution, pick up Interstate 35E out of Dallas and head north forty miles and then take the turnoff for the tiny town of Ponder. Pass the feed store, the white water tower, the sign for the Cowboy Church, and the donut store that’s closed down. Another four miles and you’re in Dish, Texas, population about 400. You end up at a wire mesh fence around a small tangle of pipes with a built-in stepladder. You’re there—the SH Griffin #4 natural gas well. The sign on the fence tells the date—DRILLED IN 1998.

The alienating effects of wealth and modernity on the human experience start virtually at birth and never let up. Infants in hunter-gatherer societies are carried by their mothers as much as 90 percent of the time, which roughly corresponds to carrying rates among other primates. One can get an idea of how important this kind of touch is to primates from an infamous experiment conducted in the 1950s by a primatologist and psychologist named Harry Harlow. Baby rhesus monkeys were separated from their mothers and presented with the choice of two kinds of surrogates: a cuddly mother made out of terry cloth or an uninviting mother made out of wire mesh. The wire mesh mother, however, had a nipple that dispensed warm milk. The babies took their nourishment as quickly as possible and then rushed back to cling to the terry cloth mother, which had enough softness to provide the illusion of affection. Clearly, touch and closeness are vital to the health of baby primates—including humans.

It wasn’t hard at all. She advertised her shifts on her Instagram: a place in Gowanus overlooking the canal. I flipped through some pictures. It looked like its former life, its pre-hipster life, had been as a driving school. In fact it was called Driving School; white backlit plastic sign that had clearly come with the lease. Classic gentrification move. The new bar names itself for the business it’s replacing. The irony is easy, the name is memorable, and you don’t have to pay to replace the sign. Bloodred swing door with an inset diamond window, wire mesh gridding the glass.

Far over the misty mountains cold To dungeons deep and caverns old We must away ere break of day To seek the pale enchanted gold. The dwarves of yore made mighty spells, While hammers fell like ringing bells In places deep, where dark things sleep, In hollow halls beneath the fells. For ancient king and elvish lord There many a gleaming golden hoard They shaped and wrought, and light they caught To hide in gems on hilt of sword. On silver necklaces they strung The flowering stars, on crowns they hung The dragon-fire, in twisted wire They meshed the light of moon and sun. Far over the misty mountains cold To dungeons deep and caverns old We must away, ere break of day, To claim our long-forgotten gold. Goblets they carved there for themselves And harps of gold; where no man delves There lay they long, and many a song Was sung unheard by men or elves. The pines were roaring on the height, The winds were moaning in the night. The fire was red, it flaming spread; The trees like torches blazed with light. The bells were ringing in the dale And men looked up with faces pale; The dragon’s ire more fierce than fire Laid low their towers and houses frail. The mountain smoked beneath the moon; The dwarves, they heard the tramp of doom. They fled their hall to dying fall Beneath his feet, beneath the moon. Far over the misty mountains grim To dungeons deep and caverns dim We must away, ere break of day, To win our harps and gold from him!