1
" This was trail magic. Sea Breeze’s fire, his light, his heat, his life, remained, their salvation.
It is a fact that all drainages, if followed downhill, lead to the same lowland water body. Lost and fallen hikers follow drainages down because walking ridges is harder. And so, despite the complex web of paths, waterfalls, cliffs, as a hiker wanders downhill, drainages merge, faint, abstract paths coalesce, thicken, until there is one path – the one, natural, trodden way. It isn’t a coincidence that Sea Breeze, Brandon Day and Gina Allen, and countless other hikers all wandered, lost, down the same steep slope to nowhere. "
― Aspen Matis , Girl in the Woods: A Memoir
2
" Distance changes utterly when you take the world on foot. A mile becomes a long way, two miles literally considerable, ten miles whopping, fifty miles at the very limits of conception. The world, you realize, is enormous in a way that only you and a small community of fellow hikers know. Planetary scale is your little secret.
Life takes on a neat simplicity, too. Time ceases to have any meaning. When it is dark, you go to bed, and when it is light again you get up, and everything in between is just in between. It’s quite wonderful, really.
You have no engagements, commitments, obligations, or duties; no special ambitions and only the smallest, least complicated of wants; you exist in a tranquil tedium, serenely beyond the reach of exasperation, “far removed from the seats of strife,” as the early explorer and botanist William Bartram put it. All that is required of you is a willingness to trudge.
There is no point in hurrying because you are not actually going anywhere. However far or long you plod, you are always in the same place: in the woods. It’s where you were yesterday, where you will be tomorrow. The woods is one boundless singularity. Every bend in the path presents a prospect indistinguishable from every other, every glimpse into the trees the same tangled mass. For all you know, your route could describe a very large, pointless circle. In a way, it would hardly matter.
At times, you become almost certain that you slabbed this hillside three days ago, crossed this stream yesterday, clambered over this fallen tree at least twice today already. But most of the time you don’t think. No point. Instead, you exist in a kind of mobile Zen mode, your brain like a balloon tethered with string, accompanying but not actually part of the body below. Walking for hours and miles becomes as automatic, as unremarkable, as breathing. At the end of the day you don’t think, “Hey, I did sixteen miles today,” any more than you think, “Hey, I took eight-thousand breaths today.” It’s just what you do. "
― Bill Bryson , A Walk in the Woods: Rediscovering America on the Appalachian Trail
3
" Because this painting has never been restored there is a heightened poignance to it somehow; it doesn’t have the feeling of unassailable permanence that paintings in museums do.
There is a small crack in the lower left, and a little of the priming between the wooden panel and the oil emulsions of paint has been bared. A bit of abrasion shows, at the rim of a bowl of berries, evidence of time’s power even over this—which, paradoxically, only seems to increase its poetry, its deep resonance. If you could see the notes of a cello, when the bow draws slowly and deeply across its strings, and those resonant reverberations which of all instruments’ are nearest to the sound of the human voice emerge—no, the wrong verb, they seem to come into being all at once, to surround us, suddenly, with presence—if that were made visible, that would be the poetry of Osias Beert.
But the still life resides in absolute silence.
Portraits often seem pregnant with speech, or as if their subjects have just finished saying something, or will soon speak the thoughts that inform their faces, the thoughts we’re invited to read. Landscapes are full of presences, visible or unseen; soon nymphs or a stag or a band of hikers will make themselves heard.
But no word will ever be spoken here, among the flowers and snails, the solid and dependable apples, this heap of rumpled books, this pewter plate on which a few opened oysters lie, giving up their silver.
These are resolutely still, immutable, poised for a forward movement that will never occur. The brink upon which still life rests is the brink of time, the edge of something about to happen. Everything that we know crosses this lip, over and over, like water over the edge of a fall, as what might happen does, as any of the endless variations of what might come true does so, and things fall into being, tumble through the progression of existing in time.
Painting creates silence. You could examine the objects themselves, the actors in a Dutch still life—this knobbed beaker, this pewter salver, this knife—and, lovely as all antique utilitarian objects are, they are not, would not be, poised on the edge these same things inhabit when they are represented.
These things exist—if indeed they are still around at all—in time. It is the act of painting them that makes them perennially poised, an emergent truth about to be articulated, a word waiting to be spoken. Single word that has been forming all these years in the light on the knife’s pearl handle, in the drops of moisture on nearly translucent grapes: At the end of time, will that word be said? "
― Mark Doty , Still Life with Oysters and Lemon: On Objects and Intimacy
4
" ...'unless you convert to Orthodoxy, you too will follow your Pope down that valley, through the scorching fire. We will watch you from this balcony,' he added, 'but of course it will then be too late to save you.'
I smiled, but Fr. Theophanes was in full swing and clearly in no mood for joking. 'No one can truly know what that day will be like.' He shook his head gravely. 'But some of our Orthodox fathers have had visions. Fire-fire that will never end, terrible, terrible fire - will come from the throne of Christ, just like it does on the icons. The saints-those who are to be saved, in router words the Orthodox Church-will fly in the air to meet Christ. But sinners and all non-Orthodox will be separated from the Elect. The damned will be pushed and prodded by devils down through the fire, down from the Valley of Joseph, past here-in fact exactly the route those Israeli hikers took today-down, down to the Mouth of Hell.'
'Is that nearby?'
'Certainly,' said Theophanes, stroking his beard. 'The Mouth of Hell will open up near the Dead Sea.'
'That is in the Bible?'
'Of course,' said Theophanes. 'Everything I am telling you is true. "
― William Dalrymple , From the Holy Mountain: A Journey Among the Christians of the Middle East
5
" The environment is not an " other" to us. It is not a collection of things that we encounter. Rather, it is part of our being. It is the locus of our existence and identity. We cannot and do not exist apart from it. It is through empathic projection that we come to know our environment, understand how we are part of it and how it is part of us. This is the bodily mechanism by which we can participate in nature, not just as hikers or climbers or swimmers, but as part of nature itself, part of a larger, all-encompassing whole. A mindful embodied spirituality is thus an ecological spirituality. An embodied spirituality requires an aesthetic attitude to the world that is central to self-nurturance, to the nurturance of others, and to the nurturance of the world itself. Embodied spirituality requires an understanding that nature is not inanimate and less than human, but animated and more than human. It requires pleasure, joy in the bodily connection with earth and air, sea and sky, plants and animals - and the recognition that they are all more than human, more than any human beings could ever achieve. Embodied spirituality is more than spiritual experience. It is an ethical relationship to the physical world. "
