'veiled from his sight'

She bent once more and trailed her hair in the water with a swaying motion sideways and then stood and swung it about her in a great hoop of spray and stood with her head back and her eyes closed. The sun rising over the gray ranges to the east lit the upper air. She held one hand up. She moved her body, she swept both hands before her. She bent and caught her falling hair in her arms and held it and she passed one hand over the surface of the water as if to bless it and he watched and as he watched he saw that the world which had always been before him everywhere had been veiled from his sight. She turned and he thought she might sing to the sun. She opened her eyes and saw him there on the bridge and she turned her back and walked slowly up out of the river and was lost to his view among the pale standing trunks of the cottonwoods and the sun rose and the river ran as before but nothing was the same nor did he think it ever would be.

--Cormac McCarthy, The Crossing (1994)

'see the world in a pendulum's swing'

Galileo conceded that the study of pendulums “may appear to many exceedingly arid,” although it was anything but that, as later work showed. In mathematics, pendulums stimulated the development of calculus through the riddles they posed. In physics and engineering, pendulums became paradigms of oscillation. Like the line in William Blake’s poem about seeing the world in a grain of sand, physicists and engineers learned to see the world in a pendulum’s swing. The same mathematics applied wherever oscillations occurred. The worrisome movements of a footbridge, the bouncing of a car with mushy shock absorbers, the thumping of a washing machine with an unbalanced load, the fluttering of venetian blinds in a gentle breeze, the rumbling of the earth in the aftershock of an earthquake, the sixty-cycle hum of fluorescent lights—every field of science and technology today has its own version of to-and-fro motion, of rhythmic return. The pendulum is the granddaddy of them all. Its patterns are universal. Arid is not the right word for them.

—Steven Strogatz, Infinite Powers (2019)

'nature makes a finishing pass with her chisel'

In short, it was all just right, as neither nature nor art can contrive, but as only occurs when they join together, when, after the heaped-up, often senseless, labors of men, nature makes a finishing pass with her chisel, lightening the heavy masses, removing the crude-feeling regularity and indigent gaps through which the bare, undisguised plan peeps out, and imparts a wondrous warmth to all that was created in coldly measured cleanness and neatness.

—Nikolai Gogol, Dead Souls (1842, trans. 1996 Pevear and Volokhonsky)

and the canal would still be there too

Again the longest day was past. The days were getting shorter--it was still barely noticeable but we knew it was happening, this summer too would pass. Again the day came to an end, again the bright red above the horizon grew pale, the water in the distance kept its color, but barely, darkness crept up everywhere, out of the earth, now the canal in the distance had vanished in the night. We were gloomy about all the things that had passed, and about our lives, which would end while all these things continued to exist. We would see the days get longer a few more times, then we wouldn't be young anymore. And after that, when the chestnut trees had blossomed red or white a few more times, we would die, in the prime of our lives or maybe as old men, which would be even worse. And the sky would be red again and the canal would still be there too, most likely, gold in the twilight, and they wouldn't notice any difference. 

--Nescio, "The Writing on the Wall," Amsterdam Stories (1913; trans. Damion Searls, 2012)

Pursuing Sacred Magic

The practical aspect of the scientific ideal is revealed in the progress of modern science from the eighteenth century to the present day. Its essential stages are the discoveries and putting into man's service, successively, steam, electricity and atomic energy. But as different as these appear to be, these discoveries are based only on a single principle, namely the principle of the destruction of matter, by which energy is freed in order to be captured anew by man so as to be put at his service.... [T]he practical aspect of the scientific ideal is the domination of Nature by means of putting into play the principle of destruction or death.

Imagine, dear Unknown Friend, efforts and discoveries in the opposite direction, in the direction of construction or life. Imagine, not an explosion, but rather the blossoming out of a constructive “atomic bomb”. It is not too difficult to imagine, because each little acorn is such a “constructive bomb” and the oak is only the visible result of the slow “explosion”—or blossoming out—of this “bomb”. Imagine it, and you will have the ideal of the great work or the idea of the Tree of Life. The image itself of the tree comprises the negation of the technical and mechanical element. It is the living synthesis of heaven and earth, it constantly synthesis that which descends from above and that which ascends from below.

