Written On The Wind Quotes

I have stolen princesses back from sleeping barrow kings. I burned down the town of Trebon. I have spent the night with Felurian and left with both my sanity and my life. I was expelled from the University at a younger age than most people are allowed in. I tread paths by moonlight that others fear to speak of during day. I have talked to gods, loved women, and written songs that make the minstrels weep. You may have heard of me.

For me, trees have always been the most penetrating preachers. I revere them when they live in tribes and families, in forests and groves. And even more I revere them when they stand alone. They are like lonely persons. Not like hermits who have stolen away out of some weakness, but like great, solitary men, like Beethoven and Nietzsche. In their highest boughs the world rustles, their roots rest in infinity; but they do not lose themselves there, they struggle with all the force of their lives for one thing only: to fulfil themselves according to their own laws, to build up their own form, to represent themselves. Nothing is holier, nothing is more exemplary than a beautiful, strong tree. When a tree is cut down and reveals its naked death-wound to the sun, one can read its whole history in the luminous, inscribed disk of its trunk: in the rings of its years, its scars, all the struggle, all the suffering, all the sickness, all the happiness and prosperity stand truly written, the narrow years and the luxurious years, the attacks withstood, the storms endured. And every young farmboy knows that the hardest and noblest wood has the narrowest rings, that high on the mountains and in continuing danger the most indestructible, the strongest, the ideal trees grow. Trees are sanctuaries. Whoever knows how to speak to them, whoever knows how to listen to them, can learn the truth. They do not preach learning and precepts, they preach, undeterred by particulars, the ancient law of life. A tree says: A kernel is hidden in me, a spark, a thought, I am life from eternal life. The attempt and the risk that the eternal mother took with me is unique, unique the form and veins of my skin, unique the smallest play of leaves in my branches and the smallest scar on my bark. I was made to form and reveal the eternal in my smallest special detail. A tree says: My strength is trust. I know nothing about my fathers, I know nothing about the thousand children that every year spring out of me. I live out the secret of my seed to the very end, and I care for nothing else. I trust that God is in me. I trust that my labor is holy. Out of this trust I live. When we are stricken and cannot bear our lives any longer, then a tree has something to say to us: Be still! Be still! Look at me! Life is not easy, life is not difficult. Those are childish thoughts. Let God speak within you, and your thoughts will grow silent. You are anxious because your path leads away from mother and home. But every step and every day lead you back again to the mother. Home is neither here nor there. Home is within you, or home is nowhere at all. A longing to wander tears my heart when I hear trees rustling in the wind at evening. If one listens to them silently for a long time, this longing reveals its kernel, its meaning. It is not so much a matter of escaping from one's suffering, though it may seem to be so. It is a longing for home, for a memory of the mother, for new metaphors for life. It leads home. Every path leads homeward, every step is birth, every step is death, every grave is mother. So the tree rustles in the evening, when we stand uneasy before our own childish thoughts: Trees have long thoughts, long-breathing and restful, just as they have longer lives than ours. They are wiser than we are, as long as we do not listen to them. But when we have learned how to listen to trees, then the brevity and the quickness and the childlike hastiness of our thoughts achieve an incomparable joy. Whoever has learned how to listen to trees no longer wants to be a tree. He wants to be nothing except what he is. That is home. That is happiness.

Before reaching the final line, however, he had already understood that he would never leave that room, for it was foreseen that the city of mirrors (or mirages) would be wiped out by the wind and exiled from the memory of men at the precise moment when Aureliano Babilonia would finish deciphering the parchments, and that everything written on them was unrepeatable since time immemorial and forever more, because races condemned to one hundred years of solitude did not have a second opportunity on earth.

I love like a leaf in the wind. Please, hold your applause until the end of the performance (the last day of fall).

And of course I'm in the press all the time. So many books have been written about me; Into thin air, up in the air,Gone with the wind-

History is written by the victors--and when there is no victors, it all winds up in the corporate shredders.

The Layers I have walked through many lives, some of them my own, and I am not who I was, though some principle of being abides, from which I struggle not to stray. When I look behind, as I am compelled to look before I can gather strength to proceed on my journey, I see the milestones dwindling toward the horizon and the slow fires trailing from the abandoned camp-sites, over which scavenger angels wheel on heavy wings. Oh, I have made myself a tribe out of my true affections, and my tribe is scattered! How shall the heart be reconciled to its feast of losses? In a rising wind the manic dust of my friends, those who fell along the way, bitterly stings my face. Yet I turn, I turn, exulting somewhat, with my will intact to go wherever I need to go, and every stone on the road precious to me. In my darkest night, when the moon was covered and I roamed through wreckage, a nimbus-clouded voice directed me: “Live in the layers, not on the litter.” Though I lack the art to decipher it, no doubt the next chapter in my book of transformations is already written. I am not done with my changes.

I am of a different mind ten times in the course of a day. But I resist the devil, and often it is with a fart that I chase him away. When he tempts me with silly sins I say, 'Devil, yesterday I broke wind too. Have you written it down on your list?

Fireflies out on a warm summer's night, seeing the urgent, flashing, yellow-white phosphorescence below them, go crazy with desire; moths cast to the winds an enchantment potion that draws the opposite sex, wings beating hurriedly, from kilometers away; peacocks display a devastating corona of blue and green and the peahens are all aflutter; competing pollen grains extrude tiny tubes that race each other down the female flower's orifice to the waiting egg below; luminescent squid present rhapsodic light shows, altering the pattern, brightness and color radiated from their heads, tentacles, and eyeballs; a tapeworm diligently lays a hundred thousand fertilized eggs in a single day; a great whale rumbles through the ocean depths uttering plaintive cries that are understood hundreds of thousands of kilometers away, where another lonely behemoth is attentively listening; bacteria sidle up to one another and merge; cicadas chorus in a collective serenade of love; honeybee couples soar on matrimonial flights from which only one partner returns; male fish spray their spunk over a slimy clutch of eggs laid by God-knows-who; dogs, out cruising, sniff each other's nether parts, seeking erotic stimuli; flowers exude sultry perfumes and decorate their petals with garish ultraviolet advertisements for passing insects, birds, and bats; and men and women sing, dance, dress, adorn, paint, posture, self-mutilate, demand, coerce, dissemble, plead, succumb, and risk their lives. To say that love makes the world go around is to go too far. The Earth spins because it did so as it was formed and there has been nothing to stop it since. But the nearly maniacal devotion to sex and love by most of the plants, animals, and microbes with which we are familiar is a pervasive and striking aspect of life on Earth. It cries out for explanation. What is all this in aid of? What is the torrent of passion and obsession about? Why will organisms go without sleep, without food, gladly put themselves in mortal danger for sex? ... For more than half the history of life on Earth organisms seem to have done perfectly well without it. What good is sex?... Through 4 billion years of natural selection, instructions have been honed and fine-tuned...sequences of As, Cs, Gs, and Ts, manuals written out in the alphabet of life in competition with other similar manuals published by other firms. The organisms become the means through which the instructions flow and copy themselves, by which new instructions are tried out, on which selection operates. 'The hen,' said Samuel Butler, 'is the egg's way of making another egg.' It is on this level that we must understand what sex is for. ... The sockeye salmon exhaust themselves swimming up the mighty Columbia River to spawn, heroically hurdling cataracts, in a single-minded effort that works to propagate their DNA sequences into future generation. The moment their work is done, they fall to pieces. Scales flake off, fins drop, and soon--often within hours of spawning--they are dead and becoming distinctly aromatic. They've served their purpose. Nature is unsentimental. Death is built in.

My name is Kvothe, pronounced nearly the same as "quothe." Names are important as they tell you a great deal about a person. I've had more names than anyone has a right to. The Adem call me Maedre. Which, depending on how it's spoken, can mean The Flame, The Thunder, or The Broken Tree. "The Flame" is obvious if you've ever seen me. I have red hair, bright. If I had been born a couple of hundred years ago I would probably have been burned as a demon. I keep it short but it's unruly. When left to its own devices, it sticks up and makes me look as if I have been set afire. "The Thunder" I attribute to a strong baritone and a great deal of stage training at an early age. I've never thought of "The Broken Tree" as very significant. Although in retrospect, I suppose it could be considered at least partially prophetic. My first mentor called me E'lir because I was clever and I knew it. My first real lover called me Dulator because she liked the sound of it. I have been called Shadicar, Lightfinger, and Six-String. I have been called Kvothe the Bloodless, Kvothe the Arcane, and Kvothe Kingkiller. I have earned those names. Bought and paid for them. But I was brought up as Kvothe. My father once told me it meant "to know." I have, of course, been called many other things. Most of them uncouth, although very few were unearned. I have stolen princesses back from sleeping barrow kings. I burned down the town of Trebon. I have spent the night with Felurian and left with both my sanity and my life. I was expelled from the University at a younger age than most people are allowed in. I tread paths by moonlight that others fear to speak of during day. I have talked to Gods, loved women, and written songs that make the minstrels weep. You may have heard of me.

Her eyes were dark. Dark as chocolate, dark as coffee, dark as the polished wood of my father’s lute. They were set in a fair face, oval. Like a teardrop. Her easy smile could stop a man’s heart. Her lips were red. Not the garish painted red so many women believe makes them desirable. Her lips were always red, morning and night. As if minutes before you saw her, she had been eating sweet berries, or drinking heart’s blood. No matter where she stood, she was in the center of the room. Do not misunderstand. She was not loud, or vain. We stare at a fire because it flickers, because it glows. The light is what catches our eyes, but what makes a man lean close to a fire has nothing to do with its bright shape. What draws you to a fire is the warmth you feel when you come near. The same was true of Denna.

Live. And Live Well. BREATHE. Breathe in and Breathe deeply. Be PRESENT. Do not be past. Do not be future. Be now. On a crystal clear, breezy 70 degree day, roll down the windows and FEEL the wind against your skin. Feel the warmth of the sun. If you run, then allow those first few breaths on a cool Autumn day to FREEZE your lungs and do not just be alarmed, be ALIVE. Get knee-deep in a novel and LOSE track of time. If you bike, pedal HARDER and if you crash then crash well. Feel the SATISFACTION of a job well done-a paper well-written, a project thoroughly completed, a play well-performed. If you must wipe the snot from your 3-year old's nose, don't be disgusted if the Kleenex didn't catch it all because soon he'll be wiping his own. If you've recently experienced loss, then GRIEVE. And Grieve well. At the table with friends and family, LAUGH. If you're eating and laughing at the same time, then might as well laugh until you puke. And if you eat, then SMELL. The aromas are not impediments to your day. Steak on the grill, coffee beans freshly ground, cookies in the oven. And TASTE. Taste every ounce of flavor. Taste every ounce of friendship. Taste every ounce of Life. Because-it-is-most-definitely-a-Gift.

