Inspirational quotes with confluence.
The soul, in its loneliness, hopes only for "salvation." And yet what is the burden of the Bible if not a sense of the mutuality of influence, rising out of an essential unity, among soul and body and community and world? These are all the works of God, and it is therefore the work of virtue to make or restore harmony among them. The world is certainly thought of as a place of spiritual trial, but it is also the confluence of soul and body, word and flesh, where thoughts must become deeds, where goodness must be enacted. This is the great meeting place, the narrow passage where spirit and flesh, word and world, pass into each other. The Bible's aim, as I read it, is not the freeing of the spirit from the world. It is the handbook of their interaction. It says that they cannot be divided; that their mutuality, their unity, is inescapable; that they are not reconciled in division, but in harmony. What else can be meant by the resurrection of the body? The body should be "filled with light," perfected in understanding. And so everywhere there is the sense of consequence, fear and desire, grief and joy. What is desirable is repeatedly defined in the tensions of the sense of consequence.
A small kindness, a confluence of compassion, had saved his life. Was that strength, or a weakness?
Explore your untamed dreams and you just might find a unique place where a confluence of paths lead towards your destiny.
I'm prepared now to use the wonderful word confluence, which of itself exists as a reality and a symbol in one. It is the only kind of symbol that for me as a writer had any weight, testifying to the pattern, one of the chief patterns, of human experience. Of course the greatest confluence of all is that which makes up the human memory - the individual human memory. My own is the treasure most dearly regarded by me, in my life and in my work as a writer. Here time, also, is subject to confluence. The memory is a living thing - it too is in transit. But during its moment, all that is remembered joins, and lives - the old and the young, the past and the present, the living and the dead.
Twilight …Not just a metaphorThe metaphor of the ‘spirit’The confluence of life and deathThe celestial dance of existential and essential(Page 75)
A valise without straps. A hole without a key. She had a German mouth, French ears, Russian ass. Cunt international. When the flag waved it was red all the way back to the throat. You entered on the Boulevard Jules-Ferry and came out at the Porte de la Villette. You droppedyour sweetbreads into the tumbrils – red tumbrils with two wheels, naturally. At the confluence of the Ourcq and Marne, where the water sluices through the dikes and lies like glass under thebridges.
Yet it wasn’t the Mississippi River that captured Jim Bridger’s imagination : it was the Missouri. A mere six likes from his ferry the two great rivers joined as one, the wild waters of the frontier pouring into the bromide current of the everyday. It was the confluence of old and new, known and unknown, civilization and wilderness. Bridger lived for the rare moments when the fur traders and voyageurs tied their sleek Mackinaws at the ferry landing, sometimes even camping for the night. He marveled at their tales of savage Indians, teeming game, forever plains, and soaring mountains.The frontier for Bridger became an aching presence that he could feel, but could not define, a magnetic force pulling him inexorably toward something that he had heard about, but never seen. A preacher on a swaybacked mule rode Bridger’s ferry one day. He asked Bridger if he knew God’s mission for him in life. Without pause Bridger answered, “Go to the Rockies”. The preacher was elated, urging the boy to consider missionary work with the savages. Bridger had no interest in bringing Jesus to the Indians, but the conversation stuck with him. The boy came to believe that going west was more than just a fancy for someplace new. He came to see it as a part of his soul, a missing piece that could only be made whole on some far-off mountain or plain.
I quit eating meat in 1976, the same year I turned fifteen, came out, and went to my first gay rights rally (not in that order). When I say that I 'came out,' I mean that I resolved to never lie about my love for women, never deliberately pass for straight, and never deny a lover by calling her 'him.' To do so, I felt, would be to betray not only the women I desired, but my deepest self.My decision to quit meat was equally simple. Somehow, through the confluence of midseventies influences, I knew that vegetarianism was a particularly healthy way to eat. One day, quite suddenly, I realized: If I didn't need to eat meat to stay alive, then eating meat was killing for pleasure. I couldn't live with myself, wouldn't be the nonviolent person I believed myself to be, if I killed other beings--beings who had their own desires--merely to satisfy my desire for the taste of their flesh.Looking back, I see that both decisions, coming out and quitting meat, are about the interplay of desire and integrity. Sometimes integrity means being true to your desires, and sometimes integrity requires you to refuse your desires. I also notice that both decisions were about bodies and consent. A primary tenet of gay liberation is that what consenting people do with each other's bodies is nobody else's business. And, of course, eating meat is something you do to somebody else's body without their consent.
