Wood Grain Quotes

No varnish can hide the grain of the wood; and that the more varnish you put on, the more the grain will express itself.

She was oozing backwards into the tree. Her bones were going to mate with the grain of the wood. I am becoming part of the forest.

On Stripping Bark from Myself (for Jane, who said trees die from it) Because women are expected to keep silent about their close escapes I will not keep silent and if I am destroyed (naked tree!) someone will please mark the spot where I fall and know I could not live silent in my own lies hearing their 'how nice she is!' whose adoration of the retouched image I so despise. No. I am finished with living for what my mother believes for what my brother and father defend for what my lover elevates for what my sister, blushing, denies or rushes to embrace. I find my own small person a standing self against the world an equality of wills I finally understand. Besides: My struggle was always against an inner darkness: I carry within myself the only known keys to my death – to unlock life, or close it shut forever. A woman who loves wood grains, the color yellow and the sun, I am happy to fight all outside murderers as I see I must.

it is a principle of his that no man who was not a true gentleman at heart, ever was, since the world began, a true gentleman in manner. He says, no varnish can hide the grain of the wood; and that the more varnish you put on, the more the grain will express itself.

I would stare at the grains of light suspended in that silent space, struggling to see into my own heart. What did I want? And what did others want from me? But I could never find the answers. Sometimes I would reach out and try to grasp the grains of light, but my fingers touched nothing.

The dark is generous. Its first gift is concealment: our true faces lie in the dark beneath our skins, our true hearts remain shadowed deeper still. But the greatest concealment lies not in protecting our secret truths, but in hiding from the truths of others. The dark protects us from what we dare not know. Its second gift is comforting illusion: the ease of gentle dreams in night’s embrace, the beauty that imagination brings to what would repel in the day’s harsh light. But the greatest of its comforts is the illusion that dark is temporary: that every night brings a new day. Because it’s the day that is temporary. Day is the illusion. Its third gift is the light itself: as days are defined by the nights that divide them, as stars are defined by the infinite black through which they wheel, the dark embraces the light, and brings it forth from the center of its own self. With each victory of the light, it is the dark that wins. The dark is generous, and it is patient. It is the dark that seeds cruelty into justice, that drips contempt into compassion, that poisons love with grains of doubt. The dark can be patient, because the slightest drop of rain will cause those seeds to sprout. The rain will come, and the seeds will sprout, for the dark is the soil in which they grow, and it is the clouds above them, and it waits behind the star that gives them light. The dark’s patience is infinite. Eventually, even stars burn out. The dark is generous, and it is patient, and it always wins. It always wins because it is everywhere. It is in the wood that burns in your hearth, and in the kettle on the fire; it is under your chair and under your table and under the sheets on your bed. Walk in the midday sun, and the dark is with you, attached to the soles of your feet. The brightest light casts the darkest shadow. The dark is generous and it is patient and it always wins – but in the heart of its strength lies its weakness: one lone candle is enough to hold it back. Love is more than a candle. Love can ignite the stars.

In the silence of the woods it felt like I could hear the passage of time, of life passing by. One person leaves, another appears. A thought flits away and another takes its place. One image bids farewell and another one appears on the scene. As the days piled up, I wore out, too, and was remade. Nothing stayed still. And time was lost. Behind me, time became dead grains of sand, which one after another gave way and vanished. I just sat there in front of the hole, listening to the sound of time dying.

Peeta rolls his eyes at Haymitch. “She has no idea. The effect she can have.” He runs his fingernail along the wood grain in the table, refusing to look at me.

I was terrified of my weakness, of my sharp tongue, of my every flaw. I was terrified that this moment, my chance to live in happiness for however short a time we may have had, would be ruined because I was simply not carved out of the same wood as happiness, and that my grain was too twisted to ever take its form.

I envy the table its scars, the scorch marks caused by the hot bread tins. I envy its calm sense of time, and I wish I could say: I did this five years ago. I made this mark, this ring caused by a wet coffee cup, this cigarette burn, this ladder of cuts against the wood’s coarse grain. This is where Anouk carved her initials, the year she was six years old, this secret place behind the table leg. I did this on a warm day seven summers ago with the carving knife. Do you remember? Do you remember the summer the river ran dry? Do you remember? I envy the table’s calm sense of place. It has been here a long time. It belongs.

This usually occurs at the moment when my head hits the pillow at night; my eyes close and … I see imagery. I do not mean pictures; more usually they are patterns or textures, such as repeated shapes, or shadows of shapes, or an item from an image, such as grass from a landscape or wood grain, wavelets or raindrops … transformed in the most extraordinary ways at a great speed. Shapes are replicated, multiplied, reversed in negative, etc. Color is added, tinted, subtracted. Textures are the most fascinating; grass becomes fur becomes hair follicles becomes waving, dancing lines of light, and a hundred other variations and all the subtle gradients between them that my words are too coarse to describe.

The broken branch hissed loudly, and then that wind was converted into these words: "Briefly will you be answered. When the fierce soul departs from the body from which it has uprooted itself, Minos sends it to the seventh mouth. It falls into the wood, and no place is assigned to it, but where chance hurls it, there it sprouts like a grain of spelt. It grows into a shoot, then a woody plant; the Harpies, feeding on its leaves, give it pain and a window for the pain. Like the others, we will come for our remains, but not so that any may put them on again, for it is not just to have what one has taken from oneself. Here we will drag them, and through the sad wood our corpses will hang, each on the thornbrush of the soul that harmed it.

Every piece of wood in your house—from the windowsills to the furniture to the rafters—was once part of a living being, thriving in the open and pulsing with sap. If you look at these wooden objects across the grain, you might be able to trace out the boundaries of a couple of rings. The delicate shape of those lines tells you the story of a couple of years. If you know how to listen, each ring describes how the rain fell and the wind blew and the sun appeared every day at dawn.

He says, no varnish can hide the grain of the wood, and that the more varnish you put on, the more the grain will express itself.

Peeta rolls his eyes at Haymitch. “She has no idea. The effect she can have.” He runs his fingernail along the wood grain in the table, refusing to look at me.

As he worked on the room, and as it began slowly to take a shape, he realized that for many years, unknown to himself, he had had an image locked somewhere within him like a shamed secret, an image that was ostensibly of a place but which was actually of himself. So it was himself that he was attempting to define as he worked on his study. As he sanded the old boards for his bookcases, and saw the surface roughnesses disappear, the gray weathering flake away to the essential wood and finally to a rich purity of grain and texture—as he repaired his furniture and arranged it in the room, it was himself that he was slowly shaping, it was himself that he was putting into a kind of order, it was himself that he was making possible.

These old houses are only brick and wood, soaked in human sweat, grained with human dirt.

Single trees are extraordinary; trees in number more extraordinary still. To walk in a wood is to find fault with Socrates's declaration that 'Trees and open country cannot teach me anything, whereas men in town do.' Time is kept and curated and in different ways by trees, and so it is experienced in different ways when one is among them. This discretion of trees, and their patience, are both affecting. It is beyond our capacity to comprehend that the American hardwood forest waited seventy million years for people to come and live in it, though the effort of comprehension is itself worthwhile. It is valuable and disturbing to know that grand oak trees can take three hundred years to grow, three hundred years to live and three hundred years to die. Such knowledge, seriously considered, changes the grain of the mind. "Thought, like memory, inhabits external things as much as the inner regions of the human brain. When the physical correspondents of thought disappear, then thought, or its possibility, is also lost. When woods and trees are destroyed -- incidentally, deliberately -- imagination and memory go with them. W.H. Auden knew this. 'A culture,' he wrote warningly in 1953, 'is no better than its woods.'

Music was a kind of penetration. Perhaps absorption is a less freighted word. The penetration or absorption of everything into itself. I don't know if you have ever taken LSD, but when you do so the doors of perception, as Aldous Huxley, Jim Morrison and their adherents ceaselessly remind us, swing wide open. That is actually the sort of phrase, unless you are William Blake, that only makes sense when there is some LSD actually swimming about inside you. In the cold light of the cup of coffee and banana sandwich that are beside me now it appears to be nonsense, but I expect you to know what it is taken to mean. LSD reveals the whatness of things, their quiddity, their essence. The wateriness of water is suddenly revealed to you, the carpetness of carpets, the woodness of wood, the yellowness of yellow, the fingernailness of fingernails, the allness of all, the nothingness of all, the allness of nothing. For me music gives access to everyone of these essences, but at a fraction of the social or financial cost of a drug and without the need to cry 'Wow!' all the time, which is LSD's most distressing and least endearing side effects. ...Music in the precision of its form and the mathematical tyranny of its laws, escapes into an eternity of abstraction and an absurd sublime that is everywhere and nowhere at once. The grunt of rosin-rubbed catgut, the saliva-bubble blast of a brass tube, the sweaty-fingered squeak on a guitar fret, all that physicality, all that clumsy 'music making', all that grain of human performance...transcends itself at the moment of its happening, that moment when music actually becomes, as it makes the journey from the vibrating instrument, the vibrating hi-fi speaker, as it sends those vibrations across to the human tympanum and through to the inner ear and into the brain, where the mind is set to vibrate to frequencies of its own making. The nothingness of music can be moulded by the mood of the listener into the most precise shapes or allowed to float as free as thought; music can follow the academic and theoretical pattern of its own modality or adhere to some narrative or dialectical programme imposed by a friend, a scholar or the composer himself. Music is everything and nothing. It is useless and no limit can be set to its use. Music takes me to places of illimitable sensual and insensate joy, accessing points of ecstasy that no angelic lover could ever locate, or plunging me into gibbering weeping hells of pain that no torturer could ever devise. Music makes me write this sort of maundering adolescent nonsense without embarrassment. Music is in fact the dog's bollocks. Nothing else comes close.

