And one of my firmest conclusions is that we always think by seeking and drawing parallels to things we know from our past, and that we therefore communicate best when we exploit examples, analogies, and metaphors galore, when we avoid abstract generalities, when we use very down-to-earth, concrete, and simple language, and when we talk directly about our own experience.

The concept of country, homeland, dwelling place becomes simplified as "the environment" -- that is, what surrounds us, we have already made a profound division between it an ourselves. We have given up the understanding -- dropped it out of our language and so out of our thought -- that we and our country create one another, depend on one another, are literally part of one another; that our land passes in and out of our bodies just as our bodies pass in and out of our land; that as we and our land are part of one another, so all who are living as neighbors here, human and plant and animal, are part of one another, and so cannot possibly flourish alone; that, therefore, our culture must be our response to our place, our culture and our place are images of each other and inseparable from each other, and so neither can be better than they other.

After a few sips, he picked up his sax and started jamming with the storm.Most days, Rivers meditated twice, when he awoke and again in the evening before writing or reading. But he still found a special relaxation and renewal in solitary playing. Contemplation through music was different from other reflective experiences, in part, because his visual associations were set free to mutate, morph, and meander; while the other senses were occupied in fierce concentraction on breathing, blowing, fingering, and listening. Within the flow of this activity, his awareness would land in different states of consciousness, different phases of time, and easily moved between revisualization of experience and its creation.The playing dislodged hidden feelings, primed him for recognizing the habitually denied, sheathed the sword of lnaguage, and loosened the shield and armor of his character. His contemplative playing purged him of worrisome realities, smelted off from his center the dross of eperience, and on those rare and cherished days, left only the refinement of flickering fire. Although he was more aware of his emotions, the music and dance of thought kept them at arm__ length, Wordsworth__ __motion recollected in tranquility._ . . .As he played, his mind__ eye became the fisher__ bobber, guided by a line of sound around the driftwood of thought, the residue of his life, which materialized from nowhere and sank back into nothingness without his weaving them into any insistent pattern of order and understanding. He was momentarily freed of logical sequencing, the press of premises, the psycho-logic of primary process, the throb of Thought pulsing in and through him, and in billions of mind/bodies, now and throughout time, belonging each to each, to none, to no one, to Everyone, rocking back and forward in an ebb and flow of wishes, fears, and goals. He fished free of desire, illusion, or multiplicity; distant from the hook, the fisher, the fish; but tethered still on the long line of music, until it snagged on an immovable object, some unquestioned assumption, or perhaps a stray consummation, a catch in the flow of creation and wonder.

I do not mean, of course, that we can always accurately express our conscious thoughts with Proustian accuracy. Consciousness overflows language: we perceive vastly more than we can describe.

Consciousness ("here" and "now") is not"false and misleading" because of language; consciousness is language, andnothing else, because it is false and misleading.

The inception of human consciousness, the genesis of awareness, must have entailed prolonged 'condensations' around intractable nodes of wonder and terror, at the discriminations to be made between the self and the other, between being and non-being (the discovery of the scandal of death).