Auditorium Quotes

Every writer is a frustrated actor who recites his lines in the hidden auditorium of his skull.

It's like people you see sometimes, and you can't imagine what it would be like to be that person, whether it's somebody in a wheelchair or somebody who can't talk. Only, I know that I'm that person to other people, maybe to every single person in that whole auditorium. To me, though, I'm just me. An ordinary kid.

There will be other lives. There will be other lives for nervous boys with sweaty palms, for bittersweet fumblings in the backseats of cars, for caps and gowns in royal blue and crimson, for mothers clasping pretty pearl necklaces around daughters' unlined necks, for your full name read aloud in an auditorium, for brand-new suitcases transporting you to strange new people in strange new lands. And there will be other lives for unpaid debts, for one-night stands, for Prague and Paris, for painful shoes with pointy toes, for indecision and revisions. And there will be other lives for fathers walking daughters down aisles. And there will be other lives for sweet babies with skin like milk. And there will be other lives for a man you don't recognize, for a face in a mirror that is no longer yours, for the funerals of intimates, for shrinking, for teeth that fall out, for hair on your chin, for forgetting everything. Everything. Oh, there are so many lives. How we wish we could live them concurrently instead of one by one by one. We could select the best pieces of each, stringing them together like a strand of pearls. But that's not how it works. A human's life is a beautiful mess.

And I know the auditorium may be big enough to hold a thousand students, but it's too small to hide just one.

But first, my friends, I need you to do something for me. We have two spies in the back of the auditorium.

I wasn't even sure why I was getting this medal, really. No, that's not true. I knew why. It's like people you see sometimes, and you can't imagine what it would be like to be that person, whether it's somebody in a wheelchair or somebody who can't talk. Only, I know that I'm that person to other people, maybe to every single person in that whole auditorium. To me, though, I'm just me. An ordinary kid. But hey, if they want to give me a medal for being me, that's okay. I'll take it. I didn't destroy a Death Star or anything like that, but I did just get through the fifth grade. And that's not easy, even if you're not me.

We'll always need printed books that don't mutate the way digital books do; we'll always need places to display books, auditoriums for book talks, circles for story time; we'll always need brick-and-mortar libraries.

Honest to God, this is the absolute best kind of moment. The auditorium lights are off except for ones over the stage, and we're all bright eyed and giggle-drunk. I fall a little bit in love with everyone.

People love to talk but hate to listen. Listening is not merely not talking, though even that is beyond most of our powers; it means taking a vigorous, human interest in what is being told us. You can listen like a blank wall or like a splendid auditorium where every sound comes back fuller and richer.

Do not start me on The Da Vinci Code ... a novel so bad that it gives bad novels a bad name." (Discussion at Woodruff Auditorium in Lawrence, KS; October 7, 2005.)

Name the horizon, and it’s ours.” By the time the auditorium doors opened, they were gone

Anna gave Charles a shy kiss on the cheek and strolled out of the room without a backward glance. Until she reached the doorway, and then, in full view of the curious who'd had the courage or discourtesy to linger in the auditorium after he'd dismissed them, she kissed her palm and blew it to him. And despite... or because of their audience, he caught it in one hand, and pulled the hand to his heart. Her smile dropped away, and the expression in her eyes would feed him for a week. And the expressions on the faces of the wolves who knew Charles, or knew his reputation, would make him laugh as soon as no one was watching.

I stand in the center aisle of the auditorium, a wounded zebra in a National Geographic special, looking for someone, anyone to sit next to. A predator approaches: gray jock buzz cut, whistle around a neck thicker than his head. Probably a social studies teacher, hired to coach a blood sport.

My whole teaching consists of two words, meditation and love. Meditate so that you can feel immense silence, and love so that your life can become a song, a dance, a celebration. You will have to move between the two, and if you can move easily, if you can move without any effort, you have learned the greatest thing in life.

Why me?” she finally asked. Sighing, I touched the end of her hair, fingering it slightly. It felt so silky. “You were the first person I saw at this school. I’d parked in the lot and was walking past the auditorium and saw this gorgeous girl come out of the music room. The sun hit your stunning red hair, and it shone so brightly it almost looked like you had a halo. You were staring down at some music you were holding, and you started humming something. I froze. I just stood there and watched you walk by. You were so engrossed you didn’t even notice me.” I twisted the loop of her hair around my finger.

Shara’s always been this person. ‘This is what I’ve been trying to tell you’, she wrote on a card stuck under an auditorium seat. Shara’s not nice. Shara’s so many more important things than nice.

Charles was most comfortable by himself or, if that wasn't possible, with his pack in the wild. Talking for hours in a crowded auditorium was not on any list of things he enjoyed—or things he was good at. At least no one had died. Yet.

They began to tune up, and suddenly the auditorium was filled with a single sound - the most alive, three-dimensional thing I had ever heard. It made the hairs on my skin stand up, my breath catch in my throat....I felt the music like a physical thing; it didn't just sit in my ears, it flowed through me, around me, made my senses vibrate. It made my skin prickle and my palms dampen...It was the most beautiful thing I had ever heard.

but there was still something about Freddie. Something . . . disarming, infectious, familiar. In an auditorium full of stares, his was the gaze she felt.