But the most astonishing thing about trees is how social they are. The trees in a forest care for each other, sometimes even going so far as to nourish the stump of a felled tree for centuries after it was cut down by feeding it sugars and other nutrients, and so keeping it alive. Only some stumps are thus nourished. Perhaps they are the parents of the trees that make up the forest of today. A tree’s most important means of staying connected to other trees is a “wood wide web” of soil fungi that connects vegetation in an intimate network that allows the sharing of an enormous amount of information and goods. Scientific research aimed at understanding the astonishing abilities of this partnership between fungi and plant has only just begun. The reason trees share food and communicate is that they need each other. It takes a forest to create a microclimate suitable for tree growth and sustenance. So it’s not surprising that isolated trees have far shorter lives than those living connected together in forests. Perhaps the saddest plants of all are those we have enslaved in our agricultural systems. They seem to have lost the ability to communicate, and, as Wohlleben says, are thus rendered deaf and dumb. “Perhaps farmers can learn from the forests and breed a little more wildness back into their grain and potatoes,” he advocates, “so that they’ll be more talkative in the future.” Opening

I cut the wood however I like, but it's the grain that decides the strength and shape of it. You can add and subtract memories from people, but it isn't just your memory that makes you who you are. There's something in the grain of the mind.

You can barely make out the heavy wooden block of the contortion seat. I run my hands along it's contours, the wood grain smooth and polished from human flesh.

She has no idea. The effect she can have.” He runs his fingernail along the wood grain in the table, refusing to look at me.

Once you’ve held a book and really loved it, you forever remember the feel of it, its specific weight, the way it sits in your hand. My thumb knows the grain of this book’s leather, the dry dust of red rot that’s crept up its spine, each waving leaf of every page that holds a little secret or one of Peabody’s flourishes. A librarian remembers the particular scent of glue and dust, and if we’re so lucky—and I was—the smell of parchment, a quiet tanginess, softer than wood pulp or cotton rag. We would bury ourselves in books until flesh and paper became one and ink and blood at last ran together. So maybe my hand does clench too tightly to the spine. I may never again hold another book this old, or one with such a whisper of me in it.

I walk the perimeter of the fence, and try to summon what I used to feel back when I thought I could bend time and spoons. I touch the red grains in the wood. I have a vague memory of doing that.

Rachel read what she chose, reading with the curious literalness of one to whom written sentences are unfamiliar, and handling words as though they were made of wood, separately of great importance, and possessed of shapes like tables or chairs. In this way she came to conclusions, which had to be remodelled according to the adventures of the day, and were indeed recast as liberally as any one could desire, leaving always a small grain of belief behind them.

She looked like she believed in something, or wanted to, and I hoped to hell it wasn’t God, not in the way The Dad believes, because all that does is make him forced and desperate. No, it was something else, not just that I saw a pretty girl and just got all excited. I mean, yeah, that part is true, and she really was gorgeous, and the freckles covering her, the freckles on top of freckles all spread out and folding into one another made her skin look like it had grain and texture, like polished wood, like it would feel smooth to the touch, and so soft. I knew that. But it wasn’t how she looked.

Through atoms of grey-blue air the sun struck at English fields and lit up marshes and pools, a white gull on a stake, the slow sail of shadows over blunt-headed woods and young corn and flowing hayfields. It beat on the orchard wall, and every pit and grain of the brick was silver pointed, purple, fiery as if soft to touch, as if touched it must melt into hot-baked grains of dust.

Eminent Hastings looked close to a hundred years old—though it was said he was much older—with a long silver beard and equally long hair brushed to perfection below the hat he wore. He was a short man, and his face held wrinkles upon wrinkles, a tableau etched onto a busy wood grain.

Labeled apothecary bottles filled with raw material oils lined the risers: flowers, resins, leaves, woods, mosses, spices, herbs, seeds, grains, roots, bark, and fruit. From the animal kingdom came fixatives: civet, musk, and ambergris. The absolutes, the resinoids, the essential oils.

They found security in letting go rather than in holding on and, in so doing, developed an attitude toward life that might be called psychophysical judo. Nearly twenty-five centuries ago, the Chinese sages Lao-tzu and Chuang-tzu had called it wu-wei, which is perhaps best translated as “action without forcing.” It is sailing in the stream of the Tao, or course of nature, and navigating the currents of li (organic pattern)—a word that originally signified the natural markings in jade or the grain in wood. As this attitude spread and prevailed in the wake of Vibration Training, people became more and more indulgent about eccentricity in life-style, tolerant of racial and religious differences, and adventurous in exploring unusual ways of loving.

...my goal has always been to muster the courage to think critically for myself, even if that means going against the grain. For me, arguing with a racist and exposing the flaws in their argument is about gaining a better understanding of views that offend you; it’s about improving your ability to argue and defend your opinion.

Every time I am shown to an old, dimly lit, and, I would add, impeccably clean toilet in a Nara or Kyoto temple, I am impressed with the singular virtues of Japanese architecture. The parlor may have its charms, but the Japanese toilet truly is a place of spiritual repose. It always stands apart from the main building, at the end of a corridor, in a grove fragrant with leaves and moss. No words can describe that sensation as one sits in the dim light, basking in the faint glow reflected from the shoji, lost in meditation or gazing out at the garden. The novelist Natsume Soseki counted his morning trips to the toilet a great pleasure, ‘a physiological delight’ he called it. And surely there could be no better place to savor this pleasure than a Japanese toilet where, surrounded by tranquil walls and finely grained wood, one looks out upon blue skies and green leaves.

If he was wood, he was a flail, and I was grain on the threshing floor. I was a thousand grains, my thoughts blown like chaff. All that was left was the taste of salt.

...if time were really measured in grains of sand, I would take this grain and flatten it. Stretch it as far as physics allowed, let myself bask in this feeling. Forever and ever and ever.

Do you know where a story is going when you start writing, or do you let the story take control and see where it takes you? This answer deserves one sentence or an essay! I’ll try to summarize it like this: writing, for me, is a little like wood carving. You find the lump of tree (the big central theme that gets you started) and you start cutting the shape that you think you want it to be. But you find, if you do it right, that the wood has a grain of its own (characters develop and present new insights, concentrated thinking about the story opens new avenues). If you’re sensible, you work with the grain and, if you come across a knot hole, you incorporate that into the design. This is not the same as “making it up as you go along”; it’s a very careful process of control.

Back out of all this now too much for us, Back in a time made simple by the loss Of detail, burned, dissolved, and broken off Like graveyard marble sculpture in the weather, There is a house that is no more a house Upon a farm that is no more a farm And in a town that is no more a town. The road there, if you’ll let a guide direct you Who only has at heart your getting lost, May seem as if it should have been a quarry— Great monolithic knees the former town Long since gave up pretense of keeping covered. And there’s a story in a book about it: Besides the wear of iron wagon wheels The ledges show lines ruled southeast-northwest, The chisel work of an enormous Glacier That braced his feet against the Arctic Pole. You must not mind a certain coolness from him Still said to haunt this side of Panther Mountain. Nor need you mind the serial ordeal Of being watched from forty cellar holes As if by eye pairs out of forty firkins. As for the woods’ excitement over you That sends light rustle rushes to their leaves, Charge that to upstart inexperience. Where were they all not twenty years ago? They think too much of having shaded out A few old pecker-fretted apple trees. Make yourself up a cheering song of how Someone’s road home from work this once was, Who may be just ahead of you on foot Or creaking with a buggy load of grain. The height of the adventure is the height Of country where two village cultures faded Into each other. Both of them are lost. And if you’re lost enough to find yourself By now, pull in your ladder road behind you And put a sign up CLOSED to all but me. Then make yourself at home. The only field Now left’s no bigger than a harness gall. First there’s the children’s house of make-believe, Some shattered dishes underneath a pine, The playthings in the playhouse of the children. Weep for what little things could make them glad. Then for the house that is no more a house, But only a belilaced cellar hole, Now slowly closing like a dent in dough. This was no playhouse but a house in earnest. Your destination and your destiny’s A brook that was the water of the house, Cold as a spring as yet so near its source, Too lofty and original to rage. (We know the valley streams that when aroused Will leave their tatters hung on barb and thorn.) I have kept hidden in the instep arch Of an old cedar at the waterside A broken drinking goblet like the Grail Under a spell so the wrong ones can’t find it, So can’t get saved, as Saint Mark says they mustn’t. (I stole the goblet from the children’s playhouse.) Here are your waters and your watering place. Drink and be whole again beyond confusion.

As he reached the river, Oswald suddenly felt as if he were walking around in a painting. Then it dawned on him. Everywhere he looked was a painting! Everything was alive with color: the water, the sky, the boathouses that lined the rivermwith red tin roofs, silver tin roofs, and rusted orange tin roofs. Red boat in a yellow boathouse. Green, pink, blue, tan, yellow, and white boathouses. The wooden pilings sticking out of the water were a thousand different shades of graym and each individual piling was encrusted with hundreds of chalk-white barnacles and black woodpecker holes. Even the grain of the wood and the knots on each post differed from inch to inch and pole to pole.

