interspersed QUOTES

1 " What are the dead, anyway, but waves and energy? Light shining from a dead star?

That, by the way, is a phrase of Julian's. I remember it from a lecture of his on the Iliad, when Patroklos appears to Achilles in a dream. There is a very moving passage where Achilles overjoyed at the sight of the apparition – tries to throw his arms around the ghost of his old friend, and it vanishes. The dead appear to us in dreams, said Julian, because that's the only way they can make us see them; what we see is only a projection, beamed from a great distance, light shining at us from a dead star…

Which reminds me, by the way, of a dream I had a couple of weeks ago.

I found myself in a strange deserted city – an old city, like London – underpopulated by war or disease. It was night; the streets were dark, bombed-out, abandoned. For a long time, I wandered aimlessly – past ruined parks, blasted statuary, vacant lots overgrown with weeds and collapsed apartment houses with rusted girders poking out of their sides like ribs. But here and there, interspersed among the desolate shells of the heavy old public buildings, I began to see new buildings, too, which were connected by futuristic walkways lit from beneath. Long, cool perspectives of modern architecture, rising phosphorescent and eerie from the rubble.

I went inside one of these new buildings. It was like a laboratory, maybe, or a museum. My footsteps echoed on the tile floors.There was a cluster of men, all smoking pipes, gathered around an exhibit in a glass case that gleamed in the dim light and lit their faces ghoulishly from below.

I drew nearer. In the case was a machine revolving slowly on a turntable, a machine with metal parts that slid in and out and collapsed in upon themselves to form new images. An Inca temple… click click click… the Pyramids… the Parthenon.

History passing beneath my very eyes, changing every moment.

'I thought I'd find you here,' said a voice at my elbow.

It was Henry. His gaze was steady and impassive in the dim light. Above his ear, beneath the wire stem of his spectacles, I could just make out the powder burn and the dark hole in his right temple.

I was glad to see him, though not exactly surprised. 'You know,' I said to him, 'everybody is saying that you're dead.'

He stared down at the machine. The Colosseum… click click click… the Pantheon. 'I'm not dead,' he said. 'I'm only having a bit of trouble with my passport.'

'What?'

He cleared his throat. 'My movements are restricted,' he said.

'I no longer have the ability to travel as freely as I would like.'

Hagia Sophia. St. Mark's, in Venice. 'What is this place?' I asked him.

'That information is classified, I'm afraid.'

1 looked around curiously. It seemed that I was the only visitor.

'Is it open to the public?' I said.

'Not generally, no.'

I looked at him. There was so much I wanted to ask him, so much I wanted to say; but somehow I knew there wasn't time and even if there was, that it was all, somehow, beside the point.

'Are you happy here?' I said at last.

He considered this for a moment. 'Not particularly,' he said.

'But you're not very happy where you are, either.'

St. Basil's, in Moscow. Chartres. Salisbury and Amiens. He glanced at his watch.

'I hope you'll excuse me,' he said, 'but I'm late for an appointment.'

He turned from me and walked away. I watched his back receding down the long, gleaming hall. "

― Donna Tartt , The Secret History

3 " When Rhiannon was small and had just learned to read, her mother brought her into the hall one day when her father was on campaign, and led her to the large table upon which a great map of their lands lay. She instructed Rhiannon to read the words of the landmarks: castle, road, mountain, forest, village. The young girl touched words inscribed over a place where trees met craggy peaks. “What does that say, my love?” her mother prompted. “Here be dragons,” Rhiannon answered, glancing up at her mother. Her mother nodded, smiling. She knelt down in front of Rhiannon so they were at the same height. The lady’s hazel eyes sparkled as she whispered, “I have a secret to share. But I can only share it with a little girl with red and gold hair,” she pulled playfully on Rhiannon’s braid,” who knows how to read.” Rhiannon giggled. “Are you a little girl such as this?” Rhiannon nodded eagerly, and her mother laughed. She stood up and gestured at a tapestry on the wall. “Come, child, the dragon guards our treasure.” Hand in hand they walked to the tapestry of the sleeping dragon. “Your great-great grandmother wove this tapestry when she was an old woman. It took her a long time to complete, with her hands gnarled so, like the twisted oak by the drawbridge.” The dragon was curled up in front of a turret, with stone dolmens in a semi-circle behind it, interspersed with trees and a mountain peak in the background and bright blue sky above. The dragon’s scales were crimson and woven through with glittering gold thread, and its curved horns and talons were gold. As they paused in front of the large tapestry, Rhiannon looked closely at the eyes of the dragon; she thought perhaps she could see a slit of gold, as if the dragon were only pretending to be asleep. Rhiannon’s mother stood on tiptoe and moved part of the tapestry to the side, revealing a slit in the stone wall. With her free hand she reached in and drew out a large leather-bound tome. She motioned her daughter to come sit with her on one of the benches that lined the walls. “Look and listen well, my daughter,” she said, and ran her fingers along the smooth cover, “this book is our special treasure, and it contains many secrets within its pages. I am going to teach you how to read them.” She opened the book as Rhiannon snuggled closer to her, her mother’s loose red-gold hair falling over the girl’s shoulder and brushing the crinkly parchment pages of the book which she turned until she came to the picture of a girl. "

5 " The composition of Shakespeare is a forest, in which oaks extend in the air, interspersed sometimes with weeds and brambles, and sometimes giving shelting to myrtles and to roses; filling the eye with awful pomp, and gratifying the mind with endless diversity. "

― Samuel Johnson , Samuel Johnson on Shakespeare