Three times a day Petrovich showed up at the nurse’s office for his injections, always using the hypodermic needle himself like the most craven of junkies, though after shooting up he would play the concert piano in the auditorium with astounding artistry, as though insulin were the elixir of genius.

But what they failed to tell us is that running away and saving your own skin is only noble when you don’t leave anyone behind. If I were in the auditorium, I’d want someone to come for me. I’d want there to be hope.

This feeling of power, it's happiness to sit in a cottage by the Danube among six women who think I'm semi-idiot, and to know that in Paris, the headquarters of intelligence, 500 people are sitting dead-quiet in the auditorium and are foolish enough to expose their brains to my powers of suggestion. Some revolt! But many will go away with my spores in their gray matter. They will go home pregnant with the seed of my soul, and they will breed my brood.

Today in an auditorium full of parents my son scanned the room looking for me. When he saw me his face lit up the room. He wasn't looking for the perfect parent. He was looking for his mom. Don't ever forget the power of simply being their mom.

Zeke and I struggled to get to the dressing room so we could get changed. But we were mobbed by people who wanted to congratulate us and tell us how talented and terrific we were.

Maybe I'd have spent a little less time watching the action from the back of the auditorium. Maybe I'd have spent more time making out in the back of the auditorium.

The ceremonies that persist—birthdays, weddings, funerals— focus only on ourselves, marking rites of personal transition. […] We know how to carry out this rite for each other and we do it well. But imagine standing by the river, flooded with those same feelings as the Salmon march into the auditorium of their estuary. Rise in their honor, thank them for all the ways they have enriched our lives, sing to honor their hard work and accomplishments against all odds, tell them they are our hope for the future, encourage them to go off into the world to grow, and pray that they will come home. Then the feasting begins. Can we extend our bonds of celebration and support from our own species to the others who need us? Many indigenous traditions still recognize the place of ceremony and often focus their celebrations on other species and events in the cycle of the seasons. In a colonist society the ceremonies that endure are not about land; they’re about family and culture, values that are transportable from the old country. Ceremonies for the land no doubt existed there, but it seems they did not survive emigration in any substantial way. I think there is wisdom in regenerating them here, as a means to form bonds with this land.

You build desires, and as a result, rather than just being who and what you are, you create one, ten, hundreds of false egos, which in turn create more desires until there’s no sense of self left anywhere in the jam-packed auditorium of schizophrenic nobodies.

In an auditorium full of stares, his was the gaze she felt. in a classroom full of students learning lies, he scribbled the truth in the margins. In a school that clung to the illusion of safety, he didn't shy from talk of violence. He didn't belong there, the way she didn't belong there, and that shared strangeness made her feel like she knew him.

Well, you can’t control who your children are, but you can certainly support them, am I right?” Principal Maldonado’s earrings sparkled in the auditorium light.

But they hushed, all at once and quite abruptly, when he stood still at center stage, his arms straight out from his shoulders, and went rigid, and began to tremble with a massive inner dynamism. Nobody present had ever seen anyone stand so still and yet so strangely mobile. He laid his head back until his scalp contacted his spine, that far back, and opened his throat, and a sound rose in the auditorium like a wind coming from all four directions, low and terrifying, rumbling up from the ground beneath the floor, and it gathered into a roar that sucked at the hearing itself, and coalesced into a voice that penetrated into the sinuses and finally into the very minds of those hearing it, taking itself higher and higher, more and more awful and beautiful, the originating ideal of all such sounds ever made, of the foghorn and the ship’s horn, the locomotive’s lonesome whistle, of opera singing and the music of flutes and the continuous moanmusic of bagpipes. And suddenly it all went black. And that time was gone forever.

I steel myself for a smirk, an arrogant chuckle, or some sort of recognition, but he’s leaning back in his chair, alternating between absently studying his fingernails and writing in the small black journal I first saw in the auditorium. (My guess? “Today I was a total douche for no reason. The End.”)

They go and see something made up. Because people need stories, too, sometimes. In the darkness of the auditorium they hold hands. For Anna-Lena it feels like coming home, and for Roger, like being good enough.

So successfully have we disguised from ourselves the intensity of our own feelings, the sensibility of our own hearts, that plays in the tragic tradition have begun to seem untrue. For a couple of hours we may surrender ourselves to a world of fiercely illuminated values in conflict, but when the stage is covered and the auditorium lighted, almost immediately there is a recoil of disbelief. "Well, well!" we say as we shuffle back up the aisle, while the play dwindles behind us with the sudden perspective of an early Chirico painting. By the time we have arrived at Sardi's, if not as soon as we pass beneath the marquee, we have convinced ourselves once more that life has as little resemblance to the curiously stirring and meaningful occurrences on the stage as a jingle has to an elegy of Rilke.

On January 3, 1992, a meeting of Russian and American scholars took place in the auditorium of a government building in Moscow. Two weeks earlier the Soviet Union had ceased to exist and the Russian Federation had become an independent country. As a result, the statue of Lenin which previously graced the stage of the auditorium had disappeared and instead the flag of the Russian Federation was now displayed on the front wall. The only problem, one American observed, was that the flag had been hung upside down.