There was once a town in the heart of America where all life seemed to live in harmony with its surroundings. The town lay in the midst of a checkerboard of prosperous farms, with fields of grain and hillsides of orchards where, in spring, white clouds of bloom drifted above the green fields. In autumn, oak and maple and birch set up a blaze of color that flamed and flickered across a backdrop of pines. Then foxes barked in the hills and deer silently crossed the fields, half hidden in the mists of the fall mornings. Along the roads, laurel, viburnum, and alder, great ferns and wildflowers delighted the traveler's eye through much of the year. Even in winter the roadsides were places of beauty, where countless birds came to feed on the berries and on the seed heads of the dried weeds rising above the snow. The countryside was, in fact, famous for the abundance and variety of its bird life, and when the flood of migrants was pouring through in spring and fall people traveled from great distances to observe them. Others came to fish the streams, which flowed clear and cold out of the hills and contained shady pools where trout lay. So it had been from the days many years ago when the first settlers raised their homes, sank their wells, and built their barns. Then a strange blight crept over the area and everything began to change. Some evil spell had settled on the community: mysterious maladies swept the flocks of chickens, the cattle, and sheep sickened and died. Everywhere was a shadow of death. The farmers spoke of much illness among their families. In the town the doctors had become more and more puzzled by new kinds of sickness appearing among their patients. There had been sudden and unexplained deaths, not only among adults but even among children whoe would be stricken suddently while at play and die within a few hours. There was a strange stillness. The birds, for example--where had they gone? Many people spoke of them, puzzled and disturbed. The feeding stations in the backyards were deserted. The few birds seen anywhere were moribund; they trembled violently and could not fly. It was a spring without voices. On the mornings that had once throbbed with the dawn chorus of robins, catbirds, doves, jays, wrens, and scores of other bird voices there was no sound; only silence lay over the fields and woods and marsh. On the farms the hens brooded, but no chicks hatched. The farmers complained that they were unable to raise any pigs--the litters were small and the young survived only a few days. The apple trees were coming into bloom but no bees droned among the blossoms, so there was no pollination and there would be no fruit. The roadsides, once so attractive, were now lined with browned and withered vegetation as though swept by fire. These, too, were silent, deserted by all living things. Even the streams were not lifeless. Anglers no longer visited them, for all the fish had died. In the gutters under the eaves and between the shingles of the roofs, a white granular powder still showed a few patches; some weeks before it had fallen like snow upon the roofs and the lawns, the fields and streams. No witchcraft, no enemy action had silenced the rebirth of life in this stricken world. The people had done it to themselves.

He drew the brush along the wood with dreamy strokes. Wasn’t it interesting how the grain of the wood told a story, almost—how you could follow the threads and be surprised at how far they traveled, or where they unexpectedly broke off.

Wood is an endlessly adaptive material. You can plane, chisel, saw, carve, sand, and bend it, and when the pieces are the shape you want you can use dovetail joints, tenpenny nails, pegs or glue; you can use lamination or inlay or marquetry; and then you can beautify it with French polish or plain linseed oil or subtle stains. And when you go to dinner at a friend's house, the candlelight will pick out the contours of grain and line, and when you take your seat you will be reminded that what you are sitting on grew from the dirt, stretched towards the sun, weathered rain and wind, and sheltered animals; it was not extruded by faceless machines lined on a cold cement floor and fed from metal vats. Wood reminds us where we come from.

Now I live alone in a house Time traded me house for house, until I learned grief also is a kind of clutter: drive one grief out the door, two others knock, seeking a place within. And though too late, I ask for her forgiveness, who hated whatever tarnished or made dim the light and luster of common things: lamp, glass vase, the figure in a photograph, wood grain of table, braiding in a rug— this rag rug I took from memory and put into a poem, that I might see it, as before, dancing its tiny fires into the morning’s early slant of light.

Why me?' he said. 'That's how all men answer. And all men have a knot on their shoes, something they don't know how to do; an inability that binds them to others. Society depends on this asymmetry between people these days: a dovetailing of skills and competence. But the Flood? If the Flood came and one needed a Noah? Not so much a just man as a man able to bring along the few things it would take to start again. You see, you don't know how to tie your shoes, somebody else doesn't know how to plane wood, someone else again has never read Tolstoy, someone else doesn't know how to sow grain and so on. I've been looking for him for years, and, believe me, it's hard, really hard; it seems people have to hold each other by the hand like the blind man and the lame who can't go anywhere without each other, but argue just the same. It means if the Flood comes we'll all die together.

sees. Glaciers could cleave continents, and the pain would still live somewhere in the secret chambers of the heart. For the lucky ones, scar tissue forms, and the passage of time builds more and more tissue until the pain is simply part of a person’s makeup, part of who he or she is—the grain in the wood.

For my part, I’d come for the textbook and was glad to have it. Betta’s tortellini are now in my head and my hands. I follow her formula for the dough—an egg for every etto of flour, sneaking in an extra yolk if the mix doesn’t look wet enough. I’ve learned to roll out a sheet until I see the grain of the wood underneath. I let it dry if I’m making tagliatelle; I keep it damp if I’m making tortellini. I make a small batch, roll out a sheet, then another, the rhythm of pasta, each movement like the last one. My mind empties. I think only of the task. Is the dough too sticky? Will it tear? Does the sheet, held between my fingers, feel right? But often I wonder what Betta would think, and, like that, I’m back in that valley with its broken-combed mountain tops and the wolves at night and the ever-present feeling that the world is so much bigger than you, and my mind becomes a jumble of associations, of aunts and a round table and laughter you can’t hear anymore, and I am overcome by a feeling of loss. It is, I concluded, a side effect of this kind of food, one that’s handed down from one generation to another, often in conditions of adversity, that you end up thinking of the dead, that the very stuff that sustains you tastes somehow of mortality.

The novelist Natsume Soseki counted his morning trips to the toilet a great pleasure, 'a physiological delight' he called it. And surely there could be no better place to savor this pleasure than a Japanese toilet where, surrounded by tranquil walls and finely grained wood, one looks out upon blue skies and green leaves.

Age, that brings a dwindling to most forms of life, is at its most majestic in the trees. I have seen living olives that were planted when Caesar was in Gaul. I remember, in Illinois woods, a burr oak which was bent over as a sapling a hundred years ago, to mark an Indian portage trail, and the thews in that flexed bough were still in the prime of life. Compared to that, the strongest human sinew is feeble and quick to decay. Yet structure in both cases is cellular; life in both is protoplasmic. A tree drinks water as I do, and breathes oxygen. There is the difference that it exhales more oxygen than it consumes, so that it sweetens the air where it grows. It lays the dust and tempers the wind. Even when it is felled, it but enters on a new kind of life. Sawn and seasoned and finished, it lays bare the hidden beauty of its heart, in figures and grains more lovely than the most premeditated design. It is stronger, now, than it was in the living tree, and may bear great strains and take many shapes.

Unless the religious claims of the Bible are again acknowledged, its literary claims will, I think, be given only “mouth honour” and that decreasingly. . . It is, if you like to put it that way, not merely a sacred book but a book so remorselessly and continuously sacred that it does not invite, it excludes or repels, the merely aesthetic approach. You can read it as literature only by a tour de force. You are cutting the wood against the grain, using the tool for a purpose it was not intended to serve. It demands incessantly to be taken on its own terms: it will not continue to give literary delight very long except to those who go to it for something quite different.

As he reached the river, Oswald suddenly felt as if he were walking around in a painting. Then it dawned on him. Everywhere he looked was a painting! Everything was alive with color: the water, the sky, the boathouses that lined the river with red tin roofs, silver tin roofs, and rusted orange tin roofs. Red boat in a yellow boathouse. Green, pink, blue, tan, yellow, and white boathouses. The wooden pilings sticking out of the water were a thousand different shades of gray and each individual piling was encrusted with hundreds of chalk-white barnacles and black woodpecker holes. Even the grain of the wood and the knots on each post differed from inch to inch and pole to pole.

Driven by heartache, she beat the eggs even more vigorously until the glossy meringue quickly formed into stiff, bird's beak peaks. "Philippe, do you have any orange liqueur?" Marie asked, rummaging through her brother's pantry. "Here it is," Philippe said, handing a corked bottle to her. "What are you making?" "A bûche de Noël," Danielle said, concentrating on her task. Carefully measuring each rationed ingredient, she combined sugar and flour in another bowl, grated orange zest, added the liqueur, and folded the meringue into the mixture. "It's not Christmas without a traditional Yuletide log." Marie ran a finger down a page of an old recipe book, reading directions for the sponge cake, or biscuit. "'Spread into a shallow pan and bake for ten minutes.'" "I wouldn't know about that," Philippe said. "I don't celebrate your husband's holiday," he said pointedly to Marie. "Let's not dredge up that old argument, mon frère," Marie said, softening her words with a smile. "I converted for love." A knock sounded at the front door. Danielle threw a look of concern toward Philippe, who hurried to answer it. "Then we'll cool it," Danielle said, trying to stay calm. "And brush the surface with coffee liqueur and butter cream frosting, roll it like a log, and decorate." She thought about the meringue mushrooms she had made with Nicky last year, and how he had helped score the frosting to mimic wood grains.

As everyone knows, flush toilets are made of pure white porcelain and have handles of sparkling metal. Were I able to have things my own way, I would very much prefer fixtures - both men's and women's - made of wood. Wood finished in glistening black lacquer is the very best; but even unfinished wood, as it darkens and the grain grows more subtle with the years, acquires an inexplicable power to calm and soothe.