Now, the ideal of Hermeticism is contrary to that of science. Instead of aspiring to power over the forces of Nature by means of the destruction of matter, Hermeticism aspires to conscious participation with the constructive forces of the world on the basis of an alliance and a cordial communion with them. Science wants to compel Nature to obedience to the will of man such as it is; Hermeticism—or the philosophy of sacred magic—on the contrary wants to purify, illumine and change the will and nature of man in order to bring them into harmony with the creative principle of Nature (natura naturans) and to render them capable of receiving its willingly bestowed revelation. The “great work”, as an ideal, is therefore the state of the human being who is in peace, alliance, harmony and collaboration with life. This is the “fruit” of the Tree of Life.

—Anonomous (Valentin Tomberg), Meditations on the Tarot: A Journey into Christian Hermeticism (1980)

'a forest of boredom'

"Then calm yourself. There is much time. What a day it is and how I am contented not to be in pine trees. You cannot imagine how one can tire of pine trees. Aren't you tired of the pines, guapa?"

"I like them," the girl said.

"What can you like about them?"

"I like the odor and the feel of needles under foot. I like the wind in the high trees and the creaking they make against each other."

"You like anything," Pilar said. "You are a gift to any man if you could cook a little better. But the pine tree makes a forest of boredom. Thou hast never known a forest of beech, nor of oak, nor of chestnut. Those are forests. In such forests each tree differs and there is character and beauty. A forest of pine trees is boredom. What do you say, Inglés?"

"I like the pines too."

—Ernest Hemingway, For Whom the Bell Tolls (1940)

'Then men seemed brave to me, and I was proud to be numbered among them.'

Then I went upstairs and out of the lobby to the mailbox on the corner. It was a little after three o'clock of an incomparable morning. The blue and white of stars and sky were like desert colors, a gentleness so stirring I had to pause and wonder that it could be so lovely. Not a blade of the dirty palms stirred. Not a sound was to be heard.

All that was good in me thrilled in my heart at that moment, all that I hoped for in the profound, obscure meaning of my existence. Here was the endlessly mute placidity of nature, indifferent to the great city; here was the desert beneath these streets, around these streets, waiting for the city to die, to cover it with timeless sand once more. There came over me a terrifying sense of understanding about the meaning and the pathetic destiny of men. The desert was always there, a patient white animal, waiting for men to die, for civilizations to flicker and pass into the darkness. Then men seemed brave to me, and I was proud to be numbered among them. All the evil of the world seemed not evil at all, but inevitable and good and part of that endless struggle to keep the desert down.

—John Fante, Ask the Dust (1939)

Rain and the City People

I am alien to the noises of cities, of people, to the greed of machinery that does not sleep, the hum of power that eats up the night. Where rain, sunlight and darkness are contemned, I cannot sleep. I do not trust anything that has been fabricated to replace the climate of woods or prairies. I can have no confidence in places where the air is first fouled and then cleansed, where the water is first made deadly and then made safe with other poisons...The city itself lives on its own myth. Instead of waking up and silently existing, the city people prefer a stubborn and fabricated dream; they do not care to be a part of the night, or to be merely of the world. They have constructed a world outside the world, against the world, a world of mechanical fictions which contemn nature and seek only to use it up, thus preventing it from renewing itself and man. 

