The garden of abracadabra Quotes

“One single sentence, one frame of film, and abracadabra! the story’s wings would take her to another lost world, another magic realm that was ready to be explored.”

“One single sentence, one frame of film, and abracadabra! the story’s wings would take her to another lost world, another magic realm that was ready to be explored.”

“I wish grace and healing were more abracadabra kind of things. Also, that delicate silver bells would ring to announce grace's arrival. But no, it's clog and slog and scootch, on the floor, in the silence, in the dark.”

“Kids use words in ways that release hidden meanings, revel the history buried in sounds. They haven't forgotten that words can be more than signs, that words have magic, the power to be things, to point to themselves and materialize. With their back-formations, archaisms, their tendency to play the music in words--rhythm, rhyme, alliteration, repetition--children peel the skin from language. Words become incantatory. Open Sesame. Abracadabra. Perhaps a child will remember the word and will bring the walls tumbling down.”

“What doesthis F. — I.W. mean?”“Initial-slang,” informed Baines. “Made correctby common usage. It has become a worldwidemotto. You’ll see it all over the place if you haven’tnoticed it already.”“I have seen it here and there but attached no importanceto it and thought nothing more about it. Iremember now that it was inscribed in several placesincluding Seth’s and the fire depot.”“It was on the sides of that bus we couldn’tempty,” put in Gleed. “It didn’t mean anything tome.”“It means plenty,” said Jeff. “Freedom — IWon’t!”“That kills me,” Gleed responded. “I’m stonedead already. I’ve dropped in my tracks.” Hewatched Harrison thoughtfully pocketing the plaque.“A piece of abracadabra. What a weapon!”“Ignorance is bliss,” asserted Baines, strangelysure of himself. “Especially when you don’t knowthat what you’re playing with is the safety catch ofsomething that goes bang.”“All right,” challenged Gleed, taking him up onthat. “Tell us how it works.”“I won’t.” Baines’ grin reappeared. He seemed tobe highly satisfied about something.“That’s a fat lot of help.” Gleed felt let down, especiallyover that momentary hoped-for reward.“You brag and boast about a one-way weapon, tossacross a slip of stuff with three letters on it and thengo dumb. Any folly will do for braggarts and anybraggart can talk through the seat of his pants. Howabout backing up your talk?”“I won’t,” repeated Baines, his grin broader thanever. He gave the onlooking Harrison a fat, significantwink.It made something spark vividly within Harrison’smind. His jaw dropped, he dragged the plaque fromhis pocket and stared at it as if seeing it for the firsttime.“Give it back to me,” requested Baines, watchinghim.Replacing it in his pocket, Harrison said veryfirmly, “I won’t.”Baines chuckled. “Some people catch on quicker than others.”

“When we strike a balance between the challenge of an activity and our skill at performing it, when the rhythm of the work itself feels in sync with our pulse, when we know that what we're doing matters, we can get totally absorbed in our task. That is happiness.The life coach Martha Beck asks new potential clients, "Is there anything you do regularly that makes you forget what time it is?" That forgetting -- that pure absorption -- is what the psychologist Mihaly Csikzentmihalyi calls "flow" or optimal experience. In an interview with Wired magazine, he described flow as "being completely involved in an activity for its own sake. The ego falls away. Time flies. Every action, movement and thought follows inevitably from the previous one, like playing jazz. Your whole being is involved, and you're using your skills to the utmost."In a typical day that teeters between anxiety and boredom, flow experiences are those flashes of intense living -- bright against the dull. These optimal experiences can happen when we're engaged in work paid and unpaid, in sports, in music, in art. The researchers Maria Allison and Margaret Duncan have studied the role of flow in women's lives and looked at factors that contributed to what they call "antiflow." Antiflow was associated with repetitive household tasks, repetitive tasks at work, unchallenging tasks, and work we see as meaningless. But there's an element of chaos when it comes to flow. Even if we're doing meaningful and challenging work, that sense of total absoprtion can elude us. We might get completely and beautifully lost in something today, and, try as we might to re-create the same conditions tomorrow, our task might jsut feel like, well, work. In A Life of One's Own, Marion Milner described her effort to re-create teh conditions of her own recorded moments of happiness, saying, "Often when I felt certain that I had discovered the little mental act which produced the change I walked on air, exulting that I had found the key to my garden of delight and could slip through the door whenever I wished. But most often when I came again the place seemed different, the door overgrown with thorns and my key stuck in the lock. It was as if the first time I had said 'abracadabra' the door had opened, but the next time I must use a different word. (123-124).”

“You’re a talking cat?” Endora asked with a look of disbelief on her face.“My, my, my, aren’t you the bright bulb of the bunch,” he replied with a bit of snarky smugness. “Tell me then, bright-bulb, do you suppose that I need your permission to talk just because I’m a cat?” He raised his paw to his face, admiring his newly gnawed manicure. After he observed the last nail, he slapped his paw down on the floorboards, making a low thud sound. “Because I don’t,” he smirked.Endora was taken by surprise at his rudeness. She stared back at him, speechless and not quite sure how to respond. “Are you a magic cat?” Mila busted in with a question that seemed as silly to her as to the cat.He glared and narrowed his eyes at her. “A magic cat,” he said, standing up to arch his furry back. “Is my talking some sort of magic to you? If it is… then I am.” He stretched his back higher and let out a long purr that turned into, “Purrhaps, you four little witchy girls should clearly refine your meaning of magic so you know what it means before you say the word magic.” “I rather am quite fond of talking cats,” Selena said with a big smile. “Of course, you’re the first one I’ve ever seen.”The cat narrowed its eyes tighter. “Indeed,” he said, letting out a yawn as if the whole conversation were a bore. He leapt off the porch and dash away, mumbling and grumbling his way down the corridor. Selena looked over at Endora. “Rude little snot, isn’t he?” she said.”

“Mind gleams in every atom of the Universe.”

“In the same way that the picturesque designers were always careful to include some reminder of our mortality in their gardens -- a ruin, sometimes even a dead tree -- the act of leaving parts of the garden untended, and calling attention to its margins, seems to undermine any pretense to perfect power or wisdom on the part of the gardener. The margins of our gardens can be tropes too, but figures of irony rather than transcendence -- antidotes, in fact, to our hubris. It may be in the margins of our gardens that we can discover fresh ways to bring our aesthetics and our ethics about the land into some meaningful alignment.”

“Anthropocentric as [the gardener] may be, he recognizes that he is dependent for his health and survival on many other forms of life, so he is careful to take their interests into account in whatever he does. He is in fact a wilderness advocate of a certain kind. It is when he respects and nurtures the wilderness of his soil and his plants that his garden seems to flourish most. Wildness, he has found, resides not only out there, but right here: in his soil, in his plants, even in himself...But wildness is more a quality than a place, and though humans can't manufacture it, they can nourish and husband it...The gardener cultivates wildness, but he does so carefully and respectfully, in full recognition of its mystery.”

“A garden should make you feel you've entered privileged space -- a place not just set apart but reverberant -- and it seems to me that, to achieve this, the gardener must put some kind of twist on the existing landscape, turn its prose into something nearer poetry.”