But in good times his family saw little of him, for then he roamed, fished, hunted, searched for roots, lay in the grass or crouched in trees, sniffed, listened, imitated the voices of animals, kindled little fires and compared the shapes of the smoke clouds with the clouds in the sky, drenched his skin and hair with fog, rain, air, sun, or moonlight, and incidentally gathered, as his Master and predecessor Turu had done in his lifetime, objects whose inner character and outward form seemed to belong to different realms, in which the wisdom or whimsicality of nature seemed to reveal some fragment of her rules and secrets of creation, objects which seemed to unite symbolically widely disparate ideas: gnarled branches with the faces of men or animals, water-polished pebbles grained like wood, petrified animals of the primordial world, misshapen or twinned fruit pits, stones shaped like kidneys or hearts.

On Saturday nights I would sit by the phone in the lobby, waiting for Naoko to call. Most of the others were out on Saturday nights, so the lobby was usually deserted. I would stare at the grains of light suspended in that silent space, struggling to see into my own heart. What did I want? And what did others want from me? But I could never find the answers. Sometimes I would reach out and try to grasp the grains of light, but my fingers touched nothing.

I’ve often wondered what she was on that year, and if she’d been slipping me any of it. Twenty-four times we slept through the alarm, got up sometime past noon, and abandoned the thought of school altogether. I’d eat cereal and read or watch television all day. My mother would smoke cigarettes, talk on the phone, hide from the housekeeper, take a bottle of wine with her into the master bathroom, and draw a bubble bath and read Danielle Steel or Better Homes & Gardens. My father slept on the sofa in the den that year. I remember his thick glasses perched on the oak end table, their greasy lenses magnifying the dark grain of the wood.

The man behind the counter seemed to have stopped listening to him. He slid a room key across the fake-wood-grain counter and returned to his scribbled lorem ipsums. Neethan could have gone on for hours with this guy, chatting him up about music made by mentally handicapped people and the myriad challenges of international aid organizations, but this was a person programmed to hand out room keys and swipe credit cards and engage in only the amount of conversation needed to keep such transactions rolling along smoothly. If that meant asking about a guest's gigantic celestial head, then that's just what good customer service was all about.

We’ve seen what happens with the development of the cell-phone technology that was deployed in Africa faster than any other technology ever in the history of humanity. We see small villages, where they have no running water, wood fires to cook with, and no electricity — yet there’s one little solar panel on top of a mud hut and that solar panel is not there for light. It’s there to charge a Nokia 1000 feature phone. That phone gives them weather reports, grain prices at the local market, and connects them to the world. What happens when that phone becomes a bank? Because with bitcoin, it can be a bank. What happens when you connect 6 1/2 billion people to a global economy without any barriers to access? ​ ​

As the tree matures, the older vessels become plugged with crystalline structures called tyloses, and as a result, the center of the tree—the heartwood—doesn’t conduct water at all, making it well suited for use as a watertight barrel. American oaks are particularly rich in tylose as compared to European oaks. In fact, the European trees have to be carefully split along the grain, rather than cut, in order to avoid rupturing vessels and creating a leaky barrel. The trees also happen to produce an astonishing array of flavor compounds that break free from the wood in the presence of alcohol. European oak, Quercus robur in particular, is high in tannins, which give wine a certain roundness and full-bodied quality. American white oak, on the other hand, releases the same flavor molecules found in vanilla, coconut, peach, apricot, and cloves.

She stood on the willow bank. It was bright as mid-afternoon in the openness of the water, quiet and peaceful. She took off her clothes and let herself into the river. She saw her waist disappear into reflection less water; it was like walking into sky, some impurity of skies. All seemed one weight, one matter -- until she put down her head and closed her eyes and the light slipped under her lids, she felt this matter a translucent one, the river, herself, the sky all vessels which the sun filled. She began to swim in the river, forcing it gently, as she would wish for gentleness to her body. Her breasts around which she felt the water curving were as sensitive at that moment as the tips of wings must feel to birds, or antennae to insects. She felt the sand, grains intricate as little cogged wheels, minute shells of old seas, and the many dark ribbons of grass and mud touch her and leave her, like suggestions and withdrawals of some bondage that might have been dear, now dismembering and losing itself. She moved but like a cloud in skies, aware but only of the nebulous edges of her feeling and the vanishing opacity of her will, the carelessness for the water of the river through which her body had already passed as well as for what was ahead. The bank was all one, where out of the faded September world the little ripening plums started. Memory dappled her like no more than a paler light, which in slight agitations came through leaves, not darkening her for more than an instant. the iron taste of the old river was sweet to her, though. If she opened her eyes she looked at blue bottles, the skating waterbugs. If she trembled, it was at the smoothness of a fish or a snake that crossed her knees. In the middle of the river, whose downstream or upstream could not be told by a current, she lay on her stretched arm, not breathing, floating. Virgie had reached the point where in the next moment she might turn into something without feeling it shock her. She hung suspended in the Big Black River as she would know how to hang suspended in felicity. Far to the west, a cloud running fingerlike over the sun made her splash the water. She stood, walked along the soft mud of the bottom, and pulled herself out of the water by a willow branch, which like a warm rain brushed her back with its leaves. The moon, while she looked into the high sky, took its own light between one moment and the next. A wood thrush, which had begun to sing, hushed its long moment and began again. Virgie put her clothes back on. She would have given much for a cigarette, always wishing for a little more of what had just been. (from the short story The Wanderers)

His breath gushed from him. He pressed his palms and forehead to the cold wood, letting it seep away his fatigue. Please let us pass. His bile pulsed. Balin bit his lip, shook his head. Open, he thought. He grabbed the knob again and twisted. It held. A stiff, solid mold of brass. Balin imagined the door within his mind’s eye: the grain of the wood, the shine of the knob. The knob turned in his mind. Balin’s hand shook. Numbness seeped up from his fingertips along his palm. Open. In his mind, the handle turned. Something within him pulled taut, stretched. Open. He squeezed the door’s handle and twisted. It held. Open! He gritted his teeth, thought the door to open, demanded the door to open. That tight thing within him stretched further. A blunt ache blossomed into a sting, like a pulled muscle, but it wasn’t physical. It wasn’t mental either. Something else. Something unchartered. Open. Open. Open. He twisted the knob. It did not move.

I feel even more incapable of returning to Russia the same as when I left it. It's just one more of those legends in Russia, confirmed by Passek, Sleptsov and others, that one only has to come to the Caucasus to be showered with decorations. Everyone expects it of us, demands it of us. But I've been here two years, taken part in two expeditions and received nothing. For all that, I've so much pride that I won't leave this place until I'm a major, with an Anna or a Vladimir round my neck. I've reached the point where it really rankles when some Gnilokishkin is decorated and I'm not. What's more, how could I look my elder in the face again, or merchant Kotel'nikov to whom I sell grain, or my aunt in Moscow and all those fine gentlemen in Russia, if I return after two years in the Caucasus with nothing to show for it? No, I don't want to know those gentlemen and I'm sure that they couldn't care less about me. But such is man's nature that though I couldn't give a damn about them they're the reason why I'm ruining the best years of my life, my happiness and whole future.

When you see that you're making other things feel good, it gives you a good feeling, too. The feeling inside sort of just happens, and you can't say this did it or that did it. It's the many little things. It doesn't seem that taking sweat-soaked harnesses off tired, hot horses would be something that would make you notice. Opening a barn door for the sheep standing out in a cold rain, or throwing a few grains of corn to the chickens are small things, but these little things begin to add up in you, and you can begin to understand that you're important. You may not be real important like people who do great things that you read about in the newspaper, but you begin to feel that you're important to all the life around you. Nobody else knows or cares too much about what you do, but if you get a good feeling inside about what you do, then it doesn't matter if nobody else knows. I do think about myself a lot when I'm alone way back on the place bringing in the cows or sitting on a mowing machine all day. But when I start thinking about how our animals and crops and fields and woods and gardens sort of all fit together, I then get that good feeling inside and don't worry much about what will happen to me.

So trees communicate by means of olfactory, visual, and electrical signals. (The electrical signals travel via a from of nerve cell at the tips of the roots.) What about sounds? Let's get back to hearing and speech. When I said at the beginning of this chapter that trees are definitely silent, the latest scientific research casts doubt even on this statement. Along with colleagues from Bristol and Florence, Dr. Monica Gagliano from the University of Western Australia has, quite literally, had her ear to the ground. It's not practical to study trees in the laboratory; therefore, researchers substitute grain seedlings because they are easier to handle. They started listening, and it didn't take them long to discover that their measuring apparatus was registering roots crackling quietly at a frequency of 220 hertz. Crackling roots? That doesn't necessarily mean anything. After all, even dead wood crackles when it's burned in a stove. But the noised discovered in the laboratory caused the researchers to sit up and pay attention. For the roots of seedlings not directly involved in the experiment reacted. Whenever the seedlings' roots were exposed to a cracking at 220 hertz, they oriented their tips in that direction. That means the grasses were registering this frequency, so it makes sense to say they "heard" it.

We don’t know precisely when and how interest-bearing loans originated, since they appear to predate writing. Most likely, Temple administrators invented the idea as a way of financing the caravan trade. This trade was crucial because while the river valley of ancient Mesopotamia was extraordinarily fertile and produced huge surpluses of grain and other foodstuffs, and supported enormous numbers of livestock, which in turn supported a vast wool and leather industry, it was almost completely lacking in anything else. Stone, wood, metal, even the silver used as money, all had to be imported. From quite early times, then, Temple administrators developed the habit of advancing goods to local merchants—some of them private, others themselves Temple functionaries—who would then go off and sell it overseas. Interest was just a way for the Temples to take their share of the resulting profits.55 However, once established, the principle seems to have quickly spread. Before long, we find not only commercial loans, but also consumer loans—usury in the classical sense of the term. By c. 2400 BC it already appears to have been common practice on the part of local officials, or wealthy merchants, to advance loans to peasants who were in financial trouble on collateral and begin to appropriate their possessions if they were unable to pay.