Dearest creature in creation, Study English pronunciation. I will teach you in my verse Sounds like corpse, corps, horse, and worse. I will keep you, Suzy, busy, Make your head with heat grow dizzy. Tear in eye, your dress will tear. So shall I! Oh hear my prayer. Just compare heart, beard, and heard, Dies and diet, lord and word, Sword and sward, retain and Britain. (Mind the latter, how it’s written.) Now I surely will not plague you With such words as plaque and ague. But be careful how you speak: Say break and steak, but bleak and streak; Cloven, oven, how and low, Script, receipt, show, poem, and toe. Hear me say, devoid of trickery, Daughter, laughter, and Terpsichore, Typhoid, measles, topsails, aisles, Exiles, similes, and reviles; Scholar, vicar, and cigar, Solar, mica, war and far; One, anemone, Balmoral, Kitchen, lichen, laundry, laurel; Gertrude, German, wind and mind, Scene, Melpomene, mankind. Billet does not rhyme with ballet, Bouquet, wallet, mallet, chalet. Blood and flood are not like food, Nor is mould like should and would. Viscous, viscount, load and broad, Toward, to forward, to reward. And your pronunciation’s OK When you correctly say croquet, Rounded, wounded, grieve and sieve, Friend and fiend, alive and live. Ivy, privy, famous; clamour And enamour rhyme with hammer. River, rival, tomb, bomb, comb, Doll and roll and some and home. Stranger does not rhyme with anger, Neither does devour with clangour. Souls but foul, haunt but aunt, Font, front, wont, want, grand, and grant, Shoes, goes, does. Now first say finger, And then singer, ginger, linger, Real, zeal, mauve, gauze, gouge and gauge, Marriage, foliage, mirage, and age. Query does not rhyme with very, Nor does fury sound like bury. Dost, lost, post and doth, cloth, loth. Job, nob, bosom, transom, oath. Though the differences seem little, We say actual but victual. Refer does not rhyme with deafer. Foeffer does, and zephyr, heifer. Mint, pint, senate and sedate; Dull, bull, and George ate late. Scenic, Arabic, Pacific, Science, conscience, scientific. Liberty, library, heave and heaven, Rachel, ache, moustache, eleven. We say hallowed, but allowed, People, leopard, towed, but vowed. Mark the differences, moreover, Between mover, cover, clover; Leeches, breeches, wise, precise, Chalice, but police and lice; Camel, constable, unstable, Principle, disciple, label. Petal, panel, and canal, Wait, surprise, plait, promise, pal. Worm and storm, chaise, chaos, chair, Senator, spectator, mayor. Tour, but our and succour, four. Gas, alas, and Arkansas. Sea, idea, Korea, area, Psalm, Maria, but malaria. Youth, south, southern, cleanse and clean. Doctrine, turpentine, marine. Compare alien with Italian, Dandelion and battalion. Sally with ally, yea, ye, Eye, I, ay, aye, whey, and key. Say aver, but ever, fever, Neither, leisure, skein, deceiver. Heron, granary, canary. Crevice and device and aerie. Face, but preface, not efface. Phlegm, phlegmatic, ass, glass, bass. Large, but target, gin, give, verging, Ought, out, joust and scour, scourging. Ear, but earn and wear and tear Do not rhyme with here but ere. Seven is right, but so is even, Hyphen, roughen, nephew Stephen, Monkey, donkey, Turk and jerk, Ask, grasp, wasp, and cork and work. Pronunciation (think of Psyche!) Is a paling stout and spikey? Won’t it make you lose your wits, Writing groats and saying grits? It’s a dark abyss or tunnel: Strewn with stones, stowed, solace, gunwale, Islington and Isle of Wight, Housewife, verdict and indict. Finally, which rhymes with enough, Though, through, plough, or dough, or cough? Hiccough has the sound of cup. My advice is to give up!!!

I was secretly convinced that with such a marvel one would be able to write anything, from novels to encyclopedias, and letters whose supernatural power would surpass any postal limitations--a letter written with that pen would reach the most remote corners of the world, even that unknowable place to which my father said my mother had gone and from where she would never return.

I have been called Kvothe the Bloodless, Kvothe the Arcane, and Kvothe Kingkiller. I have earned those names. Bought and paid for them. But I was brought up as Kvothe. My father once told me it meant "to know." I have, of course, been called many other things. Most of them uncouth, although very few were unearned. I have stolen princesses back from sleeping barrow kings. I burned down the town of Trebon. I have spent the night with Felurian and left with both my sanity and my life. I was expelled from the University at a younger age than most people are allowed in. I tread paths by moonlight that others fear to speak of during day. I have talked to Gods, loved women, and written songs that make the minstrels weep. You may have heard of me.

Could it be possible? That the winds of fate had brought them together? Had it been written in stone that he was the man Leah would choose in St. James Cathedral that day, or had it just been his luck?

A Kite is a Victim A kite is a victim you are sure of. You love it because it pulls gentle enough to call you master, strong enough to call you fool; because it lives like a desperate trained falcon in the high sweet air, and you can always haul it down to tame it in your drawer. A kite is a fish you have already caught in a pool where no fish come, so you play him carefully and long, and hope he won't give up, or the wind die down. A kite is the last poem you've written so you give it to the wind, but you don't let it go until someone finds you something else to do. A kite is a contract of glory that must be made with the sun, so you make friends with the field the river and the wind, then you pray the whole cold night before, under the travelling cordless moon, to make you worthy and lyric and pure. Gift You tell me that silence is nearer to peace than poems but if for my gift I brought you silence (for I know silence) you would say This is not silence this is another poem and you would hand it back to me There are some men There are some men who should have mountains to bear their names through time Grave markers are not high enough or green and sons go far away to lose the fist their father’s hand will always seem I had a friend he lived and died in mighty silence and with dignity left no book son or lover to mourn. Nor is this a mourning song but only a naming of this mountain on which I walk fragrant, dark and softly white under the pale of mist I name this mountain after him. -Believe nothing of me Except that I felt your beauty more closely than my own. I did not see any cities burn, I heard no promises of endless night, I felt your beauty more closely than my own. Promise me that I will return.- -When you call me close to tell me your body is not beautiful I want to summon the eyes and hidden mouths of stone and light and water to testify against you.- Song I almost went to bed without remembering the four white violets I put in the button-hole of your green sweater and how i kissed you then and you kissed me shy as though I'd never been your lover -Reach into the vineyard of arteries for my heart. Eat the fruit of ignorance and share with me the mist and fragrance of dying.-

The wind blowing across the British Isles was odorous with fear of asylum seekers, infecting everybody with the panic of impending doom, and so articles were written and read, simply and stridently, as though the writers lived in a world in which the present was unconnected to the past, and they had never considered this to be the normal course of history: the influx into Britain of black and brown people from countries created by Britain. Yet he understood. It had to be comforting, this denial of history.

As though she had entered a fable, as though she were no more than words crawling along a dry page, or as though she were becoming that page itself, that surface on which her story would be written and across which there blew a hot and merciless wind, turning her body to papyrus, her skin to parchment, her soul to paper.

If you're looking for fine art or literature, you might want to read some stuff written by the Greeks. Because to create true fine art, slaves are a necessity. That's how the ancient Greeks felt, with slaves working the fields, cooking their meals, rowing their ships, all the while their citizens, under the Mediterranean Sun, indulged in poetry writing and grappled with mathematics. That was their idea of fine art.

And he lay on the cold floor of the study watching the wind stirring the pages, mixing the written and unwritten, the end among them.

A kite is a victim you are sure of. You love it because it pulls gentle enough to call you master, strong enough to call you fool; because it lives like a desperate trained falcon in the high sweet air, and you can always haul it down to tame it in your drawer. A kite is a fish you have already caught in a pool where no fish come, so you play him carefully and long, and hope he won't give up, or the wind die down. A kite is the last poem you've written so you give it to the wind, but you don't let it go until someone finds you something else to do.

ON THE DAY I DIE On the day I die, when I'm being carried toward the grave, don't weep. Don't say, He's gone! He's gone. Death has nothing to do with going away. The sun sets and the moon sets, but they're not gone. Death is a coming together. The tomb looks like a prison, but it's really release into union. The human seed goes down in the ground like a bucket into the well where Joseph is. It grows and comes up full of some unimagined beauty. Your mouth closes here, and immediately opens with a shout of joy there. --------------------------------- One who does what the Friend wants done will never need a friend. There's a bankruptcy that's pure gain. The moon stays bright when it doesn't avoid the night. A rose's rarest essence lives in the thorn. ---------------------------------- Childhood, youth, and maturity, and now old age. Every guest agrees to stay three days, no more. Master, you told me to remind you. Time to go. ----------------------------------- The angel of death arrives, and I spring joyfully up. No one knows what comes over me when I and that messenger speak! ------------------------------------- When you come back inside my chest no matter how far I've wandered off, I look around and see the way. At the end of my life, with just one breath left, if you come then, I'll sit up and sing. -------------------------------------- Last night things flowed between us that cannot now be said or written. Only as I'm being carried out and down the road, as the folds of my shroud open in the wind, will anyone be able to read, as on the petal-pages of a turning bud, what passed through us last night. ------------------------------------- I placed one foot on the wide plain of death, and some grand immensity sounded on the emptiness. I have felt nothing ever like the wild wonder of that moment. Longing is the core of mystery. Longing itself brings the cure. The only rule is, Suffer the pain. Your desire must be disciplined, and what you want to happen in time, sacrificed.

The accounts of rape, wife beating, forced childbearing, medical butchering, sex-motivated murder, forced prostitution, physical mutilation, sadistic psychological abuse, and other commonplaces of female experi ence that are excavated from the past or given by contemporary survivors should leave the heart seared, the mind in anguish, the conscience in upheaval. But they do not. No matter how often these stories are told, with whatever clarity or eloquence, bitterness or sorrow, they might as well have been whispered in wind or written in sand: they disappear, as if they were nothing. The tellers and the stories are ignored or ridiculed, threatened back into silence or destroyed, and the experience of female suffering is buried in cultural invisibility and contempt… the very reality of abuse sustained by women, despite its overwhelming pervasiveness and constancy, is negated. It is negated in the transactions of everyday life, and it is negated in the history books, left out, and it is negated by those who claim to care about suffering but are blind to this suffering. The problem, simply stated, is that one must believe in the existence of the person in order to recognize the authenticity of her suffering. Neither men nor women believe in the existence of women as significant beings. It is impossible to remember as real the suffering of someone who by definition has no legitimate claim to dignity or freedom, someone who is in fact viewed as some thing, an object or an absence. And if a woman, an individual woman multiplied by billions, does not believe in her own discrete existence and therefore cannot credit the authenticity of her own suffering, she is erased, canceled out, and the meaning of her life, whatever it is, whatever it might have been, is lost. This loss cannot be calculated or comprehended. It is vast and awful, and nothing will ever make up for it.

Human beings across every culture I know about require such stories, stories with cool winds and wood smoke. They speak to something deep within us, the capacity to conceptualize, objectify and find patterns, thereby to create the flow of events and perceptions that find perfect expression in fiction. We are built this way, we create stories by reflex, unstoppably. But this elegant system really works best when the elements of the emerging story, whether is is being written or being read, are taken as literal fact. Almost always, to respond to the particulars of the fantastic as if they were metaphorical or allegorical is to drain them of vitality.

The shot [in the 1956 film Written on the Wind] with Dorothy Malone walking down the stairs makes all rock videos ever after resemble forgotten, anemic nuns.

