Zhoorat - Lebanese Herbal Tea Made Of Dried Herbs And Flowers

« Dance me to your beauty with a burning violin

Dance me through the panic till I’m gathered safely in

Lift me like an olive branch and be my homeward dove

And dance me to the end of love »

Leonard Cohen, Dance Me to the End of Love

— Sarah Bakewell, from “Sarah Bakewell on Posthumanism, Transhumanism, and What it Actually Means to be ‘Human’” (via LitHub)

« Julian walks into the Duomo and a rush of cool air washes over him. There is a small group of students standing before the altar, and a few people are sitting in the pews. He finds a seat near the apse and rests his eyes briefly, before resuming his tour of the cathedral while listening to the Mahler symphony again on his headphones. Parts of the first movement have always struck him as discordant. Yet somehow the mess of interlocking notes works. It seems to him that the Gothic vaults and imposing columns of the cathedral share this quality of dissonance. He remembers vaguely something that Aidan once told him, that architecture could be likened to music; that music is, in turn, liquid architecture. And if music is a temporal art—the division and expansion of notes in time—that meant architecture, as petrified music, is frozen time. »

Christine Lai, Landscapes

« I have a complicated relationship with walking. This has a lot to do, I suspect, with having grown up in Aligarh, a city in northern India, where walking on the streets came with intense male scrutiny, and the sense of being in a proscribed space. As a woman stepping out into its thoroughfares, I needed a reason to place my body on the street. I learned to display a posture of ‘work’ while walking, and to erase any signs that may hint at my being out for pleasure, for no reason at all other than to walk. All this means I see walking as a luxury, not something to be taken for granted. It is an act of autonomy and mobility I learned early to seize as a form of pleasure. I also grew adept at the allied skill of reading my terrain, looking out for signs that told me if it was open, or off-limits.

Being told not to walk was another way in which Kabul felt familiar. To map the city, I drew on the same knowledge and intuition that had helped me navigate the streets of my home town. Which is why, unlike the maps of guidebooks that seek to make checklists and establish authority, the routes I took were wandering and idiosyncratic. They were not trajectories of efficiency leading to a predetermined destination, nor were they maps of authority or delineation, offering control or explanation. These were routes of discovery – maps of being lost. To be lost is a way to see a place afresh, a way to reimagine a terrain that feels known. To be lost in Kabul is to find it – as a place of richness and possibility. »

Shadow City: A Woman Walks Kabul, Taran N. Khan

« The town looked golden and antique and the mountains next to us were covered with thin pine trees. Beirut, from this bench, was like a dream, a winding staircase of awkward memories and people who no longer were, who one day would no longer be. »

Nur Turkmani, Black Hole (Source: Rusted Radishes)

« What a beautiful girl you are,” he said, with a kind of ache or awe in his voice, that made me think about how someday I would be old or dead or both, and the transience of all things, of the car, the moonlight, the volcanic rock that was eroding and the stars that were shooting by, made the world seem at once more important and less important, until finally the concept of “important” itself faded away like an expiring firework that glittered against the sky. »

Elif Batuman, Either/Or

« I’m thirty-four and I meet a man with very blue eyes who looks inside me. He tells me he can see me at sixteen, at eight, as a child when he makes love to me. His eyes open and close very slowly next to my face. Sometimes they half close and look down and they are grey-green, cool, and then they slide up and pierce me with open sky. Sometimes he lies close and breathes into my mouth and the breath is sweet, whatever we’ve done. I clutch momentarily at the edges of this deep drop into his love, then free-fall, my chest open to the heart, and drift in on his sweet air. »

To William with love. Sept 21st 1967 - March 13th 2018

Victoria Harwood Butler-Sloss, The Seamstress of Ourfa (Dedication)

Rebecca Solnit, A Field Guide to Getting Lost

“At the trial of God, we will ask: why did you allow all this? / And the answer will be an echo: why did you allow all this?”

— Ilya Kaminsky, from “A City Like a Guillotine Shivers on Its Way to the Neck,” Deaf Republic

“I undressed and left my clothes on the sand. I was not at ease with my body, not even in the darkness of night. It had been unloved, perhaps forever. Untouched by a lover for a long time. I didn’t know what to do with it when it was not in conversation with a piano. Or how to respond to the way Tomas gazed at the green jewel pierced through my belly button.”

— Deborah Levy, August Blue