This worship of the sacred fire did not belong exclusively to the populations of Greece and Italy. We find it in the East. The Laws of Manu as they have come to us show us the religion of Brahma completely established, and even verging towards its decline; but they have preserved vestiges and remains of a religion still more ancient—that of the sacred fire—which the worship of Brahma had reduced to a secondary rank, but could not destroy. The Brahmin has his fire to keep night and day; every morning and every evening he feeds it with wood; but, as with the Greeks, this must be the wood of certain trees. As the Greeks and Italians offer it wine, the Hindu pours upon it a fermented liquor which he calls soma. Meals, too, are religious acts, and the rites are scrupulously described in the Laws of Manu. They address prayers to the fire, as in Greece; they offer it the first fruits of rice, butter, and honey. We read that “the Brahmin should not eat the rice of the new harvest without having offered the first fruits of it to the hearth-fire; for the sacred fire is greedy of grain, and when it is not honored it will devour the existence of the negligent Brahmin.” The Hindus, like the Greeks and the Romans, pictured the gods to themselves as greedy not only of honors and respect, but of food and drink. Man believed himself compelled to satisfy their hunger and thirst if he wished to avoid their wrath.

This Compost" Something startles me where I thought I was safest, I withdraw from the still woods I loved, I will not go now on the pastures to walk, I will not strip the clothes from my body to meet my lover the sea, I will not touch my flesh to the earth as to other flesh to renew me. O how can it be that the ground itself does not sicken? How can you be alive you growths of spring? How can you furnish health you blood of herbs, roots, orchards, grain? Are they not continually putting distemper'd corpses within you? Is not every continent work'd over and over with sour dead? Where have you disposed of their carcasses? Those drunkards and gluttons of so many generations? Where have you drawn off all the foul liquid and meat? I do not see any of it upon you to-day, or perhaps I am deceiv'd, I will run a furrow with my plough, I will press my spade through the sod and turn it up underneath, I am sure I shall expose some of the foul meat. 2 Behold this compost! behold it well! Perhaps every mite has once form'd part of a sick person—yet behold! The grass of spring covers the prairies, The bean bursts noiselessly through the mould in the garden, The delicate spear of the onion pierces upward, The apple-buds cluster together on the apple-branches, The resurrection of the wheat appears with pale visage out of its graves, The tinge awakes over the willow-tree and the mulberry-tree, The he-birds carol mornings and evenings while the she-birds sit on their nests, The young of poultry break through the hatch'd eggs, The new-born of animals appear, the calf is dropt from the cow, the colt from the mare, Out of its little hill faithfully rise the potato's dark green leaves, Out of its hill rises the yellow maize-stalk, the lilacs bloom in the dooryards, The summer growth is innocent and disdainful above all those strata of sour dead. What chemistry! That the winds are really not infectious, That this is no cheat, this transparent green-wash of the sea which is so amorous after me, That it is safe to allow it to lick my naked body all over with its tongues, That it will not endanger me with the fevers that have deposited themselves in it, That all is clean forever and forever, That the cool drink from the well tastes so good, That blackberries are so flavorous and juicy, That the fruits of the apple-orchard and the orange-orchard, that melons, grapes, peaches, plums, will none of them poison me, That when I recline on the grass I do not catch any disease, Though probably every spear of grass rises out of what was once a catching disease. Now I am terrified at the Earth, it is that calm and patient, It grows such sweet things out of such corruptions, It turns harmless and stainless on its axis, with such endless successions of diseas'd corpses, It distills such exquisite winds out of such infused fetor, It renews with such unwitting looks its prodigal, annual, sumptuous crops, It gives such divine materials to men, and accepts such leavings from them at last.

I push my eye farther into the crack, smushing my cheek. The door rattles. Her arm freezes. The needle stops. Instantly, her shadow fills the room, a mountain on the wall. “Leidah?” I hold my breath. No hiding in the wood-box this time. Before I even have time to pull my eye away, the door opens. My mother's face, like the moon in the dark hallway. She squints and takes a step toward me. “Lei-lee?” I want to tell her I’ve had a nightmare about the Sisters, that I can’t sleep with all this whispering and worrying from her—and what are you sewing in the dark, Mamma? I try to move my lips, but I have no mouth. My tongue is gone; my nose is gone. I don’t have a face anymore. It has happened again. I am lying on my back, flatter than bread. My mother’s bare feet slap against my skin, across my belly, my chest. She digs her heel in, at my throat that isn’t there. I can see her head turning toward her bedroom. Snores crawl under the closed door. The door to my room is open, but she can’t see my bed from where she stands, can’t see that my bed is empty. She nods to herself: everything as it should be. Her foot grinds into my chin. The door to the sewing room closes behind her. I struggle to sit up. I wiggle my hips and jiggle my legs. It is no use. I am stuck, pressed flat into the grain of wood under me. But it’s not under me. It is me. I have become the floor. I know it’s true, even as I tell myself I am dreaming, that I am still in bed under the covers. My blood whirls inside the wood knots, spinning and rushing, sucking me down and down. The nicks of boot prints stomp and kick at my bones, like a bruise. I feel the clunk of one board to the next, like bumps of a wheel over stone. And then I am all of it, every knot, grain, and sliver, running down the hall, whooshing like a river, ever so fast, over the edge and down a waterfall, rushing from room to room. I pour myself under and over and through, feeling objects brush against me as I pass by. Bookshelves, bedposts, Pappa’s slippers, a fallen dressing gown, the stubby ends of an old chair. A mouse hiding inside a hole in the wall. Mor’s needle bobbing up and down. How is this possible? I am so wide, I can see both Mor and Far at the same time, even though they are in different rooms, one wide awake, the other fast asleep. I feel my father’s breath easily, sinking through the bed into me, while Mor’s breath fights against me, against the floor. In and out, each breath swimming away, away, at the speed of her needle, up up up in out in out outoutout—let me out, get me out, I want out. That’s what Mamma is thinking, and I hear it, loud and clear. I strain my ears against the wood to get back into my own body. Nothing happens. I try again, but this time push hard with my arms that aren’t there. Nothing at all. I stop and sink, letting go, giving myself into the floor. Seven, soon to be eight… it’s time, time’s up, time to go. The needle is singing, as sure as stitches on a seam. I am inside the thread, inside her head. Mamma is ticking—onetwothreefourfivesix— Seven. Seven what? And why is it time to go? Don’t leave me, Mamma. I beg her feet, her knees, her hips, her chest, her heart, my begging spreading like a big squid into the very skin of her. It’s then that I feel it. Something is happening to Mamma. Something neither Pappa nor I have noticed. She is becoming dust. She is drier than the wood I have become. - Becoming Leidah Quoted by copying text from the epub version using BlueFire e-reader.

Under his master’s watchful eye, the boy crossed to the door, which was made of a dark, unpainted wood with many whorls and grains. He had to struggle to turn the heavy brass knob, but the coolness of its touch pleased him. The door swung open soundlessly on oiled hinges and the boy stepped through to find himself at the top of a carpeted staircase. The walls were elegantly papered with a flowery pattern. A small window halfway down let in a friendly stream of sunlight. The boy descended carefully, one step at a time. The silence and sunlight reassured him and quelled some of his fears. Never having been beyond this point before, he had nothing but nursery stories to furnish his ideas of what might be waiting in his master’s study. Terrible images of stuffed crocodiles and bottled eyeballs sprang garishly into his mind. Furiously he drove them out again. He would not be afraid. At the foot of the staircase was another door, similar to the first, but smaller and decorated, in its center, with a five-sided star painted in red. The boy turned the knob and pushed: the door opened reluctantly, sticking on the thick carpet. When the gap was wide enough the boy passed through into the study. Unconsciously he had held his breath as he entered; now he let it out again, almost with a sense of disappointment. It was all so ordinary. A long room lined with books on either side. At the far end a great wooden desk with a padded leather chair set behind it. Pens on the table, a few papers, an old computer, a small metal box. The window beyond looked out toward a horse chestnut tree adorned with the full splendor of summer. The light in the room had a sweet greenish tint. The boy made for the table. Halfway there, he stopped and looked behind him.