Of course the festival of rain cannot be stopped, even in the city. The woman from the delicatessen scampers along the sidewalk with a newspaper over her head. The streets, suddenly washed, became transparent and alive, and the noise of traffic becomes a plashing of fountains. One would think that urban man in a rainstorm would have to take account of nature in its wetness and freshness, its baptism and its renewal. But the rain brings no renewal to the city, on to tomorrow’s weather, and the glint of windows in tall buildings will then have nothing to do with the new sky. All “reality” will remain somewhere inside those walls, counting itself and selling itself with fantastically complex determination. Meanwhile the obsessed citizens plunge through the rain bearing the load of their obsessions, slightly more vulnerable than before, but still only barely aware of external realities. They do not see that the streets shine beautifully, that they themselves are walking on stars and water, that they are running in skies to catch a bus or a taxi, to shelter somewhere in the press of irritated humans, the faces of advertisements and the dim, cretinous sound of unidentified music. But they must know that there is wetness abroad. Perhaps they even feel it. I cannot say...

—Thomas Merton, “Rain and the Rhinoceros” (1974)

'the glad hand of national industry'

The homecoming itself was awash in vague remembered detail; the steamer dock on Sugar Island looked draped in rain. He remembered that. It was a wet, middling season in Michigan; he forgot which one. There were a number of them. And this: the condemned freighter Maida towed by tugs toward a chalky wafer of sun, toward the lead-white expanse of Detroit River, black gleaming derricks, slag—the whole, lurid panorama of cloacal American nature smarm debouching into Lake Erie where—when Payne was duck hunting—a turn of his oar against the bottom brought up a blue whirring nimbus of petroleum sludge and toxic, coagulant effluents the glad hand of national industry wants the kids to swim in. This was water that ran in veins. This was proud water that wouldn't mix. This was water whose currents drove the additives aloft in glossy pools and gay poison rainbows. This was water the walking upon of which scarcely made for a miracle.

—Thomas McGuane, The Bushwacked Piano (1971)

'[they] have transferred their artificial ideas to nature"

[C]ertainly nothing could be more unaccountably whimsical, than for an architect to model his performance by the human figure, since no two things can have less resemblance or analogy, than a man, and an house or temple; do we need to observe that their purposes are entirely different? What I am apt to suspect is this: that these analogies were devised to give a credit to the works of art, by shewing a conformity between them and the noblest works in nature, not that the latter served at all to supply hints for the perfection of the former. And I am the more fully convinced, that the patrons of proportion have transferred their artificial ideas to nature, and not borrowed from thence the proportions they use in works of art; because in any discussion of this subject, they always quit as soon as possible the open field of natural beauties, the animal and vegetable kingdoms, and fortify themselves within the artificial lines and angles of architecture. For there is in mankind an unfortunate propensity to make themselves, their views, and their works, the measure of excellence in every thing whatsoever.

—Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (2nd edition, 1759)

'danced fatalistically with nature'

She had tea waiting when Ethan came back. They sat outside. He wore nothing over his short-sleeved shirt despite the chill. Pammy wondered whether it would be all right to get him a sweater. She decided finally it might be taken as an imposition of sorts, a subtle belittling of his distress. What comfort, really, would warm clothing give him now? It occurred to her that people unconsciously honored the processes of the physical world, danced fatalistically with nature whenever death took someone close to them. She believed Ethan wanted to feel what was here. If it rained, he wouldn't move. If she draped a sweater over his shoulders, he might well shrug it off. We are down to eating and sleeping, if that. Rudiments, she thought. Whatever the minimum. That's what we're down to. She watched color spread across the sky beyond the Camden Hills. A sunset is the story of the world's day. They spun back away from it, upended like astronauts, but snug in their seats, night-riding, as the first stars pinched into view.

—Don DeLillo, Players (1977)

'the great fact was the land itself'

The little town behind them had vanished as if it had never been, had fallen behind the swell of the prairie, and the stern frozen country received them into its bosom. The homesteads were few and far apart; here and there a windmill gaunt against the sky, a sod house crouching in a hollow. But the great fact was the land itself, which seemed to overwhelm the little beginnings of human society that struggled in its sombre wastes. It was from facing this vast hardness that the boy's mouth had become so bitter; because he felt that men were too weak to make any mark here, that the land wanted to be let alone, to preserve its own fierce strength, its peculiar, savage kind of beauty, its uninterrupted mournfulness.

—Willa Cather, O Pioneers! (1913)

'What in water did Bloom ... admire?'