As the floods of God Wash away sin city They say it was written In the page of the Lord But I was looking For that great jazz note That destroyed The walls of Jericho The winds of fear Whip away the sickness The messages on the tablet Was valium As the planets form That golden cross Lord I'll see you on The holy cross roads After all this time To believe in Jesus After all those drugs I thought I was Him After all my lying And a-crying And my suffering I ain't good enough I ain't clean enough To be Him The tribal wars Burning up the homeland The fuel of evil Is raining from the sky The sea of lava Flowing down the mountain The time will sleep Us sinners by Holy rollers roll Give generously now Pass the hubcap please Thank you Lord

Love is what remains when everything else is gone. This is what I should have told my children when we left Texas. What I will tell them tonight. Not that they will understand yet. How could they? I am forty years old, and I just learned this fundamental truth myself. Love. In the best of times, it is a dream. In the worst of times, a salvation. I am in love. There it is. I've written it down. Soon I will say it out loud. To him. I am in love. As crazy and ridiculous and implausible as it sounds, I am in love. And I am loved in return. And this-love-gives me the courage I need for today. The four winds have blown us here, people from all across the country, to the very edge of this great land, and now, at last, we make our stand, fight for what we know to be right. We fight for our American dream, that it will be possible again. Jack says that I am a warrior and, while I don't believe it, I know this: A warrior believes in an end she can't see and fights for it. A warrior never gives up. A warrior fights for those weaker than herself. It sounds like motherhood to me.

The vivid memory of the woods had blossomed into a visceral longing for the Ridge, so immediate that I felt the ghost of my vanished house rise around me, a cold mountain wind thrumming past its walls, and thought that, if I reached down, I could feel Adso's soft gray fur under my fingers. I swallowed, hard.

Fiction has two uses. Firstly, it’s a gateway drug to reading. The drive to know what happens next, to want to turn the page, the need to keep going, even if it’s hard, because someone’s in trouble and you have to know how it’s all going to end … that’s a very real drive. And it forces you to learn new words, to think new thoughts, to keep going. To discover that reading per se is pleasurable. Once you learn that, you’re on the road to reading everything. And reading is key. There were noises made briefly, a few years ago, about the idea that we were living in a post-literate world, in which the ability to make sense out of written words was somehow redundant, but those days are gone: words are more important than they ever were: we navigate the world with words, and as the world slips onto the web, we need to follow, to communicate and to comprehend what we are reading. People who cannot understand each other cannot exchange ideas, cannot communicate, and translation programs only go so far. The simplest way to make sure that we raise literate children is to teach them to read, and to show them that reading is a pleasurable activity. And that means, at its simplest, finding books that they enjoy, giving them access to those books, and letting them read them. I don’t think there is such a thing as a bad book for children. Every now and again it becomes fashionable among some adults to point at a subset of children’s books, a genre, perhaps, or an author, and to declare them bad books, books that children should be stopped from reading. I’ve seen it happen over and over; Enid Blyton was declared a bad author, so was RL Stine, so were dozens of others. Comics have been decried as fostering illiteracy. It’s tosh. It’s snobbery and it’s foolishness. There are no bad authors for children, that children like and want to read and seek out, because every child is different. They can find the stories they need to, and they bring themselves to stories. A hackneyed, worn-out idea isn’t hackneyed and worn out to them. This is the first time the child has encountered it. Do not discourage children from reading because you feel they are reading the wrong thing. Fiction you do not like is a route to other books you may prefer. And not everyone has the same taste as you. Well-meaning adults can easily destroy a child’s love of reading: stop them reading what they enjoy, or give them worthy-but-dull books that you like, the 21st-century equivalents of Victorian “improving” literature. You’ll wind up with a generation convinced that reading is uncool and worse, unpleasant. We need our children to get onto the reading ladder: anything that they enjoy reading will move them up, rung by rung, into literacy. [from, Why our future depends on libraries, reading and daydreaming]

John Hay, in The Immortal Wilderness, has written: 'There are occasions when you can hear the mysterious language of the Earth, in water, or coming through the trees, emanating from the mosses, seeping through the undercurrents of the soil, but you have to be willing to wait and receive.' Sometimes I hear it talking. The light of the sunflower was one language, but there are others more audible. Once, in the redwood forest, I heard a beat, something like a drum or a heart coming from the ground and trees and wind. That underground current stirred a kind of knowing inside me, a kinship and longing, a dream barely remembered that disappeared back to the body.... Tonight, I walk. I am watching the sky. I think of the people who came before me and how they knew the placement of the stars in the sky, watching the moving sun long and hard enough to witness how a certain angle of light touched a stone only once a year. Without written records, they knew the gods of every night, the small, fine details of the world around them and the immensity above them. Walking, I can almost hear the redwoods beating....It is a world of elemental attention, of all things working together, listening to what speaks in the blood. Whichever road I follow, I walk in the land of many gods, and they love and eat one another. Walking, I am listening to a deeper way. Suddenly all my ancestors are behind me. Be still, they say. Watch and listen. You are the result of the love of thousands.

A sheet of white extends to the lone dark vertical of the elm tree in the centre ... It is too perfect, to inviolate ... The snow is graced with waves written by the wind, the elm raises crooked arms in sleeves of white.

Whoso list to hunt, I know where is an hind, But as for me, hélas, I may no more. The vain travail hath wearied me so sore, I am of them that farthest cometh behind. Yet may I by no means my wearied mind Draw from the deer, but as she fleeth afore Fainting I follow. I leave off therefore, Sithens in a net I seek to hold the wind. Who list her hunt, I put him out of doubt, As well as I may spend his time in vain. And graven with diamonds in letters plain There is written, her fair neck round about: Noli me tangere, for Caesar's I am, And wild for to hold, though I seem tame.

Then there was only the soft night wind and the timeless sea. And the stars above, where it had all been written.

At the very least,” she’d written to me once, “when we die we will be as if asleep, in the same place we were before birth, so why fear death? Scattered on the wind, unaware as we were before we came into this world, with no memory of any of it.

The Eye-Mote Blameless as daylight I stood looking At a field of horses, necks bent, manes blown, Tails streaming against the green Backdrop of sycamores. Sun was striking White chapel pinnacles over the roofs, Holding the horses, the clouds, the leaves Steadily rooted though they were all flowing Away to the left like reeds in a sea When the splinter flew in and stuck my eye, Needling it dark. Then I was seeing A melding of shapes in a hot rain: Horses warped on the altering green, Outlandish as double-humped camels or unicorns, Grazing at the margins of a bad monochrome, Beasts of oasis, a better time. Abrading my lid, the small grain burns: Red cinder around which I myself, Horses, planets and spires revolve. Neither tears nor the easing flush Of eyebaths can unseat the speck: It sticks, and it has stuck a week. I wear the present itch for flesh, Blind to what will be and what was. I dream that I am Oedipus. What I want back is what I was Before the bed, before the knife, Before the brooch-pin and the salve Fixed me in this parenthesis; Horses fluent in the wind, A place, a time gone out of mind. --written 1959

The world has held great Heroes, As history-books have showed; But never a name to go down to fame Compared with that of Toad! The clever men at Oxford Know all that there is to be knowed. But they none of them know one half as much As intelligent Mr. Toad! The animals sat in the Ark and cried, Their tears in torrents flowed. Who was it said, 'There's land ahead?' Encouraging Mr. Toad! The army all saluted As they marched along the road. Was it the King? Or Kitchener? No. It was Mr. Toad. The Queen and her Ladies-in-waiting Sat at the window and sewed. She cried, 'Look! who's that handsome man?' They answered, 'Mr. Toad.' There was a great deal more of the same sort, but too dreadfully conceited to be written down. These are some of the milder verses.

The pools had been written onto the fields by the rain. The pools were a magic worked by the rain, just as the tumbling of the black birds against the grey was a spell that the sky was working and the motion of grey-brown grasses was a spell that the wind made. Everything had meaning.

I will be waiting for you at the end of every blind alley, under the lonely streetlamps of a city that will no longer be ours. When the wind grows colder and the huge piles of settled leaves sit there for a week or two, unshielded from the curious gaze of passersby, I will be waiting for you. I will be waiting for what could have been and for what will never be; For the letters that never arrived, the letters that were never sent, and the letters that will never be written.

The hours spent forming a written work can make one obsessive, distracted, compulsive, and neurotic even, especially when it comes to those rare, precious occasions of streaming pure inspiration. To have a muse moment interrupted - to watch her scuttle back into hiding with unshared insight remaining on the tip of her tongue - is a wicked irritation. When a writer's eyes glaze over, when she stares off at nothing or appears to be memorizing the lines on a blank page, when she falls asleep at the desk... tiptoe softly. For a writer's greatest desire is to receive inspiration; her greatest nightmare, to have tossed to the wind what could have been captured in words.

I smiled back at him and for a second I almost felt guilty about how I’d written the receipt. I also felt guilty about the three pens I’d stolen, but only for a second. And since there was no convenient way to give them back, I stole a bottle of ink before I left.

Whoso List to Hunt Whoso list to hunt, I know where is an hind, But as for me, helas! I may no more. The vain travail hath worried me so sore, I am of them that furthest come behind. Yet may I by no means, my worried mind Draw from the deer; but as she fleeth afore Fainting I follow. I leave off therefore, Since in a net I seek to hold the wind. Who list her hunt, I put him out of doubt, As well as I, may spend his time in vain; And graven in diamonds in letters plain There is written, her fair neck round about, "Noli me tangere, for Caesar's I am, And wild to hold, though I seem tame." Sir Thomas Wyatt

I felt as if I had become part of a badly written novel, that someone was taking me to task for being utterly unreal. And perhaps it was true.

I sneezed into the wind, and closed my eyes and imagined my face was barraged by cool ocean spray.

In a weak moment I have written a book...

Most people are afflicted with an inability to say what they see or think. They say there’s nothing more difficult than to define a spiral in words; they claim it is necessary to use the unliterary hand, twirling it in a steadily upward direction, so that human eyes will perceive the abstract figure immanent in wire spring and a certain type of staircase. But if we remember that to say is to renew, we will have no trouble defining a spiral; it’s a circle that rises without ever closing. I realize that most people would never dare to define it this way, for they suppose that defining is to say what others want us to say rather than what’s required for the definition. I’ll say it more accurately: a spiral is a potential circle that winds round as it rises, without ever completing itself. But no, the definition is still abstract. I’ll resort to the concrete, and all will become clear: a spiral is a snake without a snake, vertically wound around nothing. All literature is an attempt to make life real. All of us know, even when we act on what we don’t know, life is absolutely unreal in its directly real form; the country, the city and our ideas are absolutely fictitious things, the offspring of our complex sensation of our own selves. Impressions are incommunicable unless we make them literary. Children are particularly literary, for they say what they feel not what someone has taught them to feel. Once I heard a child, who wished to say that he was on the verge of tears, say not ‘I feel like crying’, which is what an adult, i.e., an idiot, would say but rather, ’ I feel like tears.’ And this phrase -so literary it would seem affected in a well-known poet, if he could ever invent it - decisively refers to the warm presence of tears about to burst from eyelids that feel the liquid bitterness. ‘I feel like tears’! The small child aptly defined his spiral. To say! To know how to say! To know how to exist via the written voice and the intellectual image! This is all that matters in life; the rest is men and women, imagined loves and factitious vanities, the wiles of our digestion and forgetfulness, people squirming- like worms when a rock is lifted - under the huge abstract boulder of the meaningless blue sky.

