He comes down next to me, and when I hold out my hand, he takes it. Our fingers lace together. And in that feeling, that perfect feeling of our hands and fingers pressed together, I want to tell him everything. I want to tell him about Josh, and his sister, Emily. I want to tell him about tall, crazy Gert. I want to tell him about bridges and funerals, and most of all, maps. More than anything else, I want to tell him about myself. I want to tell him that I know what things look like from above now. There's so much I want to tell him, because I know he'll understand.

There is such a tremendous need for spiritual guidance for those who are facing death, as a patient or with a loved one. Emotions and grief flood everyone involved. There are so many unknown factors. Many times doctors can predict what may happen physically, but no one can truthfully answer the big questions for us, questions like, What is dying like? Will it hurt? What is going to happen to me after I die? Is God going to be there waiting for me? Is God going to be angry at how I lived my life? These questions and fears clearly need to be addressed spiritually and not brushed aside.

I could have done even better, miss, and I'd know a lot more, if it wasn't for my destiny ever since childhood. I'd have killed a man in a duel with a pistol for calling me low-born, because I came from Stinking Lizaveta without a father, and they were shoving that in my face in Moscow. It spread there thanks to Grigory Vasilievich. Grigory Vasilievich reproaches me for rebelling against my nativity: 'You opened her matrix,' he says. I don't know about her matrix, but I'd have let them kill me in the womb, so as not to come out into the world at all, miss.

Many writers, especially male ones, have told us that it is the decease of the father which opens the prospect of one's own end, and affords an unobstructed view of the undug but awaiting grave that says 'you're next.' Unfilial as this may seem, that was not at all so in my own case. It was only when I watched Alexander [my own son] being born that I knew at once that my own funeral director had very suddenly, but quite unmistakably, stepped onto the stage. I was surprised by how calmly I took this, but also by how reluctant I was to mention it to my male contemporaries.

She's not here," I tell him. Buttercup hisses again. "She's not here. You can hiss all you like. You won't find Prim." At her name, he perks up. Raises his flattened ears. Begins to meow hopefully. "Get out!" He dodges the pillow I throw at him. "Go away! There's nothing left for you here!" I start to shake, furious with him. "She's not coming back! She's never ever coming back here again!" I grab another pillow and get to my feet to improve my aim. Out of nowhere, the tears begin to pour down my cheeks. "She's dead, you stupid cat. She's dead.

That was magic, sweetest.” The witch flexed her fingers, wriggled them in front of her. “Did she think it a wave of the hands? A slip of the tongue?” A kiss upon her skin. She could see the woman reaching out and taking her in hand, kissing each finger as though they were her possessions. Then it was gone. Charlotte blinked. The woman had not stirred. “Not all things are so simple. I was he and he was me and I took your poison into myself, and made it his. All things join beneath the earth. I burned, then so did he. More will burn. Come hair or wool, more will burn.

As Master Nathaniel jogged leisurely along his thoughts turned to the Farmer Gibberty, who many a time must have jogged along this path, in just such a way, and seen and heard the very same things that he was seeing and hearing now.Yes, the Farmer Gibberty had once been a real living man, like himself. And so had millions of others, whose names he had never heard. And one day he himself would be a prisoner, confined between the walls of other people's memory. And then he would cease even to be that, and become nothing but a few words cut in stone. What would these words be, he wondered.

And in me too the wave rises. It swells; it arches its back. I am aware once more of a new desire, something rising beneath me like the proud horse whose rider first spurs and then pulls him back. What enemy do we now perceive advancing against us, you whom I ride now, as we stand pawing this stretch of pavement? It is death. Death is the enemy. It is death against whom I ride with my spear couched and my hair flying back like a young man's, like Percival's, when he galloped in India. I strike spurs into my horse. Against you I will fling myself, unvanquished and unyielding, O Death!

Having second thoughts?” Puck’s voice was soft and dangerous, a far cry from his normal flippancy. “I thought we put this behind us for now.”“Never,” I said, matching his stare. “I can’t ever take it back, Goodfellow. I’m still going to kill you. I swore to her I would.” Lighting flickered overhead, and thunder rumbled in the distance as we faced each other with narrowed eyes. “One day,” I said softly. “One day you’ll look up, and I’ll be there. That’s the only ending for us. Don’t ever forget.

Amy [Winehouse] increasingly became defined by her addiction. Our media though is more interested in tragedy than talent, so the ink began to defect from praising her gift to chronicling her downfall. The destructive personal relationships, the blood soaked ballet slippers, the aborted shows, that YouTube madness with the baby mice. In the public perception this ephemeral tittle-tattle replaced her timeless talent. This and her manner in our occasional meetings brought home to me the severity of her condition. Addiction is a serious disease; it will end with jail, mental institutions, or death.

Ne, nė vienas žmogus ilgai negalėtų pakelti tokio liepsningo gyvenimo. <...> Niekas negalėtų taip ilgai dieną naktį deginti visus savo žiburius, eikvoti visus savo vulkanus, niekas neįstengtų taip ilgai dieną naktį stovėti liepsnose, kasdien daug valandų su įkaitusia galva mąstyti, nuolatos mėgaudamasis, nuolatos kurdamas, nuolatos šviesus, su budriais jausmais ir nervais nelyginant pilis, už kurios langų kasdien skamba muzika, o naktimis tviska tūkstančiai žvakių.

The Chorus Line:A Rope-Jumping Rhymewe are the maidsthe ones you killedthe ones you failedwe danced in airour bare feet twitchedit was not fairwith every goddess, queen, and bitchfrom there to hereyou scratched your itchwe did much lessthan what you didyou judged us badyou had the spearyou had the wordat your commandwe scrubbed the bloodof our deadparamours from floors, from chairsfrom stairs, from doors,we knelt in waterwhile you staredat our bare feetit was not fairyou licked our fearit gave you pleasureyou raised your handyou watched us fallwe danced on airthe ones you failedthe ones you killed

Molecules form and dissolve, returning to the primordial soup of atoms. But consciousness survives the death of the molecules on which it rides. What was once a bundle of energy in a sunbeam turns into a leaf, only to fall and change again into soil. The change of state crosses many boundaries. A sunbeam is invisible, whereas leaves and soil are visible.A leaf is alive and growing,whereas sunbeams aren't.the colors of light, leaf, and soil are different, and so on.But all these transformations exist as constructs of the mind.The actual energy present in the sunbeam experiences no change at all.

Let my heiress have full rights,Live in my house, sing songs that I composed.Yet how slowly my strength ebbs,How the tortured breast craves air.The love of my friends, my enemies' rancorAnd the yellow roses in my bushy garden,And a lover's burning tenderness—all thisI bestow upon you, messenger of dawn.Also the glory for which I was born,For which my star, like some whirlwind, soaredAnd now falls. Look, its fallingProphesies your power, love and inspiration.Preserving my generous bequest,You will live long and worthily.Thus it will be. You see, I am content,Be happy, but remember me.

Oh cold, cold, rigid, dreadful Death, set up thine altar here, and dress it with such terrors as thou hast at thy command: for this is thy dominion! But of the loved, revered, and honoured head, thou canst not turn one hair to thy dread purposes, or make one feature odious. It is not that the hand is heavy and will fall down when released; it is not that the heart and pulse are still; but that the hand was open, generous, and true; the heart brave, warm, and tender; and the pulse a man's. Strike, Shadow, strike! And see his good deeds springing from the wound, to sow the world with life immortal.