Put yourself in the way of grace,' says a friend of ours, who is a monk, and a bishop; and he smiles his floating and shining smile. And truly, can there be a subject of more interest to each of us than whether or not grace exists, and the soul? And, consequent upon the existence of the soul, a whole landscape of incorruptible forces, perhaps even a source, an almost palpably suggested second universe? A world that is incomprehensible through reason? To believe in the soul---to believe in it exactly as much and as hardily as one believes in a mountain, say, or a fingernail, which is ever in view---imagine the consequences! How far-reaching, and thoroughly wonderful! For everything, by such a belief, would be charged, and changed. You wake in the morning, the soul exists, your mouth sings it, your mind accepts it. And the perceived, tactile world is, upon the instant, only half the world! How easily I travel, about halfway, through such a scenario. I believe in the soul---in mine, and yours, and the blue-jay's, and the pilot whale's. I believe each goldfinch flying away over the coarse ragweed has a soul, and the ragweed too, plant by plant, and the tiny stones in the earth below, and the grains of earth as well. Not romantically do I believe this, nor poetically, nor emotionally, nor metaphorically except as all reality is metaphor, but steadily, lumpishly, and absolutely. The wild waste spaces of the sea, and the pale dunes with one hawk hanging in the wind, they are for me the formal spaces that, in a liturgy, are taken up by prayer, song, sermon, silence, homily, scripture, the architecture of the church itself. And as with prayer, which is a dipping of oneself toward the light, there is a consequence of attentiveness to the grass itself, and the sky itself, and to the floating bird. I too leave the fret and enclosure of my own life. I too dip myself toward the immeasurable. Now winter, the winter I am writing about, begins to ease. And what, if anything, has been determined, selected, nailed down? This is the lesson of age---events pass, things change, trauma fades, good fortune rises, fades, rises again but different. Whereas what happens when one is twenty, as I remember it, happens forever. I have not been twenty for a long time! The sun rolls toward the north and I feel, gratefully, its brightness flaming up once more. Somewhere in the world the misery we can do nothing about yet goes on. Somewhere the words I will write down next year, and the next, are drifting into the wind, out of the ornate pods of the weeds of the Provincelands. Once I went into the woods to find an almost unfindable bird, a blue grosbeak. And I found it: a rough, deep blue, almost black, with heavy beak; it was plucking one by one the humped, pale green caterpillars from the leaves of a thick green tree. Then it vanished into the shadows of the leaves and, in the same moment, from the crown of the tree flew a western bluebird---little aqua thrush of the mountains, hundreds of miles from its home. It is a moment hard to top---but, I can. Once I came upon two angels, they were standing quietly, keeping guard beside a car. Light streamed from them, and a splash of flames lay quietly under their feet. What is one to do with such moments, such memories, but cherish them? Who knows what is beyond the known? And if you think that any day the secret of light might come, would you not keep the house of your mind ready? Would you not cleanse your study of all that is cheap, or trivial? Would you not live in continual hope, and pleasure, and excitement?

Better cut them down.” Roshar took his turn. “The wood’s undergrowth might be enough to screen us if we lie low.” Kestrel clicked her teeth; an eastern, irritated sort of sound. “You learned that from me,” the prince said, pleased. “Now tell the truth. Did you mark the cards?” Coolly, she said, “I never cheat.” “We can’t cut the trees down,” Arin said. “Concentrate,” Kestrel told the prince, sweeping up the card he’d tossed down. “To be clear, I’m letting you win. I let you win all the time.” “Obviously we can’t cut them down,” she said. “My father will notice a sudden swath of felled trees. We might as well paint a sign telling him we’re there.” “Or…” Arin said. She glanced at him. “What are you thinking?” “How much rope do we have?” “Two hundred and twelve lengths.” Roshar said, “You’ve been going over our supplies?” “Yes,” she said. “Could you rattle off the units by heart?” “Yes.” “How many sacks of grain for horses?” “Sixty-two. Play your card. You might as well. You’re going to lose regardless.” “Attempts to distract her usually don’t work,” Arin told him. “You play the winner, then,” Roshar said, “so that I may observe your technique.” Arin checked the rabbit again, pulled it off the fire. “No.” A surprised disappointment twitched, insect-like, inside Kestrel’s chest. Roshar said, “Why not?” Arin sliced meat off the bone onto a tin plate. Kestrel, who wasn’t entirely sure she wanted to hear Arin’s answer, said, “Why do you want rope?” “Let Arin surprise us,” Roshar said. “That’s how we do things. He comes up with something brilliant and I take the credit.” “Tell me,” Kestrel said. Arin set down the plate. “I won’t play you because even when I win, I lose. It’s never been just a game between us.” Roshar, who was stretched out on his side on the grass, elbow crooked, cheek pilowed on his palm, raised his brows at Kestrel. “I meant about the rope,” she muttered. Roshar’s gaze slid between her and Arin. “Yes, the rope. Why don’t we talk about that after all, shall we?

He cannot will his entry into and exit from the activity on a daily basis. There is not, as there is for most workers, a brief interval of exemption at the end of the day when he is permitted to enact a wholly different set of gestures; the timing of his eventual exit will by determined not by his own will but by the end of the war, whether that comes in days, months, or years, and there is of course a very high probability that even when the war ends he will never exit from it. Although in all forms of work the worker mixes himself with and eventually becomes inseparable from the materials of his labor (an inseparability that has only its most immediate sign the residues which coat his body, the coal beneath the skin of his arm, the spray of grain in his hair, the ink on his fingers), the boy in war is, to an extent, found in almost no other form of work, inextricably bound up with the men and materials of his labor: he will learn to perceive himself as he will be perceived by others, as indistinguishable from the men of his unit, regiment, division, and above all national group (all of whom will share the same name: he is German) as he is also inextricably bound up with the qualities and conditions – berry laden or snow laden - of the ground over which he walks or runs or crawls and with which he craves and courts identification, as in the camouflage postures he adopts, now running bent over parallel with the ground it is his work to mime, now arching forward conforming the curve of his back to the curve of a companion boulder, now standing as upright and still and narrow as the slender tree behind which he hides; he is the elms and the mud, he is the one hundred and sixth, he is a small piece of German terrain broken off and floating dangerously through the woods of France. He is a fragment of American earth wedged into an open hillside in Korea and reworked by its unbearable sun and rain. He is dark blue like the sea. He is light grey like the air through which he flies. He is sodden in the green shadows of earth. He is a light brown vessel of red Australian blood that will soon be opened and emptied across the rocks and ridges of Gallipoli from which he can never again become distinguishable.

Some wood choices you can use for smoking grain include alder, apple, beech, hickory, maple, pear, pecan, and oak; each variety brings its own qualities to the fire. Alder, for example, gives malt a sweet, delicate woodiness, and pecan is more pungent, intense, and spicy. Don’t forget that you can use spicy mesquite chips or peat for that sharp creosote character found in some Scotch whiskies.

Reclaimed Wood Furniture then, you have come to the right place as we offer the widest and the most favored range of furniture, each piece of which is the statement of pure Lavishness, Class and Elegance, offered at the most competitive and inexpensive prices. Antique Rustic's customer satisfaction has been off the charts since its beginning and the sole reason for achieving this reputation is its best-in-class Quality of products, Time Punctuality and its Commitment towards perfection. Our firm is a Client-Centered firm whose sole motto is that “One Satisfied customer would be our repeated customer”. CUSTOMIZATION As the Customer Is King, We do not leave any stone unturned in satisfying our customers and thus we offer them the flexibility to design their own Bespoke Reclaimed Wood Furniture which means you can hand us over your specifications for the furniture you want to get and we will be glad to make your dream come true. We proud ourselves on bringing smiles on our customers' faces when we hand over the Furniture that they design for themselves with Guaranteed Delivery within 7 Days(Excluding Handling Time which may vary for different categories). PRODUCT POLICY The product shown in the image is a reference product and the new manufactured product can look different from the one shown in the image due to various factors like lighting, manual Please note that in case of Solid Wood products, slight grains would be visible. There may be a slight variation in finish between the actual product and the 3-D designs which are being displayed on our store.antiquerustic.com

we use twice as much concrete every year as steel, aluminum, plastic, and wood combined. An estimated 70 percent of the world’s population live in structures made at least partly out of concrete.

Growing up, we had a black-and-white Zenith TV in a metal case with fake wood grain that you could pound on. You could beat the shit out of it. It’d go vertical or horizontal or the stabilizer would go off. I’d be trying to watch Maude and it would be all over the place. So I’d come up behind it and do that Fonz move. Boom. And it would straighten out. To fix something back in the day, you didn’t have to be a technician. You’d just slap it on the side or whack it on the top.

These islands form a backdrop for a culture that transcends time. Life follows its own rhythm on these gems of the sea that spread east from the Greek mainland. For eons, the artisans of the region have crafted beautiful objects of marble, bronze, and wood. For centuries, mules have transported people and goods from bustling port towns to the traditional villages that dot the hillsides. Ancient windmills--perched above glistening harbors like stalwart sentries--have harnessed the power of the air to process grain for as long as anyone can remember. Every day for thousands of years, fishermen have launched their boats in search of those fruits of the sea so lavishly displayed in seaside markets. Islanders have flocked to natural hot springs to bask in their healing waters since before the time of Aristotle. And since long before that, shrines to the gods have lured pilgrims and worshipers from near and far.