You shall see rude and sturdy, experienced and wise men, keeping their castles, or teaming up their summer’s wood, or chopping alone in the woods, men fuller of talk and rare adventure in the sun and wind and rain, than a chestnut is of meat; who were out not only in ‘75 and 1812, but have been out every day of their lives; greater men than Homer, or Chaucer, or Shakespeare, only they never got time to say so; they never took to the way of writing. Look at their fields, and imagine what they might write, if ever they should put pen to paper. Or what have they not written on the face of the earth already, clearing, and burning, and scratching, and harrowing, and plowing, and subsoiling, in and in, and out and out, and over and over, again and again, erasing what they had already written for want of parchment.

One, you're hiring Lee Nightingale and, girl, you know, that dude has had books written about him. They were fictionalized, but he's also in the paper all the time, so we both know whoever wrote that shit did not tone it down. He's the badass to end all badasses. He's such a badass, he's the freaking definition of badass, and his team of badasses only exist to define alternate nuances of the same thing. Badass.

Trust me, we need it. Or rather, we need it to not wind up in the hands of somebody else. Oh, wait! Damn it!” “What?” “It just occurred to me that I could have written Dave a message on a wall using my own shit!

You work that you may keep pace with the earth and the soul of the earth. For to be idle is to become a stranger unto the seasons, and to step out of life's procession, that marches in majesty and proud submission towards the infinite. When you work you are a flute through whose heart the whispering of the hours turns to music. Which of you would be a reed, dumb and silent, when all else sings together in unison? Always you have been told that work is a curse and labour a misfortune. But I say to you that when you work you fulfil a part of earth's furthest dream, assigned to you when that dream was born, And in keeping yourself with labour you are in truth loving life, And to love life through labour is to be intimate with life's inmost secret. But if you in your pain call birth an affliction and the support of the flesh a curse written upon your brow, then I answer that naught but the sweat of your brow shall wash away that which is written. You have been told also that life is darkness, and in your weariness you echo what was said by the weary. And I say that life is indeed darkness save when there is urge, And all urge is blind save when there is knowledge, And all knowledge is vain save when there is work, And all work is empty save when there is love; And when you work with love you bind yourself to yourself, and to one another, and to God. And what is it to work with love? It is to weave the cloth with threads drawn from your heart, even as if your beloved were to wear that cloth. It is to build a house with affection, even as if your beloved were to dwell in that house. It is to sow seeds with tenderness and reap the harvest with joy, even as if your beloved were to eat the fruit. It is to charge all things you fashion with a breath of your own spirit, And to know that all the blessed dead are standing about you and watching. Often have I heard you say, as if speaking in sleep, "He who works in marble, and finds the shape of his own soul in the stone, is nobler than he who ploughs the soil. And he who seizes the rainbow to lay it on a cloth in the likeness of man, is more than he who makes the sandals for our feet." But I say, not in sleep but in the overwakefulness of noontide, that the wind speaks not more sweetly to the giant oaks than to the least of all the blades of grass; And he alone is great who turns the voice of the wind into a song made sweeter by his own loving. Work is love made visible. And if you cannot work with love but only with distaste, it is better that you should leave your work and sit at the gate of the temple and take alms of those who work with joy. For if you bake bread with indifference, you bake a bitter bread that feeds but half man's hunger. And if you grudge the crushing of the grapes, your grudge distils a poison in the wine. And if you sing though as angels, and love not the singing, you muffle man's ears to the voices of the day and the voices of the night.

We have had three appalling weeks, the kind one hardly believes while one is going through it. And afterwards, as now, it seems quite unbelievable—except for the inexplicable weariness. Written down it sounds merely funny.

Good is to be found neither in the sermons of religious teachers and prophets, nor in the teachings of sociologists and popular leaders, nor in the ethical systems of philosophers... And yet ordinary people bear love in their hearts, are naturally full of love and pity for any living thing. At the end of the day's work they prefer the warmth of the hearth to a bonfire in the public square. Yes, as well as this terrible Good with a capital 'G', there is everyday human kindness. The kindness of an old woman carrying a piece of bread to a prisoner, the kindness of a soldier allowing a wounded enemy to drink from his water-flask, the kindness of youth towards age, the kindness of a peasant hiding an old Jew in his loft. The kindness of a prison guard who risks his own liberty to pass on letters written by a prisoner not to his ideological comrades, but to his wife and mother. The private kindness of one individual towards another; a petty, thoughtless kindness; an unwitnessed kindness. Something we could call senseless kindness. A kindness outside any system of social or religious good. But if we think about it, we realize that this private, senseless, incidental kindness is in fact eternal. It is extended to everything living, even to a mouse, even to a bent branch that a man straightens as he walks by. Even at the most terrible times, through all the mad acts carried out in the name of Universal Good and the glory of States, times when people were tossed about like branches in the wind, filling ditches and gullies like stones in an avalanche – even then this senseless, pathetic kindness remained scattered throughout life like atoms of radium.

Pride and Prejudice opens with one of the most famous sentences ever written: "It is a truth universally acknowledged that a single man in possession of a good fortune, must be in want of a wife." With these words, Jane Austen announced to her readers that they were about to meet such a man and the people eager to marry him off. What was more, they were going to have fun. The dark cynicism of Sense and Sensibility was largely gone, blown away by a clean, fresh wind.

According to the biographical notes, Monsieur Julian Carax was twenty-seven, born with the century in Barcelona, and currently living in Paris; he wrote in French and worked at night as a professional pianist in a hostess bar. The blurb, written in the pompous, moldy style of the age, proclaimed that this was a first work of dazzling courage, the mark of a protean and trailblazing talent, and a sign of hope for the future of all of European letters. In spite of such solemn claims, the synopsis that followed suggested that the story contained some vaguely sinister elements slowly marinated in saucy melodrama, which, to the eyes of Monsieur Roquefort, was always a plus: after the classics what he most enjoyed were tales of crime, boudoir intrigue, and questionable conduct. One of the pitfalls of childhood is that one doesn't have to understand something to feel it. By the time the mind is able to comprehend what has happened, the wounds of the heart are already too deep. She laughed nervously. She had around her a burning aura of loneliness. "You remind me a bit of Julian," she said suddenly. "The way you look and your gestures. He used to do what you are doing now. He would stare at you without saying a word, and you wouldn't know what he was thinking, and so, like an idiot, you'd tell him things it would have been better to keep to yourself." "Someone once said that the moment you stop to think about whether you love someone, you've already stopped loving that person forever." I gulped down the last of my coffee and looked at her for a few moments without saying anything. I thought about how much I wanted to lose myself in those evasive eyes. I thought about the loneliness that would take hold of me that night when I said good-bye to her, once I had run out of tricks or stories to make her stay with me any longer. I thought about how little I had to offer her and how much I wanted from her. "You women listen more to your heart and less to all the nonsense," the hatter concluded sadly. "That's why you live longer." But the years went by in peace. Time goes faster the more hollow it is. Lives with no meaning go straight past you, like trains that don't stop at your station.

Movement at the door of the cabin, and a small figure that I recognized as Amy Higgins appeared. The tall woman pulled off her hat and waved it, her long red hair streaming out like a banner in the wind. “Hello, the house!” she called, laughing. Then I was flying down the hill, with Jamie just before me, arms flung wide, the two of us flying together on that same wind.

The answer to all questions of life and death, "the absolute solution" was written all over the world he had known: it was like a traveller realising that the wild country he surveys is not an accidental assembly of natural phenomena, but the page in a book where these mountains and forests, and fields, and rivers are disposed in such a way as to form a coherent sentence; the vowel of a lake fusing with the consonant of a sibilant slope; the windings of a road writing its message in a round hand, as clear as that of one's father; trees conversing in dumb-show, making sense to one who has learnt the gestures of their language... Thus the traveller spells the landscape and its sense is disclosed, and likewise, the intricate pattern of human life turns out to be monogrammatic, now quite clear to the inner eye disentangling the interwoven letters. And the word, the meaning which appears is astounding in its simplicity: the greatest surprise being perhaps that in the course of one's earthly existence, with one's brain encompassed by an iron ring, by the close-fitting dream of one's own personality - one had not made by chance that simple mental jerk, which would have set free imprisoned thought and granted it the great understanding.

... for it was foreseen that the city of mirrors (or mirages) would be wiped out by the wind and exiled from the memory of men at the precise moment when Aureliano Babilonia would finish deciphering the parchments, and that everything written on them was unrepeatable since time immemorial and forever more, because races condemned to one hundred years of solitude did not have a second opportunity on earth.

The poem you brought yesterday,’ said Balbulus in a bored voice as he bent over his work again, ‘it was good. You ought to write such things more often, but I know you prefer writing stories for children or songs for the Motley Folk. And why? Just for the wind to sing your words? The spoken word is nothing, it hardly lives longer than an insect! Only the written word is eternal!’ ‘Eternal?’ Fenoglio made the word sound as if there could be nothing more ridiculous in the world. ‘Nothing is eternal- and what happier fate could words have than to be sung by minstrels? Yes, of course they change the words, they sing them slightly differently every time, but isn’t that in itself wonderful? A story wearing another dress every time you hear it- what could be better? A story that grows and puts out flowers like a living thing! But look at the stories people press in books! They may last longer, yes, but they breathe only when someone opens the book. They are sound pressed between the pages, and only a voice can bring them back to life! Then they throw off sparks, Balbulus! Then they go free as birds flying out into the world. Perhaps you’re right, and the paper makes them immortal. But why should I care? Will I live on, neatly pressed between the pages with my words? Nonsense! We’re none of us immortal; even the finest words don’t change that, do they?

Wild eyes were another sign. It is something I have seldom seen — the expression of an ecstatic state — though much is foolishly written of them, as if they grew like Jerusalem artichokes along the road. The eyes are black, right enough, whatever their normal color is; they are black because their perception is condensed to a coal, because the touch and taste and perfume of the lover, the outcry of a dirty word, a welcome river, have been reduced in the heat of passion to a black ash, and this unburnt residue of oxidation, this calyx, replaces the pupil so it no longer receives but sends, and every hair is on end, though perhaps only outspread on a pillow, and the nostrils are flared, mouth agape, cheeks sucked so the whole face seems as squeezed as a juiced fruit; I know, for once Lou went into that wildness while we were absorbing one another, trying to kiss, not merely forcefully, not the skull of our skeleton, but the skull and all the bones on which the essential self is hung, kiss so the shape of the soul is stirred too, that's what is called the ultimate French, the furtherest fuck, when a cock makes a concept cry out and climax; I know, for more than once, though not often, I shuddered into that other region, when a mouth drew me through its generosity into the realm of unravel, and every sensation lay extended as a lake, every tie was loosed, and the glue of things dissolved. I knew I wore the wild look then. The greatest gift you can give another human being is to let them warm you till, in passing beyond pleasure, your defenses fall, your ego surrenders, its structure melts, its towers topple, lies, fancies, vanities, blow away in no wind, and you return, not to the clay you came from — the unfired vessel — but to the original moment of inspiration, when you were the unabbreviated breath of God.

