Billy couldn't read Tralfamadorian, of course, but he could at least see how the books were laid out—in brief clumps of symbols separated by stars. Billy commented that the clumps might be telegrams.

“Exactly,” said the voice.

“They are telegrams?”

“There are no telegrams on Tralfamadore. But you're right: each clump of symbols is a brief, urgent message—describing a situation, a scene. We Tralfamadorians read them all at once, not one after the other. There isn't any particular relationship between all the messages, except that the author has chosen them carefully, so that, when seen all at once, they produce an image of life that is beautiful and surprising and deep. There is no beginning, no middle, no end, no suspense, no moral, no causes, no effects. What we love in our books are the depths of many marvelous moments seen all at one time.”

The aim of every artist is to arrest motion, which is life, by artificial means and hold it fixed so that a hundred years later, when a stranger looks at it, it moves again since it is life. Since man is mortal, the only immortality possible for him is to leave something behind him that is immortal since it will always move. This is the artist's way of scribbling “Kilroy was here” on the wall of the final and irrevocable oblivion through which he must someday pass.

I'll start by telling you something you don't have to know in high school: what you want to do with your life. People are always asking you this, so you think you're supposed to have an answer. But adults ask this mainly as a conversation starter. They want to know what sort of person you are, and this question is just to get you talking. They ask it the way you might poke a hermit crab in a tide pool, to see what it does.

O Rose, thou art sick!
The invisible worm
That flies in the night,
In the howling storm,
Has found out thy bed
Of crimson joy:
And his dark secret love
Does thy life destroy.

I discussed the matter with professor Fruhestadt. Within a month, at a 100 dollars a piece, he would provide me with the collection I wanted. I have done it: three hundred pigs were slaughtered —and naturally sold at regular prices— and now I have here, in a luminous gallery at the Concord cottage, one of the most original collections of the world.

At both sides, on pine shelfs, a hundred glass jugs are lined up; within them, a hundred hearts of the darkest red are beating. Immersed in the solution that mantains their muscular activity —and which the assistant renews daily— the hundred hearts contract at a tired and irregular, but continous, rhythm. A hundred meat engines working in vain, separated from the machines they once animated.

That eternal heartbeat without purpose nor sense attracts me strongly and suggests strange thoughts. It gives me great pleasure to imagine, seduced by the resemblance, that I possess a hundred human hearts, of bodies once alive and warm; a hundred hearts that suffered, that revelled, that knew the paralysis of fear and the acceleration of love. They are only a pretense of life now: they are free of the creature they once served; they throb worthlessly, for nothing, for no one. Just to amuse myself, for I have never been able to stand the trances of poets and novelists for the “heart”.

This ideal symbol of all the sentimental babble, of all the patetic ejaculations, is here reduced to its mechanic materiality, inside those great jugs. The bodies to which this hearts belonged are dead, the souls have vanished, and this blackened pear-shaped muscle keeps throbbing stupidly behind the glass, as if something beautiful and noble still corresponded to its heartbeats.

Painting is special, separate, a matter of meditation and contemplation, for me, no physical action or social sport. As much consciousness as possible. Clarity, completeness, quintessence, quiet. No noise, no schmutz, no schmerz, no fauve schwaermerei. Perfection, passiveness, consonance, consummateness. No palpitations, no gesticulation, no grotesquerie. Spirituality, serenity, absoluteness, coherence. No automatism, no accident, no anxiety, no catharsis, no chance. Detachment, disinterestedness, thoughtfulness, transcendence. No humbugging, no button-holing, no exploitation, no mixing things up.

Whatsoever therefore is consequent to a time of Warre, where every man is Enemy to every man; the same is consequent to the time, wherein men live without other security, than what their own strength, and their own invention shall furnish them withall. In such condition, there is no place for Industry; because the fruit thereof is uncertain; and consequently no Culture of the Earth; no Navigation, nor use of the commodities that may be imported by Sea; no commodious Building; no Instruments of moving, and removing such things as require much force; no Knowledge of the face of the Earth; no account of Time; no Arts; no Letters; no Society; and which is worst of all, continuall feare, and danger of violent death; And the life of man, solitary, poore, nasty, brutish, and short.

