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A pity it is evening, yet I do love the water of this spring seeing how clear it is, how clean; rays of sunset gleam on it, lighting up its ripples, making it one with those who travel the roads; I turn and face the moon; sing it a song, then listen to the sound of the wind amongst the pines. ↗
With a clamor of bells that set the swallows soaring, the Festival of Summer came to the city. Omelas, bright-towered by the sea. The rigging of the boats in harbor sparkled with flags. In the streets between houses with red roofs and painted walls, between old moss-grown gardens and under avenues of trees, past great parks and public buildings, processions moved. Some were decorous: old people in long stiff robes of mauve and grey, grave master workmen, quiet, merry women carrying their babies and chatting as they walked. In other streets the music beat faster, a shimmering of gong and tambourine, and the people went dancing, the procession was a dance. ↗
The power of music, narrative and drama is of the greatest practical and theoretical importance. One may see this even in the case of idiots, with IQs below 20 and the extremest motor incompetence and bewilderment. Their uncouth movements may disappear in a moment with music and dancing—suddenly, with music, they know how to move. We see how the retarded, unable to perform fairly simple tasks involving perhaps four or five movements or procedures in sequence, can do these perfectly if they work to music—the sequence of movements they cannot hold as schemes being perfectly holdable as music, i.e. embedded in music. The same may be seen, very dramatically, in patients with severe frontal lobe damage and apraxia—an inability to do things, to retain the simplest motor sequences and programmes, even to walk, despite perfectly preserved intelligence in all other ways. This procedural defect, or motor idiocy, as one might call it, which completely defeats any ordinary system of rehabilitative instruction, vanishes at once if music is the instructor. All this, no doubt, is the rationale, or one of the rationales, of work songs. ↗
Mr. and Mrs. Dursley, of number four Privet Drive, were proud to say that they were perfectly normal, thank you very much. ↗
The Expulsion from Paradise is eternal in its principal aspect: this makes it irrevocable, and our living in this world inevitable, but the eternal nature of the process has the effect that not only could we remain forever in Paradise, but that we are currently there, whether we know it or not. ↗
We must remember that there is a great difference between a myth and a miracle. A myth is the idealization of a fact. A miracle is the counterfeit of a fact. There is the same difference between a myth and a miracle that there is between fiction and falsehood -- between poetry and perjury. Miracles belong to the far past and the far future. The little line of sand, called the present, between the seas, belongs to common sense to the natural. ↗
…if a thing can be said to be, to exist, then such is the nature of these expansive times that this thing which is must suffer to be touched. Ours is a time of connection; the private, and we must accept this, and it’s a hard thing to accept, the private is gone. All must be touched. All touch corrupts. All must be corrupted. And if you’re thinking how awful these sentiments are, you are perfectly correct, these are awful times, but you must remember as well that this has always been the chiefest characteristic of the Present, to everyone living through it; always, throughout history, and so far as I can see for all the days and years to come until the sun and the stars fall down and the clocks have all ground themselves to expiry and the future has long long shaded away into Time Immemorial: the Present is always an awful place to be. ↗