All of the Indians must have tragic features: tragic noses, eyes, and arms. Their hands and fingers must be tragic when they reach for tragic food. The hero must be a half-breed, half white and half Indian, preferably from a horse culture. He should often weep alone. That is mandatory. If the hero is an Indian woman, she is beautiful. She must be slender and in love with a white man. But if she loves an Indian man then he must be a half-breed, preferably from a horse culture. If the Indian woman loves a white man, then he has to be so white that we can see the blue veins running through his skin like rivers. When the Indian woman steps out of her dress, the white man gasps at the endless beauty of her brown skin. She should be compared to nature: brown hills, mountains, fertile valleys, dewy grass, wind, and clear water. If she is compared to murky water, however, then she must have a secret. Indians always have secrets, which are carefully and slowly revealed. Yet Indian secrets can be disclosed suddenly, like a storm. Indian men, of course, are storms. The should destroy the lives of any white women who choose to love them. All white women love Indian men. That is always the case. White women feign disgust at the savage in blue jeans and T-shirt, but secretly lust after him. White women dream about half-breed Indian men from horse cultures. Indian men are horses, smelling wild and gamey. When the Indian man unbuttons his pants, the white woman should think of topsoil. There must be one murder, one suicide, one attempted rape. Alcohol should be consumed. Cars must be driven at high speeds. Indians must see visions. White people can have the same visions if they are in love with Indians. If a white person loves an Indian then the white person is Indian by proximity. White people must carry an Indian deep inside themselves. Those interior Indians are half-breed and obviously from horse cultures. If the interior Indian is male then he must be a warrior, especially if he is inside a white man. If the interior Indian is female, then she must be a healer, especially if she is inside a white woman. Sometimes there are complications. An Indian man can be hidden inside a white woman. An Indian woman can be hidden inside a white man. In these rare instances, everybody is a half-breed struggling to learn more about his or her horse culture. There must be redemption, of course, and sins must be forgiven. For this, we need children. A white child and an Indian child, gender not important, should express deep affection in a childlike way. In the Great American Indian novel, when it is finally written, all of the white people will be Indians and all of the Indians will be ghosts.

I can only give them my first log, with birds, sea, daily sights and little everyday problems. My real log is written in the sea and sky; it can’t be photographed and given to others. It has gradually come to life out of all that has surrounded us for months: the sounds of water on the hull, the sounds of wind gliding on the sails, the silences full of secret things between my boat and me, like the times I spent as a child listening to the forest talk. 1

SIX MONTHS AGO A FRIEND WAS ANGRY WITH ME and I with her. I had written about something someone said many years ago, but it was she who heard the words, not me, a fact I had completely forgotten. Her experience was precious, and she accused me of stealing her memory. Not only that, but what she remembered with grief I had somehow transmuted to gratitude, so besides stealing her memory, I also got it wrong. We argued, but there was no meeting place. For days the same questions went through my head. Is memory property? If two people remember something differently is one of them wrong? Wasn’t my memory of a memory also real? There were no solid answers, just winding paths I went round and round on. I thought of nothing else; a chasm had opened between me and my friend.

I do love it. That big, demonstrative moment where nothing else matters but making sure the person you care about knows it. That you’re in. You’re all in and you want everyone to know, no matter how wild or risky it is. Weddings are like that. The vows are, at least.” Something about the soft look in Annie’s eyes, wistful almost, compelled him to keep going. To confess what he’d never told anyone before. “I don’t have a single memory of my mom and dad saying I love you to each other.” Annie made a soft noise, but he soldiered on, wanting to get this out. “Maybe those movies aren’t perfect, but for most of my life, they were the best proof I had that people could wind up happy together.

The world, once flat to his eyes, now bristled with edges and textures. He saw the tiny grooves of petals and leaves, like fingerprints, their identities written like poems across their surfaces. He saw the slow firecrackers of pine cones, popping and stretching all summer, their stiff armor like soldiers on parade, and also the rolling softness of their sap like happy tears. He understood the flurry of motes, which no longer looked like chaos fogging his vision as it had when he was Birthless. Now he could hear the tune of the world, the song of the wind, and the play of all things in it and he knew now that it was a dance, choreographed down to the smallest antennae thrust into the reeling.

Objects, too, have trickled through the doors between worlds, blown by strange winds, drifting on white-frosted waves, carried and discarded by careless travelers- even stolen, sometimes. Some of them have been lost or ignored or forgotten- books written in foreign tongues, clothes in strange fashions, devices with no use beyond their home worlds- but some of them have left stories in their wakes. Stories of magic lamps and enchanted mirrors, golden fleeces and fountains of youth, dragon-scale armor and moon-streaked broomsticks.

He penned a letter to the Company in London, a letter whose unfailing spirit would become legendary among the sailors of the East India Company. 'I cannot tell where you should looke for me.' he wrote, 'because I live at the devotion of the winds and seas.' (Written by/about Captain James Lancaster, on the ship Red Dragon, during a terrible storm, 1603)

It was written, moreover, out of the deep conviction that the life of the sea is worth knowing. To stand at the edge of the sea, to sense the ebb and the flow of the tides, to feel the breath of a mist moving over a great salt marsh, to watch the flight of shore birds that have swept up and down the surf lines of continents for untold thousands of years, to see the running of the old eels and the young shad to the sea, is to have knowledge of things that are as nearly eternal as any earthly life can be. These things were before ever man stood on the shore of the ocean and looked out upon it with wonder; they continue year in, year out, through the centuries and the ages, while man's kingdoms rise and fall.

Good God—don’t they teach you anything in those poor excuses for schools anymore?” Then he calms down, but only a little. “No, I suppose they wouldn’t. History is written by the victors—and when there are no victors, it all winds up in corporate shredders.” He looks out the window with the sad resignation of a man who knows he’s too old to change the world.

A writer's will is the winds of dead calm in the Western Lands. Point way out he can start stirring of the sail. Writer, where are you going? To write. Here we are in texts already written on the sky. Where he doesn't need to write anymore. A slight seismic with the cat book. Always remember, the work is the mainsail to reach the Western Lands. The texts sing. Everything is grass and bushes, a desert or a maze of texts. Here you are ... never use the same door twice. Sky in all directions ... on the word for word. The word for word is word. The western sail stirs candles on 1920 country club table. Each page is a door to everything is permitted. The fragile lifeboat between this and that. Your words are the sails.

The waters which we spread upon the desert have become blood. Blood upon our land! Behold our desert which could rejoice and blossom; it has lured the stranger and seduced him in our midst. They come for violence! Their faces are closed up as for the last wind of Kralizec! They gather the captivity of the sand. They suck up the abundance of the sand, the treasure hidden in the depths. Behold them as they go forth to their evil work. It is written: 'And I stood upon the sand, and I saw a beast rise up out of that sand, and upon the head of that beast was the name of God!

Yes, I know what you mean about writing and writers. We seem to have lost the target. Writers seem to write to be known as writers. They don’t write because something is driving them toward the edge. I look back at when Pound, T. S. Eliot, e. e. Cummings, Jeffers, Auden, Spender were about. Their work cracked right through the paper, set it on fire. Poems became events, explosions. There was a high excitement. Now, for decades there has seemed to be this lull, almost a practiced lull, as if dullness indicated genius. And if a new talent came along it was only a flash, a few poems, a thin book and then he or she was sanded down, ingested into the quiet nothingness. Talent without durability is a god damned crime. It means they went to the soft trap, it means they believed the praise, it means they settled short. A writer is not a writer because he has written some books. A writer is not a writer because he teaches literature. A writer is only a writer if he can write now, tonight, this minute. We have too many x-writers who type. Books fall from my hand to the floor. They are total crap. I think we have just blown away half a century to the stinking winds. Yes,

I swear with my hand on this room’s most sacred book, the alphabetized telephone directory, to speak the honest truth. Namely, that human existence is a hollow sham. And that, yes, salvation is possible. In the very beginning our hollowness was incomplete. It is we who completed it through unstinting effort, piling one struggle on top of another until every last shred of meaning was worn away. I have no intention of using my writing to detail each painstaking step in this erosion. That would be a waste of my time. Those of you who want to read about that should turn to Romain Rolland’s Jean Christophe. It is all written there.

False faith is the major cause of most of our misfortunes. The purpose of a human life is to bring the irrational beginning of our life to a rational beginning. In order to succeed in this, two things are important: (1) to see all irrational, unwise things in life and direct your attention to them and study them; (2) to understand the possibility of a rational, wise life. The major purpose of all teachers of mankind was the understanding of the irrational and rational beginnings in our life. We should be ready to change our views at any time, and slough off prejudices, and live with an open and receptive mind. A sailor who sets the same sails all the time, without making changes when the wind changes, will never reach his harbor. —HENRY GEORGE Accept the teaching of Christ as it is, clear and simple; then you will see that we live among big lies.

Picking oranges in Florida. Pushing a broom in New Orleans. Mucking out horse-stalls in Lufkin, Texas. Handing out real estate brochures on street corners in Phoenix, Arizona. Working jobs that pay cash. ... The faces on the currency don't matter. What matters is the sight of a weathervane against a violent pink sunset, the sound of his heels on an empty road in Utah, the sound of the wind in the New Mexico desert, the sight of a child skipping rope beside a junked-out Chevrolet Caprice in Fossil, Oregon. What matters is the whine of the powerlines beside Highway 50 west of Elko, Nevada, and a dead crow in a ditch outside Rainbarrel Springs. Sometimes he's sober and sometimes he gets drunk. Once he lays up in an abandoned shed-this is just over the California state line from Nevada-and drinks for four days straight. It ends with seven hours of off-and-on vomiting. For the first hour or so, the puking is so constant and so violent he is convinced it will kill him. Later on, he can only wish it would. And when it's over, he swears to himself that he's done, no more booze for him, he’s finally learned his lesson, and a week later lies drunk again and staring up at the strange stars behind the restaurant where he has hired on as a dishwasher. He is an animal in a trap and he doesn't care. ... Sometimes he asks himself what he thinks he's doing, where the hell he's going, and such questions are apt to send him in search of the next bottle in a hurry. Because he's really not going anywhere. He's just following the highways in hiding and dragging his trap along behind him, he's just listening to the call of those roads and going from one to the next. Trapped or not, sometimes he is happy; sometimes he sings in his chains like the sea. He wants to see the next weathervane standing against the next pink sunset. He wants to see the next silo crumbling at the end of some disappeared farmer's long-abandoned north field and see the next droning truck with TONOPAH GRAVEL or ASPLUNDH HEAVY CONSTRUCTION written on the side. He's in hobo heaven, lost in the split personalities of America. He wants to hear the wind in canyons and know that he's the only one who hears it. He wants to scream and hear the echoes run away.