When I was at the University of California at Berkeley, I went to some classes that must have had more than four hundred students in them. I almost always sat in the far back of the auditorium so I could read the newspaper. I remember that I stayed late one day to ask the professor a question, and when I got up to him, all I could think to myself was, 'So this is what the professor looks like.

Any clear thing that blinds us with surprise, your wandering silences and bright trouvailles, dolphin let loose to catch the flashing fish... saying too little, then too much. Poets die adolescents, their beat embalms them, the archetypal voices sing offkey; the old actor cannot read his friends, and nevertheless he reads himself aloud, genuis hums the auditorium dead. The line must terminate. Yet my heart rises, I know I've gladdened a lifetime knotting, undoing a fishnet of tarred rope; the net will hang on the wall when the fish are eaten, nailed like illegible bronze on the futureless future.

I feel to that the gap between my new life in New York and the situation at home in Africa is stretching into a gulf, as Zimbabwe spirals downwards into a violent dictatorship. My head bulges with the effort to contain both worlds. When I am back in New York, Africa immediately seems fantastical – a wildly plumaged bird, as exotic as it is unlikely. Most of us struggle in life to maintain the illusion of control, but in Africa that illusion is almost impossible to maintain. I always have the sense there that there is no equilibrium, that everything perpetually teeters on the brink of some dramatic change, that society constantly stands poised for some spasm, some tsunami in which you can do nothing but hope to bob up to the surface and not be sucked out into a dark and hungry sea. The origin of my permanent sense of unease, my general foreboding, is probably the fact that I have lived through just such change, such a sudden and violent upending of value systems. In my part of Africa, death is never far away. With more Zimbabweans dying in their early thirties now, mortality has a seat at every table. The urgent, tugging winds themselves seem to whisper the message, memento mori, you too shall die. In Africa, you do not view death from the auditorium of life, as a spectator, but from the edge of the stage, waiting only for your cue. You feel perishable, temporary, transient. You feel mortal. Maybe that is why you seem to live more vividly in Africa. The drama of life there is amplified by its constant proximity to death. That’s what infuses it with tension. It is the essence of its tragedy too. People love harder there. Love is the way that life forgets that it is terminal. Love is life’s alibi in the face of death. For me, the illusion of control is much easier to maintain in England or America. In this temperate world, I feel more secure, as if change will only happen incrementally, in manageable, finely calibrated, bite-sized portions. There is a sense of continuity threaded through it all: the anchor of history, the tangible presence of antiquity, of buildings, of institutions. You live in the expectation of reaching old age. At least you used to. But on Tuesday, September 11, 2001, those two states of mind converge. Suddenly it feels like I am back in Africa, where things can be taken away from you at random, in a single violent stroke, as quick as the whip of a snake’s head. Where tumult is raised with an abruptness that is as breathtaking as the violence itself.

Brian came in heavy at that moment on his guitar, the rapid, high-pitched squeal ranging back and forth as his fingers flew along the frets. As the intro's tempo grew more rapid, Bekka heard Derek's subtle bass line as it worked its way in. After another few seconds Will came in, slow at first, but racing along to match the others' pace. When their combined efforts seemed unable to get any heavier, David jumped into the mix. As the sound got nice and heavy, Bekka began to rock back-and-forth onstage. In front of her, hundreds of metal-lovers began to jump and gyrate to their music. She matched their movements for a moment, enjoying the connection that was being made, before stepping over to the keyboard that had been set up behind her. Sliding her microphone into an attached cradle, she assumed her position and got ready. Right on cue, all the others stopped playing, throwing the auditorium into an abrupt silence. Before the crowd could react, however, Bekka's fingers began to work the keys, issuing a rhythm that was much softer and slower than what had been built up. The audience's violent thrash-dance calmed at that moment and they began to sway in response. Bekka smiled to herself. This is what she lived for.

It's like people you see sometimes, and you can't imagine what it would be like to be that person, whether it's somebody in a wheelchair or somebody who can't talk. Only, I know that I'm that person to other people, maybe to every single person in that whole auditorium. To me, though, I'm just me. An ordinary kid. But hey, if they want to give me a medal for being me, that's okay. I'll take it. I didn't destroy a Death Star or anything like that, but I did just get through the fifth grade. And that's not easy, even if you're not me.

If it’s about me, I can be assured that there will be a bunch of empty chairs in the auditorium of my life; save the one I’m sitting in.

The auditorium: an enormous half-globe of glass with the sun piercing through. The circular rows of noble, globe-like, closely shaven heads. With joy in my heart I looked around. I believe I was looking in the hope of seeing the rose-colored scythe, the dear lips of O- somewhere among the blue waves of the unifs. Then I saw extraordinarily white, sharp teeth like the … But no! Tonight at twenty-one o’clock O- was to come to me; therefore my desire to see her was quite natural.

I don't even know how to respond to that. Like, I'm in an actual band, Wells. I'm not saying we're the Beatles, but we're not exactly honking our way through "Hot Cross Buns" in the school auditorium

And while Constantin and I sat in one of those hushed plush auditoriums in the UN, next to a stern muscular Russian girl with no makeup who was a simultaneous interpreter like Constantin, I thought how strange it had never occurred to me before that I was only purely happy until I was nine years old.