For by Art is created that great LEVIATHAN called a COMMON-WEALTH, or STATE, (in latine CIVITAS) which is but an Artificiall Man; though of greater stature and strength than the Naturall, for whose protection and defence it was intended; and in which, the Soveraignty is an Artificiall Soul, as giving life and motion to the whole body; The Magistrates, and other Officers of Judicature and Execution, artificiall Joynts; Reward and Punishment (by which fastned to the seat of the Soveraignty, every joynt and member is moved to performe his duty) are the Nerves, that do the same in the Body Naturall; The Wealth and Riches of all the particular members, are the Strength; Salus Populi (the Peoples Safety) its Businesse; Counsellors, by whom all things needfull for it to know, are suggested unto it, are the Memory; Equity and Lawes, an artificiall Reason and Will; Concord, Health; Sedition, Sicknesse; and Civill War, Death. Lastly, the Pacts and Covenants, by which the parts of this Body Politique were at first made, set together, and united, resemble that Fiat, or the Let Us Make Man, pronounced by God in the Creation.

I realize I will never hear from Dena again, and I will never call her. It gives me a chill. It is a strange thing to end a friendship, even if you know it's what you want. It's like death; all of a sudden your experience of a person becomes finite.

My favorite self-destructive candidate was a young philosophy graduate who delivered his opening-day introduction to the course. Several rivals had handed out syllabi and lectured on course rules. Yawn. But he began, “I am … ” — then clenched his face and grimaced while uttering his name. “And this is … ” — he sighed as if about to reveal the Ark of the Covenant — “Philosophy 101.”

Scorning preliminary definitions or rules, he drew Plato's cave on the board, complete with men, sun, shadows, and perhaps mice and lollipops, then announced, “This is a lesson in symbols. To study philosophy is to recognize the cave. Philosophy is not afraid of anything! Nothing!” He groaned like Prometheus having his liver pecked out by the eagle. “So how does learning happen?”

He turned toward the board as though to write, then spun back with wild eyes and cried, “I don't know!” His eight “students” jerked back as if Beelzebub had sprung at us. “What's going on here? I don't know!” He stared at his notes, then brushed them to the floor. “We will wrestle with the important questions. We will be afraid of nothing!” His passion swelled and deflated six times a minute as anguish and chaos battled for his soul.

Prime numbers are what is left when you have taken all the patterns away. I think prime numbers are like life. They are very logical but you could never work out the rules, even if you spent all your time thinking about them.

i'm a fountain of blood
in the shape of a girl
you're the bird on the brim
hypnotized by the whirl

drink me—make me feel real
wet your beak in the stream
the game we're playing is life
love's a two way dream

leave me now—return tonight
tide will show you the way
if you forget my name
you will go astray
like a killer whale trapped in a bay

i'm a path of cinders
burning under your feet
you're the one who walks me
i'm your one way street

i'm a whisper in water
a secret for you to hear
you're the one who grows distant
when I beckon you near

i'm a tree that grows hearts
one for each that you take
you're the intruders hand
i'm the branch that you break

leave me now — return tonight
tide will show you the way
if you forget my name
you will go astray

like a killer whale trapped in a bay

Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing end them? To die: to sleep;
No more; and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to. […] To die, to sleep;
To sleep: perchance to dream: ay, there's the rub;
For in that sleep of death what dreams may come

I've seen eclipses and I've seen bee swarms. Eclipses are spectacles I watch halfheartedly, mostly out of duty, I think, to their rarity and tradition, much as I might attend a Fourth of July parade. Bee swarms, on the other hand, evoke another sort of awe. I've seen more than a few hives throwing off a swarm, and never has one failed to transfix me utterly, or to dumbfound everyone else within sight of it.