The Genesis Of Butterflies The dawn is smiling on the dew that covers The tearful roses; lo, the little lovers That kiss the buds, and all the flutterings In jasmine bloom, and privet, of white wings, That go and come, and fly, and peep and hide, With muffled music, murmured far and wide. Ah, the Spring time, when we think of all the lays That dreamy lovers send to dreamy mays, Of the fond hearts within a billet bound, Of all the soft silk paper that pens wound, The messages of love that mortals write Filled with intoxication of delight, Written in April and before the May time Shredded and flown, playthings for the wind's playtime, We dream that all white butterflies above, Who seek through clouds or waters souls to love, And leave their lady mistress in despair, To flit to flowers, as kinder and more fair, Are but torn love-letters, that through the skies Flutter, and float, and change to butterflies

Epistle to Be Left in the Earth ...It is colder now, There are many stars, We are drifting North by the Great Bear, The leaves are falling, The water is stone in the scooped rocks, To southward Red sun grey air: The crows are Slow on their crooked wings, The jays have left us: Long since we passed the flares of Orion. Each man believes in his heart he will die. Many have written last thoughts and last letters. None know if our deaths are now or forever: None know if this wandering earth will be found. We lie down and the snow covers our garments. I pray you, You (if any open this writing) Make in your mouths the words that were our names. I will tell you all we have learned, I will tell you everything: The earth is round, There are springs under the orchards, The loam cuts with a blunt knife, Beware of Elms in thunder, The lights in the sky are stars— We think they do not see, We think also The trees do not know nor the leaves of the grasses hear us: The birds too are ignorant. Do not listen. Do not stand at dark in the open windows. We before you have heard this: They are voices: They are not words at all but the wind rising. Also none among us has seen God. (...We have thought often The flaws of sun in the late and driving weather Pointed to one tree but it was not so.) As for the nights I warn you the nights are dangerous: The wind changes at night and the dreams come. It is very cold, There are strange stars near Arcturus, Voices are crying an unknown name in the sky

I went back every evening, after work, for nearly a year. I learned the meaning of the cud of a leaf and the glisten of wet pebbles, and the special significance of curves and angles. A great deal of the writing was unwritten. Plot three dots on a graph and join them; you now have a curve with certain characteristics. Extend that curve while maintaining the characteristics, and it has meaning, up where no dots were plotted. In just this way I learned to extend the curve of a grass-blade and of a protruding root, of the bent edges of wetness on a drying headstone. I quit smoking so I could sharpen my sense of smell, because the scent of earth after a rain has a clarifying effect on graveyard reading, as if the page were made whiter and the ink darker. I began to listen to the wind, and to the voices of birds and small animals, insects and people; because to the educated ear, every sound is filtered through the story written on graves, and becomes a part of it. ("The Graveyard Reader")

Well in no particular order... I love you, I need you, I want you, I go to sleep thinking about you and wake up with your voice winding through my head, I look at you and I can't focus, the whole world shimmers, I'm ashamed, I'm angry, I'm in love, I'm mad, I'm happy, I'm dead, I'm alive, I'm stupid, I'm tongue-tied, I'm writing you letters, I'm tearing them up, I'm writing you letters again, I'm idealising you, I'm humiliating you, I'm undressing you, I'm looking into your eyes, I'm kissing your eyes, I'm pressing you against a wall, you're pushing back, your body wants mine, you kiss my mouth, you bite my lip, you draw blood, you're on fire, you're on fire, your eyes are flame, your hair is flame, the whole world shimmers and I burn and I burn with love -- the whole world shimmers - and the night - and the sky - and your voice shimmers - I've no wit, I've no mind, I've no brake, I've no self-control, I've no shame, I've no authority over myself, I can wait hours for just one glimpse of you then not speak to you at all, how can I speak, how can I speak to you, I can't speak, I can't stop speaking, I can't stop looking, I can't look, I make you an object, I desire you, I write to you, I write for you, I tear up everything I have ever written for you or about you, I burn myself alive for you, I worship you, I strip you, I clothe you, I do up the tiniest buttons at your sleeve, I embrace your wrist, I embrace your neck, I kiss the back of your neck, I embrace your wrist, I'm speechless, speechless, all I can say is I want - I want - I want - there is no poetry - there is no structure that can make any sense of this - only I want - I want - I want - I want you, Roxanne.

Merrick moved away from the guests and toward the terrace doors, where Cassius had made his escape, hoping it was only a dream and he would see his love waiting for him. But as the cool air hit his skin, he only saw the vast forest before him and heard the whistling wind through the trees. He felt hollow once again. A rectangular object on the stairs caught his attention, and he bent to pick it up. It was Cassius’s notebook, flipped open to the very last page. His gaze greedily drank in the sentences written by his lover’s hand. Once upon a time there was an exquisite prince Who filled my wintry soul with all the colors of spring He became my day, my night, my sun, my moon My heart, my soul, my very bones My Ever After

It was a sunny Sunday morning in spring when I got the call from an editor at the literary journal Gunzo telling me that Hear the Wind Sing had been short-listed for their Prize for New Writers. Almost a year had passed since the season opener at Jingu Stadium, and I had already turned thirty. It was around eleven a.m., but I was still fast asleep, having worked very late the night before. I picked up the receiver, but I was so groggy I had no idea at first who was on the other end or what he was trying to say. To tell the truth, by that time I had quite forgotten having sent Hear the Wind Sing to Gunzo. Once I had finished the manuscript and put it in someone else’s hands, my desire to write had completely subsided. Composing it had been, so to speak, an act of defiance—I had written it very easily, just as it came to me—so the idea that it might make the short list had never occurred to me. In fact, I had sent them my only copy. If they hadn’t selected it, it probably would have vanished forever. I probably never would have written another novel. Life is strange, when you think about it.

Every generation of children instinctively nests itself in nature, no matter matter how tiny a scrap of it they can grasp. In a tale of one city child, the poet Audre Lord remembers picking tufts of grass which crept up through the paving stones in New York City and giving them as bouquets to her mother. It is a tale of two necessities. The grass must grow, no matter the concrete suppressing it. The child must find her way to the green, no matter the edifice which would crush it. "The Maori word for placenta is the same word for land, so at birth the placenta is buried, put back in the mothering earth. A Hindu baby may receive the sun-showing rite surya-darsana when, with conch shells ringing to the skies, the child is introduced to the sun. A newborn child of the Tonga people 'meets' the moon, dipped in the ocean of Kosi Bay in KwaZulu-Natal. Among some of the tribes of India, the qualities of different aspects of nature are invoked to bless the child, so he or she may have the characteristics of earth, sky and wind, of birds and animals, right down to the earthworm. Nothing is unbelonging to the child. "'My oldest memories have the flavor of earth,' wrote Frederico García Lorca. In the traditions of the Australian deserts, even from its time in the womb, the baby is catscradled in kinship with the world. Born into a sandy hollow, it is cleaned with sand and 'smoked' by fire, and everything -- insects, birds, plants, and animals -- is named to the child, who is told not only what everything is called but also the relationship between the child and each creature. Story and song weave the child into the subtle world of the Dreaming, the nested knowledge of how the child belongs. "The threads which tie the child to the land include its conception site and the significant places of the Dreaming inherited through its parents. Introduced to creatures and land features as to relations, the child is folded into the land, wrapped into country, and the stories press on the child's mind like the making of felt -- soft and often -- storytelling until the feeling of the story of the country is impressed into the landscape of the child's mind. "That the juggernaut of ants belongs to a child, belligerently following its own trail. That the twitch of an animal's tail is part of a child's own tale or storyline, once and now again. That on the papery bark of a tree may be written the songline of a child's name. That the prickles of a thornbush may have dynamic relevance to conscience. That a damp hollow by the riverbank is not an occasional place to visit but a permanent part of who you are. This is the beginning of belonging, the beginning of love. "In the art and myth of Indigenous Australia, the Ancestors seeded the country with its children, so the shimmering, pouring, circling, wheeling, spinning land is lit up with them, cartwheeling into life.... "The human heart's love for nature cannot ultimately be concreted over. Like Audre Lord's tufts of grass, will crack apart paving stones to grasp the sun. Children know they are made of the same stuff as the grass, as Walt Whitman describes nature creating the child who becomes what he sees: There was a child went forth every day And the first object he look'd upon, that object he became... The early lilacs became part of this child... And the song of the phoebe-bird... In Australia, people may talk of the child's conception site as the origin of their selfhood and their picture of themselves. As Whitman wrote of the child becoming aspects of the land, so in Northern Queensland a Kunjen elder describes the conception site as 'the home place for your image.' Land can make someone who they are, giving them fragments of themselves.

A Kite is a Victim" A kite is a victim you are sure of. You love it because it pulls gentle enough to call you master, strong enough to call you fool; because it lives like a desperate trained falcon in the high sweet air, and you can always haul it down to tame it in your drawer. A kite is a fish you have already caught in a pool where no fish come, so you play him carefully and long, and hope he won’t give up, or the wind die down. A kite is the last poem you’ve written, so you give it to the wind, but you don’t let it go until someone finds you something else to do. A kite is a contract of glory that must be made with the sun, so make friends with the field the river and the wind, then you pray the whole cold night before, under the travelling cordless moon, to make you worthy and lyric and pure.

I love you, I need you, I want you, I go to sleep thinking about you and wake up with your voice winding through my head, I look at you, and I can't focus, the whole world shimmers, I'm ashamed, I'm angry, I'm in love, I'm mad, I'm happy, I'm dead, I'm alive, I'm stupid, I'm tongue-tied, I'm writing you letters, I'm tearing them up, I'm writing you letters again, I'm idealising you, I'm humiliating you, I'm undressing you, I'm looking into your eyes, I'm kissing your eyes, I'm pressing you against a wall, you're pushing back, you're pushing back, your body wants mine, you kiss my mouth, you bite my lip, you draw blood, you're on fire, you're on fire, your eyes are flame, your hair is flame, the whole world shimmers and I burn and I burn with love ... the whole world shimmers - and the night - and the sky - and your voice shimmers - I've no wit, I've no mind, I've no brake, I've no self-control, I've no shame, I've no authority over myself, I can wait hours for just one glimpse of you and then not speak to you at all, how can I speak, how can I speak to you, I can't speak, I can't stop speaking, I can't stop looking, I can't look, I make you an object, I desire you, I write to you, I write for you, I tear up everything I have ever written for you or about you, I burn myself alive for you, I worship you, I strip you, I clothe you, I do up the tiniest buttons at your sleeve, I embrace your wrist, I embrace your neck, I kiss the back of your neck, I embrace your wrist, I'm speechless, speechless, all I can say is I want - I want - I want - there is no poetry - there is no structure that can make any sense of this - only I want - I want - I want - I want you, Roxane.

