A Quote by James Whitcomb Riley
The ripest peach is highest on the tree
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The ripest peach is highest on the tree.
First I shake the whole Apple tree, that the ripest might fall. Then I climb the tree and shake each limb, and then each branch and then each twig, and then I look under each leaf.
I asked a thief to steal me a peach: He turned up his eyes. I asked a lithe lady to lie her down: Holy and meek, she cries. As soon as I went An angel came. He winked at the thief And smiled at the dame- And without one word spoke Had a peach from the tree, And 'twixt earnest and joke Enjoyed the lady.
A Georgia peach, a real Georgia peach, a backyard great-grandmother's orchard peach, is as thickly furred as a sweater, and so fluent and sweet that once you bite through the flannel, it brings tears to your eyes.
And on the Tree of Life, The middle tree and highest there that grew, Sat like a cormorant.
My parents live out in the middle of nowhere, in the middle of this peach orchard. It's actually Peach County, one of the largest peach-growing counties in Georgia. It's very rural, and there is nothing much going on, so I guess that's had a big influence on everything as far as just not having much to do.
One does a whole painting for one peach and people think just the opposite - that particular peach is but a detail.
If you start with a great peach, there's nothing you're ever going to do that's going to make it any better than when it comes off the tree. In 1970, that was a revolution.
The man who can see all gray, and red, and purples in a peach, will paint the peach rightly round, and rightly altogether. But the man who has only studied its roundness may not see its purples and grays, and if he does not will never get it to look like a peach; so that great power over color is always a sign of large general art-intellect.
How much I can learn from a tree! The tree is my church, the tree is my temple, the tree is my mantra, the tree is my poem and my prayer.
My grandfather built my first hoop. It was a peach basket up against a tree, and we played in the dirt. I couldn't have been more than 6 when he put it up, and I just started playing.
I was so full of joy, the happiest kid. Things changed. I don't want to talk about it. I needed attention. I was pathologically shy. I'd climb the highest tree or try to ski off the highest mountain. I'd get into fights. I wanted contact. I'd hit somebody, just for that.
Walking on willow tree roads by a river dappled with peach blossoms, I look for spring light, but am everywhere lost. Birds fly up and scatter floating catkins. A ponderous wave of flowers sags the branches.
Here is something that Peach, one of the Casserole Queens, says about men and women and love. You know that scene in Romeo and Juliet, where Romeo is standing on the ground looking longingly at Juliet on the balcony above him? One of the most romantic moments in all of literary history? Peach says there's no way that Romeo was standing down there to profess his undying devotion. The truth, Peach says, is that Romeo was just trying to look up Juliet's skirt.
Do you know that even when you look at a tree and say, `That is an oak tree', or `that is a banyan tree', the naming of the tree, which is botanical knowledge, has so conditioned your mind that the word comes between you and actually seeing the tree? To come in contact with the tree you have to put your hand on it and the word will not help you to touch it.
We can see from the experience of Odin that the image of the tree was the template within which all of the sacred world could be apprehended. The tree was the framework within which one "flew" to these Otherworlds. And since the exploration of sacred space was also a quest into the nature of human consciousness, the tree was regarded as an image of the ways in which we, humans, are constructed psychically. It was a natural model for our deepest wisdom, our highest aspirations.
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