I couldn’t articulate how the name made me feel. Shawn had meant it to humiliate me, to lock me in time, into an old idea of myself. But far from fixing me in place, that word transported me. Every time he said it—“Hey Nigger, raise the boom” or “Fetch me a level, Nigger”—I returned to the university, to that auditorium, where I had watched human history unfold and wondered at my place in it. The stories of Emmett Till, Rosa Parks and Martin Luther King were called to my mind every time Shawn shouted, “Nigger, move to the next row.” I saw their faces superimposed on every purlin Shawn welded into place that summer, so that by the end of it, I had finally begun to grasp something that should have been immediately apparent: that someone had opposed the great march toward equality; someone had been the person from whom freedom had to be wrested. I did not think of my brother as that person; I doubt I will ever think of him that way. But something had shifted nonetheless. I had started on a path of awareness, had perceived something elemental about my brother, my father, myself. I had discerned the ways in which we had been sculpted by a tradition given to us by others, a tradition of which we were either willfully or accidentally ignorant. I had begun to understand that we had lent our voices to a discourse whose sole purpose was to dehumanize and brutalize others—because nurturing that discourse was easier, because retaining power always feels like the way forward.

The popular concept–that we should each determine our own morality–is based on the belief that the spiritual realm is nothing at all like the rest of the world. Does anyone really believe that? For many years after each of the morning and evening Sunday services I remained in the auditorium for another hour to field questions. Hundreds of people stayed for the give-and-take discussions. One of the most frequent statements I heard was that 'Every person has to define right and wrong for him- or herself.' I always responded to the speakers by asking, 'Is there anyone in the world right now doing things you believe they should stop doing no matter what they personally believe about the correctness of their behavior?' They would invariable say, 'Yes, of course.' Then I would ask, “Doesn’t that mean that you do believe there is some kind of moral reality that is "there" that is not defined by us, that must be abided by regardless of what a person feels or thinks?' Almost always, the response to that question was silence, either a thoughtful or a grumpy one.

I'm sorry I was less than you deserve, Tex, but I'm afraid I can't let you walk away from this. You see, it's too good, too rare to give up. I said in the cafeteria you weren't my girlfriend, and you weren't." I paused, watching her face twist with shock again. "You were my everything. Still are, baby. You wanted me to make you feel beautiful, but there's no one half as pretty as you are in the whole goddamn world. Please ..." My voice broke, and I bent the knee, like I'd always planned to. "Don't break my heart so soon after putting it back together." The air was thick in the auditorium as everyone held their breath. I was pretty sure for every second that ticked without her reaction, I lost an entire year of my life. Silver lining: a full minute of that, and I'd drop dead and wouldn't have to witness my own, very open disgrace. Finally, Grace found her voice. "On your feet, St. Claire," she whispered under her breath. "A king doesn't bow to others." I got up and scooped her up, giving people something to look at and talk about for years in this godforsaken town, pressing a dirty kiss to her lips and almost breaking her jaw in the process. "He does for his queen.

love you, Bunny. And then they hug each other so hard I think their chests are going to implode. I would even secretly hope for it from where I sat, stood, leaned, in the opposite corner of the lecture hall, department lounge, auditorium, bearing witness to four grown women—my academic peers—cooingly strangle each other hello.

So, what were you about to do that day, then? Float away or something?” “No.” He looked up from the ground and smiled. “I was about to lift you in my arms and run, vampire speed, to the closet room under the auditorium stage.” “You would not,” I said, my tone ringing in question. “Ara—” he raised one brow, “I'm a guy. Not a saint.

The building itself is hostile: cracked plaster, broken windows, splintered doors and carved up desks, gloomy corridors, metal stairways, dingy cafeteria (they can eat sitting down only in 20 minute shifts) and an auditorium which has no windows. It does have murals, however, depicting mute, muscular harvesters, faded and immobilized under a mustard sun. That's where we had assembly this morning.

I don't validate my faith with a church attendance scorecard. I think of church as a vibrant community of people consisting of two or more of varied backgrounds gathering around Jesus. Sometimes they are at a place that might have a steeple or auditorium seating. But it's just as likely that church happens elsewhere, like coffee shops or on the edge of a glacier or in the bush in Uganda. All of these places work just fine, I suppose, When it's a matter of the heart, the place doesn't matter. For me, it's Jesus plus nothing—not even a building.

2100 Hours: The lights went out inside the compound. People throughout the auditorium began to shriek. It was chaos.           Then they experienced what felt like a sonic boom. Pack’s vehicle had blown apart, metal fragments hurled a quarter mile away. The CEV had knocked the main gate over as if it were a fist going through papier-mache. Once the explosion had run its course, the car was in flames, which caught some of the crew still wearing the night vision devices off guard.

She looked exactly like an angel. I know my jaw dropped a little, and I just stood there looking at her for what seemed like a long time, shocked into silence, until I suddenly remembered that I had a line I had to deliver. I took a deep breath, then slowly let it out. "You're beautiful," I finally said to her, and I think everyone in the whole auditorium, from the blue-haired ladies in the front to my friends in the back row, knew that I actually meant it. I'd nailed that line for the very first time.