Everyone's here except for St. Clair." Meredith cranes her neck around the cafeteria. "He's usually running late." "Always," Josh corrects. "Always running late." I clear my throat. "I think I met him last night. In the hallway." "Good hair and an English accent?" Meredith asks. "Um.Yeah.I guess." I try to keep my voice casual. Josh smirks. "Everyone's in luuurve with St. Clair." "Oh,shut up," Meredith says. "I'm not." Rashmi looks at me for the first time, calculating whether or not I might fall in love with her own boyfriend. He lets go of her hand and gives an exaggerated sigh. "Well,I am. I'm asking him to prom. This is our year, I just know it." "This school has a prom?" I ask. "God no," Rashmi says. "Yeah,Josh. You and St. Clair would look really cute in matching tuxes." "Tails." The English accent makes Meredith and me jump in our seats. Hallway boy. Beautiful boy. His hair is damp from the rain. "I insist the tuxes have tails, or I'm giving your corsage to Steve Carver instead." "St. Clair!" Josh springs from his seat, and they give each other the classic two-thumps-on-the-back guy hug. "No kiss? I'm crushed,mate." "Thought it might miff the ol' ball and chain. She doesn't know about us yet." "Whatever," Rashi says,but she's smiling now. It's a good look for her. She should utilize the corners of her mouth more often. Beautiful Hallway Boy (Am I supposed to call him Etienne or St. Clair?) drops his bag and slides into the remaining seat between Rashmi and me. "Anna." He's surprised to see me,and I'm startled,too. He remembers me. "Nice umbrella.Could've used that this morning." He shakes a hand through his hair, and a drop lands on my bare arm. Words fail me. Unfortunately, my stomach speaks for itself. His eyes pop at the rumble,and I'm alarmed by how big and brown they are. As if he needed any further weapons against the female race. Josh must be right. Every girl in school must be in love with him. "Sounds terrible.You ought to feed that thing. Unless..." He pretends to examine me, then comes in close with a whisper. "Unless you're one of those girls who never eats. Can't tolerate that, I'm afraid. Have to give you a lifetime table ban." I'm determined to speak rationally in his presence. "I'm not sure how to order." "Easy," Josh says. "Stand in line. Tell them what you want.Accept delicious goodies. And then give them your meal card and two pints of blood." "I heard they raised it to three pints this year," Rashmi says. "Bone marrow," Beautiful Hallway Boy says. "Or your left earlobe." "I meant the menu,thank you very much." I gesture to the chalkboard above one of the chefs. An exquisite cursive hand has written out the morning's menu in pink and yellow and white.In French. "Not exactly my first language." "You don't speak French?" Meredith asks. "I've taken Spanish for three years. It's not like I ever thought I'd be moving to Paris." "It's okay," Meredith says quickly. "A lot of people here don't speak French." "But most of them do," Josh adds. "But most of them not very well." Rashmi looks pointedly at him. "You'll learn the lanaguage of food first. The language of love." Josh rubs his belly like a shiny Buddha. "Oeuf. Egg. Pomme. Apple. Lapin. Rabbit." "Not funny." Rashmi punches him in the arm. "No wonder Isis bites you. Jerk." I glance at the chalkboard again. It's still in French. "And, um, until then?" "Right." Beautiful Hallway Boy pushes back his chair. "Come along, then. I haven't eaten either." I can't help but notice several girls gaping at him as we wind our way through the crowd.

fantastical. The memories were more real—more believable—than the stone spires. To myself I pretended there were other reasons I couldn’t belong at Cambridge, reasons having to do with class and status: that it was because I was poor, had grown up poor. Because I could stand in the wind on the chapel roof and not tilt. That was the person who didn’t belong in Cambridge: the roofer, not the whore. I can go to school, I had written in my journal that very afternoon. And I can buy new clothes. But I am still Tara Westover. I have done jobs no Cambridge student would do. Dress us any way you like, we are not the same. Clothes could not fix what was wrong with me. Something had rotted on the inside, and the stench was too powerful, the core too rancid, to be covered up by mere dressings. Whether Dr. Kerry suspected any part of this, I’m not sure. But he understood that I had fixated on clothes as the symbol of why I didn’t, and couldn’t, belong. It was the last thing he said to me before he walked away, leaving me rooted, astonished, beside that grand chapel. “The most powerful determinant of who you are is inside you,” he said. “Professor Steinberg says this is Pygmalion. Think of the story, Tara.” He paused, his eyes fierce, his voice piercing. “She was just a cockney in a nice dress. Until she believed in herself. Then it didn’t matter what dress she wore.

G took her hand in his and traced his finger over the delicate skin of her arm. What she didn't realize was that he was scrawling the words of a poem he had recently written. It was inspired by his lady and he had spent many long hours trying to find the words that adequately conveyed the feelings of his heart. There were many false starts, because at first he tried to capture the moment a horse fell in love with a ferret. Shall I compare thee to a barrel to apples? Thou art more hairy, but sweeter inside. Rough winds couldn't keep me from taking you to chapel, When finally a horse would take a bride... And then he tried to wax poetic about the ferret alone ... Shall I compare thee to a really large rat? Thou art more longer, with less disease. One would never mistake you for a listless cat ... Nor a filthy dog, because my dog has fleas. He could never confess his passion for poetry with those poetry examples.

Top 10 Reasons to Establish Written Goals for Your Life       10. Written goals strengthen your character by promoting a long-term perspective.       9. Written goals allow you to lead your life as opposed to simply managing it.       8. Written goals provide internal, permanent, and consistent motivation.       7. Written goals help you stay focused—to concentrate on what’s most important.       6. Written goals enhance your decision-making ability.       5. Written goals simultaneously require and build self-confidence.       4. Written goals help you create the future in advance.       3. Written goals help you to control changes—to adjust your sails, to work with the wind rather than against it.       2. Written goals heighten your awareness of opportunities that are consistent with your goals.       1. And finally, the most important benefit of setting effective goals is the person you become as a result of the pursuit!

The piece seems simple technically, but it’s hard to get the expression right. Play it just as it’s written on the score, and it winds up pretty boring. But go the opposite route and interpret it too intensely, and it sounds cheap. Just the way you use the pedal makes all the difference, and can change the entire character of the piece.” “Who’s the pianist here?” “A Russian, Lazar Berman. When he plays Liszt it’s like he’s painting a delicately imagined landscape. Most people see Liszt’s piano music as more superficial, and technical. Of course, he has some tricky pieces, but if you listen very carefully to his music you discover a depth to it that you don’t notice at first. Most of the time it’s hidden behind all the embellishments. This is particularly true of the Years of Pilgrimage suites. There aren’t many living pianists who can play it accurately and with such beauty. Among more contemporary pianists, Berman gets it right, and with the older pianists I’d have to go with Claudio Arrau.” Haida got quite talkative when it

I have in my files a copy of a letter written by Major Sullivan Ballou, a Union officer in the 2nd Rhode Island. He writes to his wife on the eve of the Battle of Bull Run, a battle he senses will be his last. He speaks tenderly to her of his undying love, of “the memories of blissful moments I have spent with you.” Ballou mourns the thought that he must give up “the hope of future years, when, God willing, we might still have lived and loved together, and seen our sons grown up to honorable manhood around us.” Yet in spite of his love the battle calls and he cannot turn from it. “I have no misgivings about, or lack of confidence in the cause in which I am engaged, and my courage does not halt or falter . . . how great a debt we owe to those who went before us through the blood and sufferings of the Revolution . . . Sarah, my love for you is deathless, it seems to bind me with mighty cables that nothing but Omnipotence could break” and yet a greater cause “comes over me like a strong wind and bears me unresistably on with all these chains to the battle field.

He is chained to the book, or it is chained to him. It is a book of many pages. It cannot be stolen; he cannot give it away. It contains your life. Every detail of your life. Everything that has happened to you. Everything that will happen one day. The things you've forgotten. The things you don't believe. It contains everything that has happened, or will happen, to anyone you've ever met. Anyone you've ever heard of. Anyone you've never heard of. The histories and the dreams and triumphs of the dead are there. The meaning of the patterns of the spots of each leopard is written there, along with the truth of the shapes of clouds, and the strange, funny song-lives of the bacteria-folk and the secrets the wind whispers when there is no one there to listen. Everything is in there, from the beginning of time to the end. He did not create the path you walk. But the movements of atoms and galaxies are in his book, and he sees little difference between them. It is all in his book. One day he will lay it down, when the book is done, and what comes after that is still unwritten. A page turns. Destiny continues to walk... He is holding a book. Inside the book is the Universe.

Zen Koans The koan is an enigmatic or paradoxical question used to develop a person’s Intuition.  Koans are a valuable tool in your quest for enlightenment, but how do they work and why use them? Koans work by confounding logic and forcing a person out of their normal thinking and into the realm of Intuition. In other words, the inherent meaning is inaccessible to rational understanding, but perhaps accessible to Intuition. This book presents some of the classic koans from traditional Zen, originally written hundreds of years ago in Japanese, and re-interpreted from early English translations into early 21st Century English. The underlying meaning is still there, so they will still work as a koan should, but they are expressed in language more easily understood by people in the 21st Century. Each koan encapsulates a profound truth for reflection. Zen counsels the lessening of the ego, not the strengthening of it as consumer culture would urge. Instead of making a name for ourselves in society, we should listen to the voice of pines and cedars when no wind stirs, in other words become no-thing, entering instead the field of pure being that is behind the phenomenal world.

Vellum” is another name for skin—at one point, philosophy was bound up in the stuff. I reached down to pick up James’s first edition of Samuel Clarke’s A Demonstration of the Being and Attributes of God, published in 1705, and gently fingered its cold white surface as if it were a sacred relic. The term “philosophical corpus” had never made sense until now. I turned the book over. Tenderly. It was a little body: skin wrapped around something beautiful and inexplicable. Putting it under my arm, I turned to the back corners of the library. Tucked away on one of the back shelves was Josiah Royce’s library: Descartes, Spinoza, Fichte, Mill, Dilthey, Lotze, Tarde, Boole. These books were filled with marginalia. I took a quick look at one of Royce’s jottings—something written in Greek about God and strife—but then grabbed the books that I could carry. I would think about marginalia later. This wasn’t just any set of books. It was the bridge between European and American philosophy. That afternoon at dusk I had the unshakable sense that I was missing the most important part of West Wind, and over the course of three years I saw that this premonition was more correct than I could have known. Instead

Believe in Yourself Why must we see something to believe in its existence?The wind itself cannot be seen by man, but all have felt it's gentle touch and watched the mighty trees bow as it swept past. We cannot see love yet its nurturing warmth is the essence of our being and sorrow can touch our very soul. For remorse is like a ripple on the ocean, once given it remains only in the heart of the receiver. Yet all of these cannot be seen only felt. Why then do you doubt your self-worth? For though it cannot cast a reflection in the mirror you have only to look in the eyes of those you love to See it clearly. Prologue To Kiss a King To Kiss a King Copyright © 2017 by Julie Brookshier and Robin Woods All rights reserved. Except for use in a review, the reproduction or use of this work in whole or in part in any form is forbidden without written permission of one or more of the authors. This is a fictional work. Names, characters, places, and events are merely the product of the authors' imaginations or used fictitiously, purely for entertainment purposes. Any resemblance to actual persons, living, dead, or undead or any business establishments, events or places past, present, or future, is entirely coincidental.

ELPHABA I'm limited: Just look at me - I'm limited And just look at you - You can do all I couldn't do, Glinda So now it's up to you (spoken) For both of us (sung) Now it's up to you: GLINDA I've heard it said That people come into our lives for a reason Bringing something we must learn And we are led To those who help us most to grow If we let them And we help them in return Well, I don't know if I believe that's true But I know I'm who I am today Because I knew you: Like a comet pulled from orbit As it passes a sun Like a stream that meets a boulder Halfway through the wood Who can say if I've been changed for the better? But because I knew you I have been changed for good ELPHABA It well may be That we will never meet again In this lifetime So let me say before we part So much of me Is made of what I learned from you You'll be with me Like a handprint on my heart And now whatever way our stories end I know you have re-written mine By being my friend: Like a ship blown from its mooring By a wind off the sea Like a seed dropped by a skybird In a distant wood Who can say if I've been changed for the better? But because I knew you: GLINDA Because I knew you: BOTHI have been changed for good ELPHABA And just to clear the air I ask forgiveness For the things I've done you blame me for GLINDA But then, I guess we know There's blame to share BOTH And none of it seems to matter anymore GLINDA ELPHABA Like a comet pulled Like a ship blown From orbit as it Off it's mooring Passes a sun, like By a wind off the A stream that meets Sea, like a seed A boulder, half-way Dropped by a Through the wood Bird in the wood BOTH Who can say if I've been changed for the better? I do believe I have been changed for the better? GLINDA And because I knew you: ELPHABA Because I knew you: BOTH Because I knew you: I have been changed for good.