could have sworn that she saw the tip of Douglas’s tail wag. She left Bomber to his odious sister and tripped downstairs into the bright afternoon sunshine. The last thing she heard as she closed the door behind her was from Portia, in an altogether changed, but still unpleasant, wheedling tone: ‘Now, darling, when are you going to publish my book?’ At the corner of Great Russell Street she stopped for a moment, remembering the man she had smiled at. She hoped that the person he was meeting hadn’t left him waiting for too long. Just then, in amongst the dust and dirt at her feet, the glint of gold and glass caught her eye. She stooped down, rescued the small, round object from the gutter and slipped it safely into her pocket. Chapter 4 It was always the same. Looking down and never turning his face to the sky, he searched the pavements and gutters. His back burned and his eyes watered, full of grit and tears. And then he fell; back through the black into the damp and twisted sheets of his own bed. The dream was always the same. Endlessly searching and never finding the one thing that would finally bring him peace. The house was filled with the deep, soft darkness of a summer night. Anthony swung his weary legs out of bed and sat shrugging the stubborn scraps of dream from his head. He would have to get up. Sleep would not return tonight. He padded down the stairs, their creaking wood echoing his aching bones. No light was needed until he reached the kitchen. He made a pot of tea, finding more comfort in the making than the drinking, and took it through to the study. Pale moonlight skimmed across the edges of the shelves and pooled in the centre of the mahogany table. High on a shelf in the corner, the gold lid of the biscuit tin winked at him as he crossed the room. He took it down carefully and set it in the shimmering circle of light on the table. Of all the things that he had ever found, this troubled him the most. Because it was not a ‘something’ but a ‘someone’; of that he was unreasonably sure. Once again, he removed the lid and inspected the contents, as he had done every day for the past week since bringing it home. He had already repositioned the tin in the study several times, placing it higher up or hidden from sight, but its draw remained irresistible. He couldn’t leave it alone. He dipped his hand into the tin and gently rolled the coarse, grey grains across his fingertips. The memory swept through him, snatching his breath and winding him as surely as any punch to the gut. Once again, he was holding death in his hands. The life they could have had together was a self-harming fantasy in which Anthony rarely indulged. They might have been grandparents by now. Therese had never spoken about wanting children, but then they had both assumed that they had

There was one door down this hall that she had to reach—one room where she’d be safe. She kept her hand on the stone wall, counting the doors she passed. So close. Her cloak caught on the handle of a door as she passed by and ripped away. But she made it to that door, to the room where she’d be safe. Her fingers didn’t quite feel the grain of the wood as she pushed against the door and swayed on the threshold. Bright light, a blur of wood and stone and paper … and through the haze, a face she knew, gaping at her from behind a desk. A choked noise came out of her throat, and she looked down at herself long enough to see the blood covering her white dress, her arms, her hands. In the blood, she could see Davis, and the open gash across his throat. “Chaol,” she moaned, seeking that familiar face again. But he was already running, smashing through his office. He bellowed her name as her knees buckled and she fell. She saw only the golden brown of his eyes and held on long enough to whisper, “Gloriella,” before everything tilted and went black.

Waking At 3 a.m." Even in the cave of the night when you wake and are free and lonely, neglected by others, discarded, loved only by what doesn’t matter—even in that big room no one can see, you push with your eyes till forever comes in its twisted figure eight and lies down in your head. You think water in the river; you think slower than the tide in the grain of the wood; you become a secret storehouse that saves the country, so open and foolish and empty. You look over all that the darkness ripples across. More than has ever been found comforts you. You open your eyes in a vault that unlocks as fast and as far as your thought can run. A great snug wall goes around everything, has always been there, will always remain. It is a good world to be lost in. It comforts you. It is all right. And you sleep.

When I look at a piece of furniture from across a room, I see form, style, scale, context, and intended use. As I approach it, I distinguish material, joinery, and proportions. When I get close enough to touch it, I take in details such as hardware, textures, finish, edge treatments, wood grain, quality, and comfort.

In other words, a bunch of guys who spent their time running around the woods, hunting and fishing and trading meat for sex, one day saw someone hoeing weeds and said to themselves, “What a fine idea! Let’s go do that instead,” Is it possible that the technology did not spread entirely by adoption, that hunter-gatherers were wiped out or displaced by an advancing agricultural imperialism? The record suggests that although some adoption did occur, by and large farming spread by genocide.

Fuck / Our Future When our scorching planet ignites the last evacuating airship to cook its soft cargo of human flesh in an expanding fireball and fragments of its propeller blades thunk inches deep into tree trunks in the straggling forest beneath / What I want to know is which will survive / which strain / which wood grain will hold encoded / like a fingerprint pushed into wet clay / that final day of reckoning when this cerulean blue ordained world we have corroded a toxic grey / begins its self-reclamation starting with that tree / a lone lieutenant / a desperate sentinel / erect / through the falling ball of fire / het fuel and smouldering meat / its face of leaves weighed with dust / its waist of branches noosed in plastic bags / yet standing stubborn in its shaggy majesty / admist the ship’s carnage / like a righteous middle finger thrust at all humanity / proud in the snarling sky

The poem "Fuck / Our Future" (p. 49): When our scorching planet ignites the last evacuating airship to cook its soft cargo of human flesh in an expanding fireball and fragments of its propeller blades thunk inches deep into tree trunks in the straggling forest beneath / What I want to know is which will survive / which strain / which wood grain will hold encoded / like a fingerprint pushed into wet clay / that final day of reckoning when this cerulean blue ordained world we have corroded a toxic grey / begins its self-reclamation starting with that tree / a lone lieutenant / a desperate sentinel / erect / through the falling ball of fire / jet fuel and smouldering meat / its face of leaves weighed with dust / its waist of branches noosed in plastic bags / yet standing stubborn in its shaggy majesty / amidst the ship’s carnage / like a righteous middle finger thrust at all humanity / proud in the snarling sky

If the principle of impurity is admitted, then impurity is everywhere. There are worms in cow dung and in wood. Many though the grains of corn be, there is none of them which does not contain life. There was life in the primordial waters from which vegetation came. How can impurity be warded off? It is to be found in every kitchen. Nanak says, pollution is not removed in this way [through rituals]. It is washed away by knowledge of God. (AG 472)

The wood is deliciously fragrant, fine in grain and texture and creamy yellow, as if formed of condensed sunbeams

In the tin-covered porch Mr Chawla had constructed at the rear of the house she had set up her outdoor kitchen, spilling over into a grassy patch of ground. Here rows of pickle jars matured in the sun like an army balanced upon the stone wall; roots lay, tortured and contorted, upon a cot as they dried; and tiny wild fruit, scorned by all but the birds, lay cut open, displaying purple-stained hearts. Ginger was buried underground so as to keep it fresh; lemon and pumpkin dried on the roof; all manner of things fermented in tightly sealed tins; chilli peppers and curry leaves hung from the branches of a tree, and so did buffalo curd, dripping from a cloth on its way to becoming paneer. Newly strong with muscles, wiry and tough despite her slenderness, Kulfi sliced and pounded, ground and smashed, cut and chopped in a chaos of ingredients and dishes. ‘Cumin, quail, mustard seeds, pomelo rind,’ she muttered as she cooked. ‘Fennel, coriander, sour mango. Pandanus flour, lichen and perfumed kewra. Colocassia leaves, custard apple, winter melon, bitter gourd. Khas root, sandalwood, ash gourd, fenugreek greens. Snake-gourd, banana flowers, spider leaf, lotus root …’ She was producing meals so intricate, they were cooked sometimes with a hundred ingredients, balanced precariously within a complicated and delicate mesh of spices – marvellous triumphs of the complex and delicate art of seasoning. A single grain of one thing, a bud of another, a moist fingertip dipped lightly into a small vial and then into the bubbling pot; a thimble full, a matchbox full, a coconut shell full of dark crimson and deep violet, of dusty yellow spice, the entire concoction simmered sometimes for a day or two on coals that emitted only a glimmer of faint heat or that roared like a furnace as she fanned them with a palm leaf. The meats were beaten to silk, so spiced and fragrant they clouded the senses; the sauces were full of strange hints and dark undercurrents, leaving you on firm ground one moment, dragging you under the next. There were dishes with an aftertaste that exploded upon you and left you gasping a whole half-hour after you’d eaten them. Some that were delicate, with a haunting flavour that teased like the memory of something you’d once known but could no longer put your finger on. Pickled limes stuffed with cardamom and cumin, crepuscular creatures simmered upon the wood of a scented tree, small river fish baked in green coconuts, rice steamed with nasturtium flowers in the pale hollow of a bamboo stem, mushrooms red – and yellow-gilled, polka-dotted and striped. Desire filled Sampath as he waited for his meals. Spice-laden clouds billowed forth and the clashing cymbals of pots and pans declared the glory of the meal to come, scaring the birds from the trees about him.

Every time I am shown to an old, dimly lit, and, I would add, impeccably clean toilet in a Nara or Kyoto temple, I am impressed with the singular virtues of Japanese architecture. The parlor may have its charms, but the Japanese toilet is truly a place of spiritual repose. It always stands apart from the main building, at the end of a corridor, in a grove fragrant with leaves and moss. No words can describe that sensation as one sits in the dim light, basking in the faint glow reflected from the shoji, lost in meditation or gazing out at the garden. The novelist Natsume Sōseki counted his morning trips to the toilet a great pleasure, “a physiological delight” he called it. And surely there could be no better place to savor this pleasure than a Japanese toilet where, surrounded by tranquil walls and finely grained wood, one looks out upon blue skies and green leaves. As I have said there are certain prerequisites: a degree of dimness, absolute cleanliness, and quiet so complete one can hear the hum of a mosquito. I love to listen from such a toilet to the sound of softly falling rain, especially if it is a toilet of the Kantō region, with its long, narrow windows at floor level; there one can listen with such a sense of intimacy to the raindrops falling from the eaves and the trees, seeping into the earth as they wash over the base of a stone lantern and freshen the moss about the stepping stones. And the toilet is the perfect place to listen to the chirping of insects or the song of the birds, to view the moon, or to enjoy any of those poignant moments that mark the change of the seasons. Here, I suspect, is where haiku poets over the ages have come by a great many of their ideas. Indeed one could with some justice claim that of all the elements of Japanese architecture, the toilet is the most aesthetic. Our forebears, making poetry of everything in their lives, transformed what by rights should be the most unsanitary room in the house into a place of unsurpassed elegance, replete with fond associations with the beauties of nature.