Doctor Benway is operating in an auditorium filled with students: "Now, boys, you won't see this operation performed very often and there's a reason for that ... You see it has absolutely no medical value. No one knows what the purpose of it originally was or if it had a purpose at all. Personally I think it was a pure artistic creation from the beginning. Just as a bull fighter with his skill and knowledge extricates himself from danger he has himself invoked, so in this operation the surgeon deliberately endangers his patient, and then, with incredible speed and celerity, rescues him from death at the last possible split second ... "Did any of you ever see Doctor Tetrazzini perform? I say perform advisedly because his operations were performances. He would start by throwing a scalpel across the room into the patient and then make his entrance like a ballet dancer. His speed was incredible: `I don't give them time to die,' he would say. Tumors put him in a frenzy of rage. `Fucking undisciplined cells!' he would snarl, advancing on the tumor like a knife-fighter.

auditorium and ambled down the aisle. Amelio had told the gathering that Jobs

When I see a church auditorium start to resemble a mosh pit, I know something's wrong.

He had laid his head back until his scalp had contacted his spine, that far back, and opened his throat, and a sound rose in the auditorium like a wind coming from all four directions, low and terrifying, rumbling up from the ground beneath the floor, and it gathered into a roar that sucked at the hearing itself, and coalesced into a voice that penetrated into the sinuses, and finally into the very minds of those hearing it, taking itself higher and higher, more and more awful and beautiful, the originating ideal of all such sounds ever made, of the foghorn and the ship's horn, the locomotive's lonesome whistle, of opera singing and the music of flutes and the continuous moaning of bagpipes. And suddenly it all went black. And the time was gone forever.

Fear of the Dark I’ve always been prone to worry and anxiety, but after I became a mother, negotiating joy, gratitude, and scarcity felt like a full-time job. For years, my fear of something terrible happening to my children actually prevented me from fully embracing joy and gratitude. Every time I came too close to softening into sheer joyfulness about my children and how much I love them, I’d picture something terrible happening; I’d picture losing everything in a flash. At first I thought I was crazy. Was I the only person in the world who did this? As my therapist and I started working on it, I realized that “my too good to be true” was totally related to fear, scarcity, and vulnerability. Knowing that those are pretty universal emotions, I gathered up the courage to talk about my experiences with a group of five hundred parents who had come to one of my parenting lectures. I gave an example of standing over my daughter watching her sleep, feeling totally engulfed in gratitude, then being ripped out of that joy and gratitude by images of something bad happening to her. You could have heard a pin drop. I thought, Oh, God. I’m crazy and now they’re all sitting there like, “She’s a nut. How do we get out of here?” Then all of the sudden I heard the sound of a woman toward the back starting to cry. Not sniffle cry, but sob cry. That sound was followed by someone from the front shouting out, “Oh my God! Why do we do that? What does it mean?” The auditorium erupted in some kind of crazy parent revival. As I had suspected, I was not alone.

But what they failed to tell us is that running away and saving your own skin is only noble when you don't leave anyone behind. If I were in the auditorium, I'd want someone to come for me. I'd want there to be hope.

It’s interval time in a multiplex cinema hall. You just watched first half of Movie-1. It was boring. You wish you could have watched Movie-2 instead which is running parallely in another auditorium. A manager called “Paramatma” approaches you with a solution. He puts your head between two electrodes and erases first half of Movie-1 from your mind. Then he transfers first half of Movie-2 directly in your mind. Now you enter inside the auditorium where Movie-2 is running and watch its second half. After watching the movie-2, you come out. Manager Paramatma says, “I migrated you from Movie-1 to Movie-2 in interval. I hope you are satisfied with my service.” You say, “What the hell are you talking about? I only watched Movie-2 from start to finish. I never watched Movie-1. If I had watched, I would remember.” Paramatma smiles and says, “Thank you for your positive feedback.

Somewhere in my fatalism I had expected to die, accidentally, and never have the chance to walk up the stairs in the auditorium and gracefully receive my hard-earned diploma. Out of God's merciful bosom I had won reprieve.

the six of us are supposed to drive to the diner in Hastings for lunch. But the moment we enter the cavernous auditorium where the girls told us to meet them, my jaw drops and our plans change. “Holy shit—is that a red velvet chaise lounge?” The guys exchange a WTF look. “Um…sure?” Justin says. “Why—” I’m already sprinting toward the stage. The girls aren’t here yet, which means I have to act fast. “For fuck’s sake, get over here,” I call over my shoulder. Their footsteps echo behind me, and by the time they climb on the stage, I’ve already whipped my shirt off and am reaching for my belt buckle. I stop to fish my phone from my back pocket and toss it at Garrett, who catches it without missing a beat. “What is happening right now?” Justin bursts out. I drop trou, kick my jeans away, and dive onto the plush chair wearing nothing but my black boxer-briefs. “Quick. Take a picture.” Justin doesn’t stop shaking his head. Over and over again, and he’s blinking like an owl, as if he can’t fathom what he’s seeing. Garrett, on the other hand, knows better than to ask questions. Hell, he and Hannah spent two hours constructing origami hearts with me the other day. His lips twitch uncontrollably as he gets the phone in position. “Wait.” I pause in thought. “What do you think? Double guns, or double thumbs up?” “What is happening?” We both ignore Justin’s baffled exclamation. “Show me the thumbs up,” Garrett says. I give the camera a wolfish grin and stick up my thumbs. My best friend’s snort bounces off the auditorium walls. “Veto. Do the guns. Definitely the guns.” He takes two shots—one with flash, one without—and just like that, another romantic gesture is in the bag. As I hastily put my clothes back on, Justin rubs his temples with so much vigor it’s as if his brain has imploded. He gapes as I tug my jeans up to my hips. Gapes harder when I walk over to Garrett so I can study the pictures. I nod in approval. “Damn. I should go into modeling.” “You photograph really well,” Garrett agrees in a serious voice. “And dude, your package looks huge.” Fuck, it totally does. Justin drags both hands through his dark hair. “I swear on all that is holy—if one of you doesn’t tell me what the hell just went down here, I’m going to lose my shit.” I chuckle. “My girl wanted me to send her a boudoir shot of me on a red velvet chaise lounge, but you have no idea how hard it is to find a goddamn red velvet chaise lounge.” “You say this as if it’s an explanation. It is not.” Justin sighs like the weight of the world rests on his shoulders. “You hockey players are fucked up.” “Naah, we’re just not pussies like you and your football crowd,” Garrett says sweetly. “We own our sex appeal, dude.” “Sex appeal? That was the cheesiest thing I’ve ever—no, you know what? I’m not gonna engage,” Justin grumbles. “Let’s find the girls and grab some lunch