A hive about to swarm is a hive possessed. It becomes visibly agitated around the mouth of its entrance. The colony whines in a centerless loud drone that vibrates the neighborhood. It begins to spit out masses of bees, as if it were emptying not only its guts but its soul. A poltergeist-like storm of tiny wills materializes over the hive box. It grows to be a small dark cloud of purpose, opaque with life. Boosted by a tremendous buzzing racket, the ghost slowly rises into the sky, leaving behind the empty box and quiet bafflement.

If a piece of steel or a piece of salt, consisting of atoms one next to the other, can have such interesting properties; if water—which is nothing but these little blobs, mile upon mile of the same thing over the earth—can form waves and foam, and make rushing noises and strange patterns as it runs over cement; if all of this, all the life of a stream of water, can be nothing but a pile of atoms, how much more is possible? If instead of arranging the atoms in some definite pattern, again and again repeated, on and on, or even forming little lumps of complexity like the odor of violets, we make an arrangement which is always different from place to place, with different kinds of atoms arranged in many ways, continually changing, not repeating, how much more marvelously is it possible that this thing might behave? Is it possible that that “thing” walking back and forth in front of you, talking to you, is a great glob of these atoms in a very complex arrangement, such that the sheer complexity of it staggers the imagination as to what it can do? When we say we are a pile of atoms, we do not mean we are merely a pile of atoms, because a pile of atoms which is not repeated from one to the other might well have the possibilities which you see before you in the mirror.

As for you, Gilgamesh,
fill your belly with good things;
day and night, night and day, dance and be merry,
feast and rejoice.
Let your clothes be fresh,
bathe yourself in water,
cherish the little child that holds your hand,
and make your wife happy in your embrace;
for this too is the lot of man.

[The King of Qin:]

First stage
Man and Sword become one with each other.
Here, even a blade of grass can be used as a lethal weapon.

In the next stage
the Sword resides not in the hand but in the heart.
Even without a weapon, the warrior can slay his enemies from a hundred paces.

But the ultimate ideal
is when the Sword disappears altogether.
The warrior embraces all around him
the desire to kill no longer exists
only grace remains.

We often read nowadays of the valor or audacity with which some rebel attacks a hoary tyranny or an antiquated superstition. There is not really any courage at all in attacking hoary or antiquated things, any more than in offering to fight one's grandmother. The really courageous man is he who defies tyrannies young as the morning and superstitions fresh as the first flowers. The only true free-thinker is he whose intellect is as much free from the future as from the past. He cares as little for what will be as for what has been; he cares only for what ought to be.

All moments, past, present, and future, always have existed, always will exist. The Tralfamadorians can look at all the different moments just the way we can look at a stretch of the Rocky Mountains, for instance. They can see how permanent all the moments are, and they can look at any moment that interests them. It is just an illusion we have here on Earth that one moment follows another one, like beads on a string, and that once a moment is gone it is gone forever.

[…]

They [the Tralfamadorians] couldn't imagine what time looked like to him. Billy had given up on explaining that. The guide outside had to explain as best he could.

The guide invited the crowd to imagine that they were looking across a desert at a mountain range on a day that was twinkling bright and clear. They could look at a peak or a bird or a cloud, at a stone right in front of them, or even down into a canyon behind them. But among them was this poor Earthling, and his head was encased in a steel sphere which he could never take off. There was only one eyehole through which he could look, and welded to that eyehole were six feet of pipe.

This was only the beginning of Billy's miseries in the metaphor. He was also strapped to a steel lattice which was bolted to a flatcar on rails, and there was no way he could turn his head or touch the pipe. The far end of the pipe rested on a bi-pod which was also bolted to the flatcar. All Billy could see was the little dot at the end of the pipe. He didn't know he was on a flatcar, didn't even know there was anything peculiar about his situation.

The flatcar sometimes crept, sometimes went extremely fast, often stopped—went uphill, downhill, around curves, along straightaways. Whatever poor Billy saw through the pipe, he had no choice but to say to himself, “That's life.”

“I have come to believe that the whole world is an enigma, a harmless enigma that is made terrible by our own mad attempt to interpret it as though it had an underlying truth.”