Amazing how a confluence of praise and lust can just make your defensive barriers collapse like Jell-O on a hot stove
It is believed by many that the military life is one of adventure and excitement. In truth, that life more often consists of long periods of routine, even boredom, with only brief intervals of challenge and danger. Enemies seldom seek out their opponents. The warrior must become a hunter, searching and stalking with craft and patience. Successes are often achieved by a confluence of small things: stray facts, unwary or overheard conversations, logistical vectors. If the hunter is persistent, the pattern will become visible, and the enemy will be found. Only then will the routine be broken by combat.It's not supervising, therefore, that those seeking sometimes weary of long and arduous pursuits. They are relieved when the enemy appears of his own accord, standing firm and issuing a challenge.
I should think a poet president would be able to create a delectable confluence of various spaces. A poet is most political.
It was one of those rare moments where one has a vision of the scope of the wild ocean. Not just small cylinders firing to keep a tiny engine running, but rather the giant, massive gears of nature, each one with its own reasoning, its own meta-logic, spinning in its particular circle in competition or in confluence with the gear below it. We zeroed in on the school, but our progress was painfully slow, It would have been foolish to speed into the tumult-we would have ruined our baits in the process and doomed our chances of hooking a tuna. But luckily, the commotion did not subside. If anything it only grew more frantic and exhuberant on our approach. Beneath the birds, beneath the dolphins, beneath the menhaden, there should have been an equally vast school of giant bluefin tuna, collaborating with vertebrates of the so-called higher orders of life to form the floor of the prey trap, sealing the baitfish in from below, while the dolphins and birds made up the trap's walls and ceiling. A strike from a giant tuna seemed inevitable.....as the boat moved forward, I saw seabirds gathering up ahead into a cloud, the size and violence of which I had never seen before. Gannets - big, albatross-like pelagic birds - flew hundreds of feet above the churning surface of the water. In a flock of many thousands, they whirled in unison and then, as if on command from some brigadier general of bird life, dropped in an arc, bird after bird, into the water beneath. The gyre of gannets turned in a clockwise direction, and down below, spinning counterclockwise, was the largest school of dolphins I'd ever seen. There in the angry blue-green sea, the dolphins had corralled a vast school of menhaden-small herringlike creatures that, when bitten, release globules of oil that float on the surface. Oil slicks flattened the water everywhere as the dolphins swirled around, using their exceptional intelligence and wolf-pack cooperation to befuddle and surround the fish, which in turn whirled in a clockwise direction.
It was even said that some birds spring to life in the tension of accidental chords being struck in the ether, a confluence of arbitrary sound waves from unrelated sources: a piano, a truck, a breaking bottle---a bird.
Old Hubert must have had a premonition of his squalid demise. In October he said to me, ‘Forty-two years I’ve had this place. I’d really like to go back home, but I ain’t got the energy since my old girl died. And I can’t sell it the way it is now. But anyway before I hang my hat up I’d be curious to know what’s in that third cellar of mine.’The third cellar has been walled up by order of the civil defence authorities after the floods of 1910. A double barrier of cemented bricks prevents the rising waters from invading the upper floors when flooding occurs. In the event of storms or blocked drains, the cellar acts as a regulatory overflow.The weather was fine: no risk of drowning or any sudden emergency. There were five of us: Hubert, Gerard the painter, two regulars and myself. Old Marteau, the local builder, was upstairs with his gear, ready to repair the damage. We made a hole.Our exploration took us sixty metres down a laboriously-faced vaulted corridor (it must have been an old thoroughfare). We were wading through a disgusting sludge. At the farend, an impassable barrier of iron bars. The corridor continued beyond it, plunging downwards. In short, it was a kind of drain-trap.That’s all. Nothing else. Disappointed, we retraced our steps. Old Hubert scanned the walls with his electric torch. Look! An opening. No, an alcove, with some wooden object that looks like a black statuette. I pick the thing up: it’s easily removable. I stick it under my arm. I told Hubert, ‘It’s of no interest. . .’ and kept this treasure for myself.I gazed at it for hours on end, in private. So my deductions, my hunches were not mistaken: the Bièvre-Seine confluence was once the site where sorcerers and satanists must surely have gathered. And this kind of primitive magic, which the blacks of Central Africa practise today, was known here several centuries ago. The statuette had miraculously survived the onslaught of time: the well-known virtues of the waters of the Bièvre, so rich in tannin, had protected the wood from rotting, actually hardened, almost fossilized it. The object answered a purpose that was anything but aesthetic. Crudely carved, probably from heart of oak. The legs were slightly set apart, the arms detached from the body. No indication of gender. Four nails set in a triangle were planted in its chest. Two of them, corroded with rust, broke off at the wood’s surface all on their own. There was a spike sunk in each eye. The skull, like a salt cellar, had twenty-four holes in which little tufts of brown hair had been planted, fixed in place with wax, of which there were still some vestiges. I’ve kept quiet about my find. I’m biding my time.
Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors.In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.
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