But the more I looked at the card, the more it troubled me. My poems didn’t tell stories. I became a poet in part because I didn’t want to tell stories. As far as I could tell, stories may enable us to live, but they also trap us, bring us spectacular pain. In their scramble to make sense of nonsensical things, they distort, codify, blame, aggrandize, restrict, omit, betray, mythologize, you name it. This has always struck me as cause for lament, not celebration. As soon as a writer starts talking about the “human need for narrative” or the “archaic power of storytelling,” I usually find myself wanting to bolt out of the auditorium. Otherwise my blood creeps up to my face and begins to boil

Even after Mr. Kingbridge and Mrs. Amer left the stage, no one moved. The thought of going to class seemed absurd, but there really wasn’t anything we could do except cry. For Amelia. For her family. And for ourselves. We (practically every member of the Baby-sitters Club) sat in the auditorium for nearly an hour. Every few minutes one of us would break down and cry. It just didn’t seem possible that something so awful could have happened to someone our age, someone we knew.

The sense that we have come together to glorify God in worship rather than to be entertained must be maintained. The place of worship can add to or detract from that sense. Auditoriums designed to look like concert halls most definitely do the latter.

A couple of years ago I was seated in an auditorium in Detroit where Reverend Cleage was explaining to a conference of priests that what they called “black separatists” were in reality men who recognized the implacability of a white-imposed separation.

The conductor stepped up, tapped twice on the rostrum, and a great hush descended. I felt the stillness, the auditorium alive, expectant. Then he brought down his baton and suddenly everything was pure sound. I felt the music like a physical thing; it didn’t just sit in my ears, it flowed through me, around me, made my senses vibrate. It made my skin prickle and my palms dampen. Will hadn’t described any of it like this. I had thought I might be bored. It was the most beautiful thing I had ever heard. And it made my imagination do unexpected things; as I sat there, I found myself thinking of things I hadn’t thought of for years, old emotions washing over me, new thoughts and ideas being pulled from me as if my perception itself were being stretched out of shape. It was almost too much, but I didn’t want it to stop.

Acting is hubris. You not only attempt to faithfully represent someone else's experience, but you do so in front of a (hopefully full) auditorium. What makes you worthy of being watched and listened to? How do you convince an audience to stay, rather than waltz out the door and hit the nearest bar? Forget a full auditorium: how do you convince one measly person that you're more interesting than whatever is happening on her phone? And if you can distract them long enough to do that, how do you overcome the seemingly insurmountable challenge of winning a complete stranger's affection?

It had rained without a break since the middle of the afternoon, when the skies had finally started to clear. Ari Thór didn’t make a habit of going to the theatre, but still understood the excitement behind a good production. Tension in the air could sometimes be palpable, but never as overwhelming as it was that Friday evening in the Siglufjördur theatre. But this time there was no production taking place and the auditorium was empty. What he and Tómas – both of them on duty that night – could not avoid was the body. There was no doubt they were looking at a corpse; but Tómas still checked for a pulse

«Dashenka, sister, Dasha?» «Yes?» She sounded so sad. Tatiana swallowed. «Want to hear a funny story?» «Oh, yes, please: I need a funny story to cheer me up. Tell me, darling». «Stalin as Chairman of the Presidium went in front of the House of Parliament to make a short speech that lasted maybe five minutes. After the speech there was applause. The plenum stood on its feet and applauded. For a minute. Then another minute. They stood and applauded. But – Another minute. Still applauded. They were standing up, and still applauding, as Stalin stood in front of the lectern and listened with a humble smile on his face, the epitome of humility. Another minute. And still applauded. No one knew what to do. They waited for a signal from the Chairman to cease, but no such signal came from the humble and diminutive man. Another minute went by. And still they stood and applauded. It had now been eleven minutes. And no one knew what to do. Someone had to stop applauding. But who? Twelve minutes of applause. Thirteen minutes of applause. And still he stood there. And still they stood there. Fourteen minutes. Fifteen minutes. Finally, at the fifteen-minute mark, the man in the front, the Secretary of Transportation, stopped. As soon as he stopped, the entire auditorium fell mute. The following week the Secretary of Transportation was shot for treason». «Tania!» exclaimed a startled Dasha. «That was supposed to be funny?» «Yes», said Tatiana. «Funny, as in, cheer up, things could be worse. You could be the Secretary of Transportation».

