Issuu on Google+

“Thirst was made for water; inquiry for truth.” — C.S. Lewis

Where are you going my dear traveller, longing for the sea like a fish? You are in my heart wherever you go, only that sea can quench your thirst. — Jalal ad-Din Muhammad

The people along the sand All turn and look one way. They turn their back on the land. They look at the sea all day. As long as it takes to pass A ship keeps raising its hull; The wetter ground like glass Reflects a standing gull. The land may vary more; But wherever the truth may be The water comes ashore, And the people look at the sea. They cannot look out far. They cannot look in deep. But when was that ever a bar To any watch they keep? — Robert Frost

Its universality: its democratic equality and constancy to its nature in seeking i

profundity in the Sundam trench of the Pacific exceeding 8000 fathoms: the

seaboard: the independence of its units: the variability of states of sea: its hydro

its subsidence after devastation: its sterility in the circumpolar icecaps, arctic a

to 1 over the dry land of the globe: its indisputable hegemony extending in sq

the multisecular stability of its primeval basin: its luteofulvous bed: its capacit tons of the most precious metals: its slow erosions of peninsulas and islands, its

promontories: its alluvial deposits: its weight and volume and density: its imper

and temperate and frigid zones: its vehicular ramifications in continental lake and transoceanic currents, gulfstream, north and south equatorial courses: its

freshets, spates, groundswells, watersheds, waterpartings, geysers, cataracts, whir

ahorizontal curve: its secrecy in springs and latent humidity, revealed by rhabd

in the wall at Ashtown gate, saturation of air, distillation of dew: the simplicity

part of oxygen: its healing virtues: its buoyancy in the waters of the Dead Sea

shipboard: its properties for cleansing, quenching thirst and fire, nourishing veg

mist, cloud, rain, sleet, snow, hail: its strength in rigid hydrants: its variety of for

archipelagos and sounds and fjords and minches and tidal estuaries and arms o

millwheels, turbines, dynamos, electric power stations, bleachworks, tanneries,

its potentiality derivable from harnessed tides or watercourses falling from leve

if not literally, the inhabitants of the globe: its ubiquity as constituting 90 perc pestilential fens, faded flowerwater, stagnant pools in the waning moon.�

— James Joyce (Ulysses)

its own level: its vastness in the ocean of Mercator’s projection: its unplumbed

e restlessness of its waves and surface particles visiting in turn all points of its

ostatic quiescence in calm: its hydrokinetic turgidity in neap and spring tides:

and antarctic: its climatic and commercial significance: its preponderance of 3

quare leagues over all the region below the subequatorial tropic of Capricorn:

ty to dissolve and hold in solution all soluble substances including millions of persistent formation of homothetic islands, peninsulas and downwardtending

rturbability in lagoons and highland tarns: its gradation of colours in the torrid

econtained streams anvd confluent oceanflowing rivers with their tributaries violence in seaquakes, waterspouts, Artesian wells, eruptions, torrents, eddies,

rlpools, maelstroms, inundations, deluges, cloudbursts: its vast circumterrestrial

domantic or hygrometric instruments and exemplified by the well by the hole

y of its composition, two constituent parts of hydrogen with one constituent

a: its persevering penetrativeness in runnels, gullies, inadequate dams, leaks on

getation: its infallibility as paradigm and paragon: its metamorphoses as vapour,

rms in loughs and bays and gulfs and bights and guts and lagoons and atolls and

of sea: its solidity in glaciers, icebergs, icefloes: its docility in working hydraulic

, scutchmills: its utility in canals, rivers, if navigable, floating and graving docks:

el to level: its submarine fauna and flora (anacoustic, photophobe), numerically,

cent of the human body: the noxiousness of its effluvia in lacustrine marshes,

You and me and baby makes three. I talk to hear you talk You talk to hear me talk. the rain comes down * too hot to wear shoes little is what she is * delicate little dogs

Flat on the bank I parted Rushes to ease my hands In the water without a ripple And told them slowly downstream To where he lay, light as a leaf, In his fluid sensual dream. Bodiless Lord of creation I hung briefly above him Savouring my own absence Senses expanding in the slow Motion, the photographic calm That grown before action. As the curve of my hands Swung under his body He surged, with visible pleasure. I was so preternaturally close I could count every stipple But still cast no shadow, until The two palms crossed in a cage Under the lightly pulsing gills. Then (entering my own enlarged Shape, which rode on the water) I gripped. To this day I can Taste his terror on my hands — Robert Frost

A story is like water that you heat for your bath. It takes messages between the fire and your skin. It lets them meet, and it cleans you! Very few can sit down in the middle of the fire itself like a salamander or Abraham. We need intermediaries. A feeling of fullness comes, but usually it takes some bread to bring it. Beauty surrounds us, but usually we need to be walking in a garden to know it. The body itself is a screen to shield and partially reveal the light that’s blazing inside your presence. Water, stories, the body, all the things we do, are mediums that hide and show what’s hidden. Study them, and enjoy this being washed with a secret we sometimes know, and then not. — Rumi