Don’t you see? Everything’s different now. I’m different now. I’m not that dashing, immortal youth who kissed you in the garden all those years ago.” She stroked his cheek. “I’m not the giddy, moonstruck girl you kissed. I’m a woman now, with my own fears and desires. And a heart that’s grown stronger than you’d credit. Strong enough to contain four years’ worth of love.” He cleared his throat and studied the wood paneling. The whorls of grain twisted and churned as he blinked. “You should have saved it for someone else.” “I’ve never wanted anyone else.” She tugged on his chin until he met her gaze. “Luke. Fight for me.

Western red cedar (Thuja plicata) is a kind of wonder wood. Its low density makes it easy to shape, whether with a chisel, a plane, or a handsaw. Its open cell structure makes it light and buoyant, and in rowing lightness means speed. Its tight, even grain makes it strong but flexible, easy to bend yet disinclined to twist, warp, or cup. It is free of pitch or sap, but its fibers contain chemicals called thujaplicins that act as natural preservatives, making it highly resistant to rot while at the same time lending it its lovely scent. It is beautiful to look at, it takes a finish well, and it can be polished to a high degree of luster, essential for providing the smooth, friction-free racing bottom a good shell requires.

A deep sorrow came over Mary for all the child sacrifices she presided over at the base of this monstrosity. The deaths of the innocent gave Gaia life and sustenance, and enslaved women to the illusion of empowerment. The goddess feasted on the flesh and blood of the offering of their wombs. They believed that somehow they were helping their community and saving Mother Earth in giving up their offspring. And every human offered up was absorbed into the tree. When she was up close to it, Mary could see in the grain of the wood the twisted agonized forms of the sacrificial victims melded into the bark so as to become one with it. She had formerly believed that this tree of death was the Tree of Life. But this was not the only false narrative that had held her in its grip of deceit for so many years.

abandoned and ruined. In the north east of the city, where the imperial gardens had once been, people had constructed rickety hovels from scraps of wood salvaged from the ruins. In the empty space that had once been a garden full of exotic plants, they were growing grain and vegetables. Men with sharpened sticks and clubs watched over the struggling plants day and night. There were a few goats tethered to posts, one or two pigs and some scrawny chickens pecking at the barren earth. The children were dressed in tattered rags and just as grimy as children in the rest of the city, but

In the advertisement, anonymous hands wielded shiny shiny blades that chopped through butter and animal bone as if they were the same thing, through ice and tendon and untreated wood as if there was no difference between anything in the world—only a slight variation in grain, visible once something has been split in half.

You may think you want me, but it’s Denny you need. You deserve to be happy, Cecily. Adored, doted upon, surrounded by a half-dozen blue-eyed children. I want you to have that life.” “Then give me that life.” “I can’t. Don’t you see? Everything’s different now. I’m different now. I’m not that dashing, immortal youth who kissed you in the garden all those years ago.” She stroked his cheek. “I’m not the giddy, moonstruck girl you kissed. I’m a woman now, with my own fears and desires. And a heart that’s grown stronger than you’d credit. Strong enough to contain four years’ worth of love.” He cleared his throat and studied the wood paneling. The whorls of grain twisted and churned as he blinked. “You should have saved it for someone else.” “I’ve never wanted anyone else.” She tugged on his chin until he met her gaze. “Luke. Fight for me.” He shook his head. “I’m done with fighting.” “And I’m done with waiting,” she said. “If you walk away from me again . . .” “We’re finished. I know.” Tenderly, he hooked a wisp of her hair with his fingertip and slowly tucked it behind her ear. “Marry Denny.” She stared at him, lips parted in disbelief. “What a liar you are. You keep insisting you’ve changed, but you haven’t changed one bit. Toying with my affections one moment, callously discarding them the next. I can’t decide whether you’re deceiving me or just lying to yourself.” “Don’t overthink it, Cecy.” Turning aside, he tugged casually on each of his cuffs. “You said it best last night. I’m an arrogant, insufferable cad.” He

ALKERMES  (ALKE'RMES)   n.s.In medicine, a term borrowed from the Arabs, denoting a celebrated remedy, of the form and consistence of a confection; whereof the kermes berries are the basis. The other ingredients are pippin-cyder, rose-water, sugar, ambergrease, musk, cinnamon, aloes-wood, pearls, and leaf-gold; but the sweets are usually omitted. The confectio alkermes is chiefly made at Montpelier, which supplies most part of Europe therewith. The grain, which gives it the denomination, is nowhere found so plentifully as there.Chambers.

Then a stray memory would drop into my mind, like a tiny thread that falls from a skirt hem onto the floor, alone, singular, and I would re-remember Samone in his workshop at the back of the garage, sitting on his red stool, bending over, sanding a piece of wood he'd found on a hunting trip, lifting its grain up and out and leaving its ego on the floor in tiny piles of sawdust. It hurt so much to hear the loudness of the tap of the string in my mind and the crash of the sawdust falling rhythmically over it to make a mountain of memories best kept in the garage.

The American philosopher Richard Taylor once illustrated this mystery, famously and fetchingly, with the image of a man out for a stroll in the forest unaccountably coming upon a very large translucent sphere. Naturally, he would immediately be taken aback by the sheer strangeness of the thing, and would wonder how it should happen to be there. More to the point, he would certainly never be able to believe that it just happened to be there without any cause, or without any possibility of further explanation; the very idea would be absurd. But, adds Taylor, what that man has not noticed is that he might ask the same question equally well about any other thing in the woods too, a rock or a tree no less than this outlandish sphere, and fails to do so only because it rarely occurs to us to interrogate the ontological pedigrees of the things to which we are accustomed. What would provoke our curiosity about the sphere would be that it was so obviously out of place; but, as far as existence is concerned, everything is in a sense out of place. As Taylor goes on to say, the question would be no less intelligible or pertinent if we were to imagine the sphere either as expanded to the size of the universe or as contracted to the size of a grain of sand, either as existing from everlasting to everlasting or as existing for only a few seconds. It is the sheer unexpected “thereness” of the thing, devoid of any transparent rationale for the fact, that prompts our desire to understand it in terms not simply of its nature, but of its very existence.

The sanding process Sanding is the process of scratching the wood surface with finer and finer scratches until the abrasions are invisible. After all the work and effort in creating the project, it is important to make it as presentable and fit for its intended use as possible. The work of creation does not end with the turning. To make your work as complete as desired may require more time than the actual turning did! Here are a few guidelines to help. •Use the best sandpaper you can buy and discard it when it begins to wear. This will save you a lot of time by always using sharp paper that cuts correctly. Worn 80-grit paper does not become 120-grit—only 80-grit that won’t cut any more. •Always follow the order of grits: 80, 120, 180, 220, and 320. Don’t skip grits in a rush or earlier scratches may not be completely removed. •After sanding with the lathe running, turn off the lathe and hand sand in the direction of the grain to remove all circular scratches caused in the previous sanding step. You can remove a lot of stubborn scratches this way. •Keep the lathe speed low as high speed sanding generates surface heat and can cause small surface cracks to appear. •Don’t proceed to the next grit until all circular marks are gone. It may require a bright light to see the marks clearly. •If scratches reappear as you work in finer grits, they were always there and are only now being seen due to the smoother surface surrounding them. You must go back to the grit of sandpaper that created the scratches and rework the whole sanding process. •Sanding wood and sanding a finished surface are different processes. There is no point in sanding a course-grained wood beyond 320-grit as the pores of the wood themselves may be larger than the grit of the sandpaper. Once finish is applied and the wood pores are filled, sanding between topcoats can proceed with even finer grits.

Torn grain Torn grain occurs when the unsupported fibers of the wood are lifted away from the surface and ripped off or pulled out. You can usually see this effect on the exterior of a cross-grain bowl at the end grain area. The trailing edge of the end grain cuts well and the leading edge does not since the fibers are unsupported. (Drawings 8 and 9) There are many causes of torn grain: dull tools, pushing the tool too hard or too fast, turning at a lathe speed that is too slow, the tendency of some soft-fiber wood to easily fray, and just bad luck. 7. Support the scrapers on top of your arm to assure the safest cutting angle. 8. The trailing edge of the end grain with supported fibers being cut. 9. The unsupported leading edge of the end grain leads to potential tear out. Addressing torn grain issues Sanding is not a solution to torn grain; recutting the torn grain area with adjustments must be done. •Resharpen your tool and take a lighter cut with a faster lathe speed. •Use a smaller diameter gouge to bring the cutting edge closer to the supporting bevel. •Change the tool geometry to allow the bevel to move closer to the cutting edge providing more support to the cut. Try shortening the bevel length by grinding some of the heel away. •Stiffen the fibers to hold them in place while the tool cuts by applying a coat of shellac before the final cut. •If possible, reverse the lathe direction and recut with the opposite rotation. This may or may not help, as now the grain in the opposite direction is a risk!

now I really feel like an East-Coast snob, laying judgments and semiotic theories on these people who ask of life only a Republican in the White House and a black velvet Elvis on the wood-grain mantel of their mobile home.

The fatty layers of the salmon’s ruby flesh are striking and closely resemble wood grain, she realizes, Douglas fir particularly. The biologist in her loves these parallels of growth. How tenaciously organisms build tissue, layer by layer, year by year.

Cherry reaches about 90 to 100 feet, with a possible 54-inch trunk diameter. Cherry heartwood is a medium red-brown with its own characteristic luster. Sapwood is narrow and nearly white. Grain is straight, finely textured and close, with a gentle waving figure. Ripple and quilt