Dark myths and suburban legends roam like living things through the halls of Leeds High School, whispered in stairwells over bubblegum-tinted tongues ; scrawled on the wall of the secret room above the auditorium stage ; argued over in the shaded courtyard adjacent to the cafeteria, buoyed on grey-brown clouds of cigarette smoke. There’s the Weird House up on Tremens Terrace, haunted by a trio of cannibalistic fiends with a taste for wayward boys. And the coven of teachers, including Mr. Gauthier (Chemistry) and Miss Knell (English), who cavort with a charred-skin devil in the glass-walled natatorium after dark.

No, let’s be fair,” I said. “Being a villain’s an option.” “You did not say that,” Fox-mask said, incredulous, “It’s not an option at all.” The girl in blue looked at Mrs. Yamada, “Ex-villain’s corrupting the kids, and you’re not stopping her?” Mrs. Yamada was frowning at me. “I’m going somewhere with this, honest,” I said. “If you’re sure,” she said. “I can stop you at any time.” “You can.” I looked at the gathered kids. A few of the less successful butterfly catchers had drifted away and approached. “I always hated the speeches when I was in school, the preaching in auditoriums, the one-note message. Stuff like saying drugs are bad. It’s wrong. Drugs are fantastic.” “Um,” Fox-mask said. Mrs. Yamada was glaring at me, but she hadn’t interrupted. “People wouldn’t do them if they weren’t. They make you feel good, make your day brighter, give you energy-” “Weaver,” Mrs. Yamada cut in. “-until they don’t,” I said. “People hear the message that drugs are bad, that they’ll ruin your life if you do them once. And then you find out that isn’t exactly true because your friends did it and turned out okay, or you wind up trying something and you’re fine. So you try them, try them again. It isn’t a mind-shattering moment of horrible when you try that first drug. Or so I hear. It’s subtle, it creeps up on you, and you never really get a good, convincing reason to stop before it ruins your life beyond comprehension. I never went down that road, but I knew a fair number of people who did. People who worked for me, when I was a supervillain.

but “we are 140 million people, and there are two billion people living on earth.” However confident Americans might be that their views and ideas will prevail, the absolute “denial of the views and ideas of other people, cannot be the basis of any kind of agreement.” No one left the auditorium that night unmoved.

Evelyn was followed in by a sour-faced woman with long, glamorous dark hair and a stern-looking gentleman in a tuxedo who looked just like Julian, but with less hair. They both looked as though they might buy the auditorium just to burn it to the ground. Even in this crowd they seemed assuredly a cut above the rest.

There's still almost an hour before we're supposed to reconvene in the auditorium, and we're probably supposed to run through everything again, but I mean, really. It's Saturday, we’re in an empty, dark school, and we're a bunch of theater kids wearing pajamas and jacked up on donuts. We end up singing Disney songs in the stairwell.

We are committed to involving as many people as possible, as young as possible, as soon as possible. Sometimes too young and too soon! But we intentionally err on the side of too fast rather than too slow. We don’t wait until people feel “prepared” or “fully equipped.” Seriously, when is anyone ever completely prepared for ministry? Ministry makes people’s faith bigger. If you want to increase someone’s confidence in God, put him in a ministry position before he feels fully equipped. The messages your environments communicate have the potential to trump your primary message. If you don’t see a mess, if you aren’t bothered by clutter, you need to make sure there is someone around you who does see it and is bothered by it. An uncomfortable or distracting setting can derail ministry before it begins. The sermon begins in the parking lot. Assign responsibility, not tasks. At the end of the day, it’s application that makes all the difference. Truth isn’t helpful if no one understands or remembers it. If you want a church full of biblically educated believers, just teach what the Bible says. If you want to make a difference in your community and possibly the world, give people handles, next steps, and specific applications. Challenge them to do something. As we’ve all seen, it’s not safe to assume that people automatically know what to do with what they’ve been taught. They need specific direction. This is hard. This requires an extra step in preparation. But this is how you grow people. Your current template is perfectly designed to produce the results you are currently getting. We must remove every possible obstacle from the path of the disinterested, suspicious, here-against-my-will, would-rather-be-somewhere-else, unchurched guests. The parking lot, hallways, auditorium, and stage must be obstacle-free zones. As a preacher, it’s my responsibility to offend people with the gospel. That’s one reason we work so hard not to offend them in the parking lot, the hallway, at check-in, or in the early portions of our service. We want people to come back the following week for another round of offending! Present the gospel in uncompromising terms, preach hard against sin, and tackle the most emotionally charged topics in culture, while providing an environment where unchurched people feel comfortable. The approach a church chooses trumps its purpose every time. Nothing says hypocrite faster than Christians expecting non-Christians to behave like Christians when half the Christians don’t act like it half the time. When you give non-Christians an out, they respond by leaning in. Especially if you invite them rather than expect them. There’s a big difference between being expected to do something and being invited to try something. There is an inexorable link between an organization’s vision and its appetite for improvement. Vision exposes what has yet to be accomplished. In this way, vision has the power to create a healthy sense of organizational discontent. A leader who continually keeps the vision out in front of his or her staff creates a thirst for improvement. Vision-centric churches expect change. Change is a means to an end. Change is critical to making what could and should be a reality. Write your vision in ink; everything else should be penciled in. Plans change. Vision remains the same. It is natural to assume that what worked in the past will always work. But, of course, that way of thinking is lethal. And the longer it goes unchallenged, the more difficult it is to identify and eradicate. Every innovation has an expiration date. The primary reason churches cling to outdated models and programs is that they lack leadership.