Eventually, humans will die out. Nobody knows when,12 but nothing lives forever. Maybe we’ll spread to the stars and last for billions or trillions of years. Maybe civilization will collapse, we’ll all succumb to disease and famine, and the last of us will be eaten by cats. Maybe we’ll all be killed by nanobots hours after you read this sentence. There’s no way to know. A million years is a long time. It’s several times longer than Homo sapiens has existed, and a hundred times longer than we’ve had written language. It seems reasonable to assume that however the human story plays out, in a million years it will have exited its current stage. Without us, Earth’s geology will grind on. Winds and rain and blowing sand will dissolve and bury the artifacts of our civilization. Human-caused climate change will probably delay the start of the next glaciation, but we haven’t ended the cycle of ice ages. Eventually, the glaciers will advance again. A million years from now, few human artifacts will remain. Our most lasting relic will probably be the layer of plastic we’ve deposited across the planet. By digging up oil, processing it into durable and long-lasting polymers, and spreading it across the Earth’s surface, we’ve left a fingerprint that could outlast everything else we do.

Here, where an immense country lies about me, over which the winds pass coming from the seas, here I feel that no human being anywhere can answer for you those questions and feelings that deep within them have a life of their own; for even the best err in words when they are meant to mean most delicate and almost inexpressible things. But I believe nevertheless that you will not have to remain without a solution if you will hold to objects that are similar to those from which my eyes now draw refreshment. If you will cling to Nature, to the simple in Nature, to the little things that hardly anyone sees, and that can so unexpectedly become big and beyond measuring; if you have this love of inconsiderable things and seek quite simply, as one who serves, to win the confidence of what seems poor: then everything will become easier, more coherent and somehow more conciliatory for you, not in your intellect, perhaps, which lags marveling behind, but in your inmost consciousness, waking and cognizance. You are so young, so before all beginning, and I want to beg you, as much as I can, dear sir, to be patient toward all that is unsolved in your heart and to try to love the questions themselves like locked rooms and like books that are written in a very foreign tongue. Do not now seek the answers, which cannot be given you because you would not be able to live them. And the point is, to live everything. Live the questions now. Perhaps you will then gradually, without noticing it, live along some distant day into the answer. Perhaps you do carry within yourself the possibility of shaping and forming as a particularly happy and pure way of living; train yourself to it—but take whatever comes with great trust, and if only it comes out of your own will, out of some need of your inmost being, take it upon yourself and hate nothing.

April 29 MORNING “Thou art my hope in the day of evil.” — Jeremiah 17:17 THE path of the Christian is not always bright with sunshine; he has his seasons of darkness and of storm. True, it is written in God’s Word, “Her ways are ways of pleasantness, and all her paths are peace;” and it is a great truth, that religion is calculated to give a man happiness below as well as bliss above; but experience tells us that if the course of the just be “As the shining light that shineth more and more unto the perfect day,” yet sometimes that light is eclipsed. At certain periods clouds cover the believer’s sun, and he walks in darkness and sees no light. There are many who have rejoiced in the presence of God for a season; they have basked in the sunshine in the earlier stages of their Christian career; they have walked along the “green pastures” by the side of the “still waters,” but suddenly they find the glorious sky is clouded; instead of the Land of Goshen they have to tread the sandy desert; in the place of sweet waters, they find troubled streams, bitter to their taste, and they say, “Surely, if I were a child of God, this would not happen.” Oh! say not so, thou who art walking in darkness. The best of God’s saints must drink the wormwood; the dearest of His children must bear the cross. No Christian has enjoyed perpetual prosperity; no believer can always keep his harp from the willows. Perhaps the Lord allotted you at first a smooth and unclouded path, because you were weak and timid. He tempered the wind to the shorn lamb, but now that you are stronger in the spiritual life, you must enter upon the riper and rougher experience of God’s full-grown children. We need winds and tempests to exercise our faith, to tear off the rotten bough of self-dependence, and to root us more firmly in Christ. The day of evil reveals to us the value of our glorious hope.

Looking at the sky, he suddenly saw that it had become black. Then white again, but with great rippling circles. The circles were vultures wheeling around the sun. The vultures disappeared, to be replaced by checkers squares ready to be played on. On the board, the pieces moved around incredibly rapidly, winning dozens of games every minute. They were scarcely lined up before they started rushing at each other again, banging into each other, forming fighting combinations, wiping the other side out in the wink of an eye. Then the squares scattered, giving way to the grille of a crossword puzzle, and here, too, words flashed, drove each other away, clustered, were erased. They were all very long words, like Catalepsy, Thunderbird, Superrequeteriquísímo and Anticonstitutionally. The grille faded away, and suddenly the whole sky was covered with linked words, long sentences full of semicolons and inverted commas. For the space of a few seconds, there was this gigantic sheet of paper on which were written sentences that moved forward jerkily, changing their meaning, modifying their construction, altering completely as they advanced. It was beautiful, so beautiful that nothing like that had ever been read anywhere, and yet it was impossible to decipher the writing. It was all about death, or pity, or the incredible secrets that are hidden somewhere, at one of the farthest points of time. It was about water, too, about vast lakes floating just above the mountains, lakes shimmering under the cold wind. For a split second, Y. M. H., by screwing up his eyes, managed to read the writing, but it vanished with lightning speed and he could not be sure. It seemed to go like this: There's no reason to be afraid. No, there's no reason to be afraid. There's no reason to be afraid. There's no reason to be afraid. No. No, there's no reason to be afraid. No, there's no reason to be afraid.

Dr. Kerry said he'd been watching me. "You act like someone who is impersonating someone else. And it's as if you think your life depends on it." I didn't know what to say, so I said nothing. "It has never occurred to you," he said, "that you might have as much right to be here as anyone." He waited for an explanation. "I would enjoy serving the dinner," I said, "more than eating it." Dr. Kerry smiled. "You should trust Professor Steinberg. If he says you're a scholar-'pure gold,' I heard him say-then you are." "This is a magical place," I said. "Everything shines here." "You must stop yourself from thinking like that," Dr. Kerry said, his voice raised. "You are not fool's gold, shining only under a particular light. Whomever you become, whatever you make yourself into, that is who you always were. It was always in you. Not in Cambridge. In you. You are gold. And returning to BYU, or even to that mountain you came from, will not change who you are. It may change how others see you, it may even change how you see yourself-even gold appears dull in some lighting-but that is the illusion. And it always was." I wanted to believe him, to take his words and remake myself, but I'd never had that kind of faith. No matter how deeply I interred the memories, how tightly I shut my eyes against them, when I thought of my self, the images that came to mind were of that girl, in the bathroom, in the parking lot. I couldn't tell Dr. Kerry about that girl. I couldn't tell him that the reason I couldn't return to Cambridge was that being here threw into great relief every violent and degrading moment of my life. At BYU I could almost forget, allow what had been to blend into what was. But the contrast here was too great, the world before my eyes too fantastical. The memories were more real-more believable-than the stone spires. To myself I pretended there were other reasons I couldn't belong at Cambridge, reasons having to do with class and status: that it was because I was poor, had grown up poor. Because I could stand in the wind on the chapel roof and not tilt. That was the person who didn't belong in Cambridge: the roofer, not the whore. I can go to school, I had written in my journal that very afternoon. And I can buy new clothes. But I am still Tara Westover. I have done jobs no Cambridge student would do. Dress us any way you like, we are not the same. Clothes could not fix what was wrong with me. Something had rotted on the inside. Whether Dr. Kerry suspected any part of this, I'm not sure. But he understood that I had fixated on clothes as the symbol of why I didn't, and couldn't, belong. It was the last thing he said to me before he walked away, leaving me rooted, astonished, beside that grand chapel. "The most powerful determinant of who you are is inside you," he said. "Professor Steinberg says this is Pygmalion. Think of the story, Tara." He paused, his eyes fierce, his voice piercing. "She was just a cockney in a nice dress. Until she believed in herself. Then it didn't matter what dress she wore.

Darkness: I had a dream, which was not all a dream. The bright sun was extinguish'd, and the stars Did wander darkling in the eternal space, Rayless, and pathless, and the icy earth Swung blind and blackening in the moonless air; Morn came and went—and came, and brought no day, And men forgot their passions in the dread Of this their desolation; and all hearts Were chill'd into a selfish prayer for light: And they did live by watchfires—and the thrones, The palaces of crowned kings—the huts, The habitations of all things which dwell, Were burnt for beacons; cities were consum'd, And men were gather'd round their blazing homes To look once more into each other's face; Happy were those who dwelt within the eye Of the volcanos, and their mountain-torch: A fearful hope was all the world contain'd; Forests were set on fire—but hour by hour They fell and faded—and the crackling trunks Extinguish'd with a crash—and all was black. The brows of men by the despairing light Wore an unearthly aspect, as by fits The flashes fell upon them; some lay down And hid their eyes and wept; and some did rest Their chins upon their clenched hands, and smil'd; And others hurried to and fro, and fed Their funeral piles with fuel, and look'd up With mad disquietude on the dull sky, The pall of a past world; and then again With curses cast them down upon the dust, And gnash'd their teeth and howl'd: the wild birds shriek'd And, terrified, did flutter on the ground, And flap their useless wings; the wildest brutes Came tame and tremulous; and vipers crawl'd And twin'd themselves among the multitude, Hissing, but stingless—they were slain for food. And War, which for a moment was no more, Did glut himself again: a meal was bought With blood, and each sate sullenly apart Gorging himself in gloom: no love was left; All earth was but one thought—and that was death Immediate and inglorious; and the pang Of famine fed upon all entrails—men Died, and their bones were tombless as their flesh; The meagre by the meagre were devour'd, Even dogs assail'd their masters, all save one, And he was faithful to a corse, and kept The birds and beasts and famish'd men at bay, Till hunger clung them, or the dropping dead Lur'd their lank jaws; himself sought out no food, But with a piteous and perpetual moan, And a quick desolate cry, licking the hand Which answer'd not with a caress—he died. The crowd was famish'd by degrees; but two Of an enormous city did survive, And they were enemies: they met beside The dying embers of an altar-place Where had been heap'd a mass of holy things For an unholy usage; they rak'd up, And shivering scrap'd with their cold skeleton hands The feeble ashes, and their feeble breath Blew for a little life, and made a flame Which was a mockery; then they lifted up Their eyes as it grew lighter, and beheld Each other's aspects—saw, and shriek'd, and died— Even of their mutual hideousness they died, Unknowing who he was upon whose brow Famine had written Fiend. The world was void, The populous and the powerful was a lump, Seasonless, herbless, treeless, manless, lifeless— A lump of death—a chaos of hard clay. The rivers, lakes and ocean all stood still, And nothing stirr'd within their silent depths; Ships sailorless lay rotting on the sea, And their masts fell down piecemeal: as they dropp'd They slept on the abyss without a surge— The waves were dead; the tides were in their grave, The moon, their mistress, had expir'd before; The winds were wither'd in the stagnant air, And the clouds perish'd; Darkness had no need Of aid from them—She was the Universe.