What in water did Bloom, waterlover, drawer of water, watercarrier returning to the range, admire?

Its universality: its democratic equality and constancy to its nature in seeking its own level: its vastness in the ocean of Mercator's projection: its unplumbed profundity in the Sundam trench of the Pacific exceeding 8,000 fathoms: the restlessness of its waves and surface particles visiting in turn all points of its seaboard: the independence of its units: the variability of states of sea: its hydrostatic quiescence in calm: its hydrokinetic turgidity in neap and spring tides: its subsidence after devastation: its sterility in the circumpolar icecaps, arctic and antarctic: its climatic and commercial significance: its preponderance of 3 to 1 over the dry land of the globe: its indisputable hegemony extending in square leagues over all the region below the subequatorial tropic of Capricorn: the multisecular stability of its primeval basin: its luteofulvous bed: its capacity to dissolve and hold in solution all soluble substances including millions of tons of the most precious metals: its slow erosions of peninsulas and downwardtending promontories: its alluvial deposits: its weight and volume and density: its imperturbability in lagoons and highland tarns: its gradation of colours in the torrid and temperate and frigid zones: its vehicular ramifications in continental lakecontained streams and confluent oceanflowing rivers with their tributaries and transoceanic currents: gulfstream, north and south equatorial courses: its violence in seaquakes, waterspouts, artesian wells, eruptions, torrents, eddies, freshets, spates, groundswells, watersheds, waterpartings, geysers, cataracts, whirlpools, maelstroms, inundations, deluges, cloudbursts: its vast circumterrestrial ahorizontal curve: its secrecy in springs, and latent humidity, revealed by rhabdomantic or hygrometric instruments and exemplified by the hole in the wall at Ashtown gate, saturation of air, distillation of dew: the simplicity of its composition, two constituent parts of hydrogen with constituent part of oxygen: its healing virtues: its buoyancy in the waters of the Dead Sea: its persevering penetrativeness in runnels, gullies, inadequate dams, leaks on shipboard: its properties for cleansing, quenching thirst and fire, nourishing vegetation: its infallibility as paradigm and paragon: its metamorphoses as vapour, mist, cloud, rain, sleet, snow, hail: its strength in rigid hydrants: its variety of forms in loughs and bays and gulfs and bights and guts and lagoons and atolls and archipelagos and sounds and fjords and minches and tidal estuaries and arms of sea: its solidity in glaciers, icebergs, icefloes: its docility in working hydraulic millwheels, turbines, dynamos, electric power stations, bleachworks, tanneries, scutchmills: its utility in canals, rivers, if navigable, floating and graving docks: its potentiality derivable from harnessed tides or watercourses falling from level to level: its submarine fauna and flora (anacoustic, photophobe) numerically, if not literally, the inhabitants of the globe: its ubiquity as constituting 90% of the human body: the noxiousness of its effluvia in lacustrine marshes, pestilential fens, faded flowerwater, stagnant pools in the waning moon.

—James Joyce, Ulysses (1922)

"the rattle of everything that led to the future"

The third time he got up to look at the woods, it was almost six o'clock and the gaunt trunks appeared to be raised in a pool of red light that gushed from the almost hidden sun setting behind them. The old man stared for some time, as if for a prolonged instant he were caught up out of the rattle of everything that led to the future and were held there in the midst of an uncomfortable mystery that he had not apprehended before. He saw it, in his hallucination, as if someone were wounded behind the woods and the trees were bathed in blood. After a few minutes this unpleasant vision was broken by the presence of Pitts's pick-up truck grinding to a halt below the window. He returned to his bed and shut his eyes and against the closed lids hellish red trunks rose up in a black wood.

