"True science has no belief," says Dr. Fenwick, in Bulwer-Lytton's 'Strange Story;' "true science knows but three states of mind: denial, conviction, and the vast interval between the two, which is not belief, but the suspension of judgment." Such, perhaps, was true science in Dr. Fenwick's days. But the true science of our modern times proceeds otherwise; it either denies point-blank, without any preliminary investigation, or sits in the interim, between denial and conviction, and, dictionary in hand, invents new Graeco-Latin appellations for non-existing kinds of hysteria!
Think about the strangeness of today's situation. Thirty, forty years ago, we were still debating about what the future will be: communist, fascist, capitalist, whatever. Today, nobody even debates these issues. We all silently accept global capitalism is here to stay. On the other hand, we are obsessed with cosmic catastrophes: the whole life on earth disintegrating, because of some virus, because of an asteroid hitting the earth, and so on. So the paradox is, that it's much easier to imagine the end of all life on earth than a much more modest radical change in capitalism.
Somewhere in the center of my soul, a rusty chain began to unwind. It freed itself, link by link, from where it had rested, unobserved, waiting for him. My hands, which had been balled up and pressed against his chest, unfurled with it. The chain continued to drop, to an unfathomable depth where there was nothing but darkness and Matthew. At last it snapped to its full length, anchoring me to a vampire. Despite the manuscript, despite the fact that my hands contained enough voltage to run a microwave, and despite the photograph, as long as I was connected to him, I was safe.
I feel overawed by quantity where counting no longer makes sense. By unrepeatability within such a quantity. By creatures of nature gathered in herds, droves, species, in which each individual, while subservient to the mass, retains some distinguishing features. A crowd of people, birds, insects, or leaves is a mysterious assemblage of variants of certain prototype. A riddle of nature's abhorrence of exact repetition or inability to produce it. Just as the human hand cannot repeat its own gesture, I invoke this disturbing law, switching my own immobile herds into that rhythm.
What do you think would happen if we kissed right here, right now?" he asks, digging his hands into the pockets of his khaki pants, grinning right back at me. "I think it would cause a riot." "Well, you know me," he says, lowering his head towards me. "Causing a riot is what I do best." Santangelo approaches before Griggs gets any closer and pulls him away. "Are you guys insane?" he says, irritated. "It's called peaceful coexistence, Santangelo. You should try it and if it works we may sell the idea to the Israelis and Palestinians," I say, throwing his own words back at him.
And then he pressed into her. First his thighs, then his middle, his chest, and finally his mouth. She made a whimpering sound, but its definition was unclear even to her, until she realized that her arms had gone around him instinctually, and that she was clutching his back, his shoulders, her hands restless and greedy for the feel of him. He kissed her openmouthed, using his tongue, and when she kissed back, she felt the hum that vibrated deep inside his chest. It was the kind of hungry sound she hadn’t heard in a long time. Masculine and carnal, it thrilled and aroused her.
Father, let me be weak that I might loose my clutch on everything temporal. My life, my reputation, my possessions, Lord, let me loose the tension of the grasping hand. Even, Father, would I lose the love of fondling. How often I have released a grasp only to retain what I prized by 'harmless' longing, the fondling touch. Rather, open my hand to received the nail of Calvary, as Christ's was opened- that I, releasing all, might be released, unleashed from all that binds me now. He thought Heaven, yea, equality with God, not a thing to be clutched at. So let me release my grasp.
All good things require effort. That which is worth having will cost part of your physical being, your intellectual power, and your soul power—‘Ask, and it shall be given you; seek, and ye shall find; knock, and it shall be opened unto you.’ (Matt. 7:7.) But you have to seek, you have to knock. On the other hand, sin thrusts itself upon you. It walks beside you, it tempts you, it entices, it allures. You do not have to put forth effort. … Evil seeks you, and it requires effort and fortitude to combat it. But truth and wisdom are gained only by seeking, by prayer, and by effort.
Tessa was only half way down the corridor when they caught up to her -Will and Jem, walking on either side of her. "you didn't really think we weren't going to come along, did you?" Will asked, raising his hand and letting his witchlight fare up between his fingers, lighting the corridor to daylight brightness. Charlotte, hurrying along ahead of them, turned and frowned, but said nothing. "I know you can't leave anything well alone," Tessa replied, looking straight ahead. "But I though better of Jem." "Where Will goes, I go," Jem said good-naturedly. "And besides, I'm as curious as he is.
After each failure, ask forgiveness, pick yourself up, and try again. Very often what God first helps us toward is not the virtue itself but just this power of always trying again. For however important chastity (or courage, or truthfulness, or any other virtue) may be, this process trains us in habits of the soul which are more important still. It cures our illusions about ourselves and teaches us to depend on God. We learn, on the one hand, that we cannot trust ourselves even in our best moments, and, on the other, that we need not despair even in our worst, for our failures are forgiven.
That a thing made by hand, the work and thought of a single craftsman, can endure much longer than its maker, through centuries in fact, can survive natural catastrophe, neglect, and even mistreatment, has always filled me with wonder. Sometimes in museums, looking at a humble piece of pottery from ancient Persia or Pompeii, or a finely wrought page from a medieval illuminated manuscript toiled over by a nameless monk, or a primitive tool with a carved handle, I am moved to tears. The unknown life of the maker is evanescent in its brevity, but the work of his or her hands and heart remains.