There was an ocean above us, held in by a thin sac that might rupture and let down a flood at any second.

The survivor spoke to us though, or tried to. Mumbling through that matted brown beard of his, pale as death itself. I can__ say now if it was weakness from his wounds or what it was _ but we struggled to understand him. In fact we got nothing intelligible from him at all then. He seemed afraid, like any dying man probably would be, but he did seem more terrified than any dying man I__e seen before _ and I__e seen a few in my time. Let me tell you, Corsair or not, he grabbed whatever hand would hold his, and clenched it so tight his knuckles turned white! He kept fading out as we carried him on the stretcher board the medics brought with them. Looking back, I think he tried to warn us, poor bastard. He tried to tell us to leave him behind and go, but we wouldn__ listen. We thought we were better than the Corsairs, remember? We thought we would be all moral and upright and try to help him. __on__ say I didn__ warn you._ were the last words he said before losing consciousness. At least, those that we could make out. At the end of it all, he was right _ as it turned out, we couldn__ even help ourselves.

Personality begins where comparison leaves off. Be unique. Be memorable. Be confident. Be proud.

[T]his readiness to assume the guilt for the threats to our environment is deceptively reassuring: We like to be guilty since, if we are guilty, it all depends on us. We pull the strings of the catastrophe, so we can also save ourselves simply by changing our lives. What is really hard for us (at least in the West) to accept is that we are reduced to the role of a passive observer who sits and watches what our fate will be. To avoid this impotence, we engage in frantic, obsessive activities. We recycle old paper, we buy organic food, we install long-lasting light bulbs__hatever__ust so we can be sure that we are doing something. We make our individual contribution like the soccer fan who supports his team in front of a TV screen at home, shouting and jumping from his seat, in the belief that this will somehow influence the game's outcome.

The seasonal urge is strong in poets. Milton wrote chiefly in winter. Keats looked for spring to wake him up (as it did in the miraculous months of April and May, 1819). Burns chose autumn. Longfellow liked the month of September. Shelley flourished in the hot months. Some poets, like Wordsworth, have gone outdoors to work. Others, like Auden, keep to the curtained room. Schiller needed the smell of rotten apples about him to make a poem. Tennyson and Walter de la Mare had to smoke. Auden drinks lots of tea, Spender coffee; Hart Crane drank alcohol. Pope, Byron, and William Morris were creative late at night. And so it goes.

How you feel after watching something indicates not what you watched but where you are at.