—Flannery O'Connor, "A View of the Woods" (1957; reprinted 1965 in Everything That Rises Must Converge)

Miracle

The very word 'miracle' itself, and for that matter the words 'natural' and 'supernatural', are in fact symptomatic of a very different range of possible worldviews from those that were open to Galilean villagers in the first century. The evangelists use words like paradoxa, things one would not expect; dunameis, displays of power or authority; terata or semeia, signs or potents. The closest we come to 'miracle' is the single occurance of thaumasia, 'marvels', in Matthew 21:15. These words do not carry, as the English word 'miracle' has sometimes done, overtones of invasion from another world, or from outer space. They indicate, rather, that something has happened, within what we would call the 'natural' world, which is not what would have been anticipated, and which seems to provide evidence for the active presence of an authority, a power, at work, not invading the created order as an alien force, but rather enabling it to be more truly itself.

—N.T. Wright, Jesus and the Victory of God (1996)

'a taste for the beautiful is most cultivated out of doors'

Before we can adorn our houses with beautiful objects the walls must be stripped, and our lives must be stripped, and beautiful housekeeping and beautiful living be laid for a foundation: now, a taste for the beautiful is most cultivated out of doors, where there is no house and no housekeeper.

—Henry David Thoreau, Walden; or Life in the Woods (1854)

'And then—the glory—'

Sometimes a kind of glory lights up the mind of a man. It happens to nearly everyone. You can feel it growing or preparing like a fuse burning toward dynamite. It is a feeling in the stomach, a delight of the nerves, of the forearms. The skin tastes the air, and every deep-drawn breath is sweet. Its beginning has the pleasure of a great stretching yawn; it flashes in the brain and the whole world glows outside your eyes. A man may have lived all of his life in the gray, and the land and trees of him dark and somber. The events, even the important ones, may have trooped by faceless and pale. And then—the glory—so that a cricket song sweetens his ears, the smell of the earth rises chanting to his nose, and dappling light under a tree blesses his eyes. Then a man pours outward, a torrent of him, and yet he is not diminished. And I guess a man's importance in the world can be measured by the quality and number of his glories. It is a lonely thing but it relates us to the world. It is the mother of all creativeness, and it sets each man separate from all other men.

—John Steinbeck, East of Eden (1952)

'The present is harder to find.'

"It's cyber-capital that creates the future. What is the measurement called a nanosecond?"

"Ten to the minus ninth power."

"This is what."

"One billionth of a second," he said.

"I understand none of this. But it tells me how rigorous we need to be in order to take adequate measure of the world around us."

"There are zeptoseconds."

"Good. I'm glad."

"Yoctoseconds. One septillionth of a second."

"Because time is a corporate asset now. It belongs to the free market system. The present is harder to find. It is being sucked out of the world to make way for the future of uncontrolled markets and huge investment potential. The future becomes insistent. This is why something will happen soon, maybe today," she said, looking slyly into her hands. "To correct the acceleration of time. Bring nature back to normal, more or less."

—Don DeLillo, Cosmopolis (2003)

'unloving earth, without a throb to answer ours'

Down from the gardens of Asia descending radiating, Adam and Eve appear, then their myriad progeny after them,
Wandering, yearning, curious, with restless explorations,
With questionings, baffled, formless, feverish, with never-happy hearts,
With that sad incessant refrain, Wherefore unsatisfied soul? and Whither O mocking life?

Ah who shall soothe these feverish children?
Who justify these restless explorations?
Who speak the secret of impassive earth?
Who bind it to us? what is this separate Nature so unnatural?
What is this earth to our affections? (unloving earth, without a throb to answer ours,
Cold earth, the place of graves.)

—Walt Whitman, "Passage to India" (1868/1871)

'an unfinished newness'

Here I felt the throb of the great ocean that lay before me. I knew now that I had put a world behind me, and that I was opening out another world ahead. I had passed the haunts of savages. Great piles of granite mountains of bleak and lifeless aspect were now astern; on some of them not even a speck of moss had ever grown. There was an unfinished newness all about the land. On the hill back of Port Tamar a small beacon had been thrown up, showing that some man had been there. But how could one tell but that he had died of loneliness and grief? In a bleak land is not the place to enjoy solitude.

—Captain Joshua Slocum, Sailing Alone Around the World (1900)