But once when she was chatting with some stupid boy online, she described herself as the color of coffee with not enough milk. There was a pause in the conversation, and the words glared back at her strangely, like the echo of a burp in an empty auditorium. She wondered if what she’d typed was burning holes in her chat partner too. Then he typed o thas hot yo and she’d quickly slammed her laptop shut. In the sudden darkness of her bedroom, the words had lingered as if imprinted in her forehead: not enough. The worst part about it, the part she couldn’t let go of, was that the thought came from her. Not from one of the teachers or guidance counselors whose eyes said it again and again over sticky-sweet smiles. Not from some cop on Marcy Avenue or Tía Rosa. It came from somewhere deep inside her. And that meant that for all the times she’d shrugged off one of those slurs, some little tentacle of them still crawled its way toward her heart. Not enough milk. Not light enough. Morena. Negra. No matter what she did, that little voice came creeping back, persistent and unsatisfied. Not enough.

From insomnia and as a result of the intense struggle against mounting weakness, something strange is happening to me. In the midst of a lecture, tears suddenly choke me, my eyes begin to itch, and I feel a passionate, hysterical desire to stretch my arms out and complain loudly. I want to cry in a loud voice that fate has sentenced me, a famous man, to capital punishment, and that in six months or so another man will be master of this auditorium. I want to cry out that I've been poisoned; new thoughts such as I have never known before have poisoned the last days of my life and go on stinging my brain like mosquitoes. And at such times my situation seems so terrible that I want all my listeners to be horrified, to jump up from their seats and, in panic fear, rush for the exit with a desperate cry. It is not easy to live through such moments.

They herd us into an assembly that is supposed to be a 'democratic forum' to come up with a new school mascot. Who are we? We can't be the Buccaneers because pirates supported violence and discrimination against women. The kid who suggests the Shoemakers in honor of the old moccasin factory is laughed out of the auditorium. Warriors insults Native Americans. I think Overbearing Eurocentric Patriarchs would be perfect, but I don't suggest it.

I dream that someone in space says to me: So let us rush, then, to see the world. It is shaped like an egg, covered with seas and continents, warmed and lighted by the sun. It has churches of indescribable beauty, raised to gods that have never been seen; cities whose distant roofs and smokestacks will make your heart leap; ballparks and comfortable auditoriums in which people listen to music of the most serious import; to celebrate life is recorded. Here the joy of women’s breasts and backsides, the colors of water, the shapes of trees, athletes, dreams, houses, the shapes of ecstasy and dismay, the shape even of an old shoe, are celebrated. Let us rush to see the world. They serve steak there on jet planes, and dance at sea. They have invented musical instruments to express love, peaceableness; to stir the finest memories and aspirations. They have invented games to catch the hearts of young men. They have ceremonies to exalt the love of men and women. They make their vows to music and the sound of bells. They have invented ways to heat their houses in the winter and cool them in the summer. They have even invented engines to cut their grass. They have free schools for the pursuit of knowledge, pools to swim in, zoos, vast manufactories of all kinds. They explore space and the trenches of the sea. Oh, let us rush to see this world.

Listen in. LIsten up. Listen closely. Stop, look, and listen. These and other familiar expressions speak to the distinct state that is listening: it requires that we press in, wake up, draw close, stop whatever else we are doing. Listening places heavy demands on mind and body alike. It is hard work. For this reason, numerous commentators over the ages have argued that few people truly listen well. Most of us, most of the time, do it poorly, barely, and perhaps not at all. In a radio broadcast titled "Listen to This," the American writer Alice Duer Miller remarked, 'People love to talk but hate to listen... Listening is not merely not talking, though even that is beyond most of our powers; it means taking a vigorous, human interest in what's being told us.' Miller then encapsulated her lesson in a memorable image: 'You can listen like a blank wall or like a splendid auditorium where every sound comes back fuller and richer.

Then you've got the kids who live within a mile of the school and can walk home. Although this may not sound glamorous, it still beats my place on the totem pole: the bottom. Yes, we of the bus routes find ourselves in a general throng outside the auditorium, where all who pass may mock us.We look forward to an hour-long ride of picking up and dropping off loud middle schoolers and louder elementary kids and peeling our hamstrings off the pleather seats over and over again in the heat.

I have become well acquainted with the dualism in the North American church. Once, after taking a trip to Iraq to protest the war, I went to Willow Creek and gave a talk titled “The Scandal of Grace.” Afterward, they explained to me that the pulpits are not for political messages. I thought about what would have happened if Reverend King hadn’t allowed the gospel to get political. My heart sank as I walked into the foyer and noticed something I had never seen before: the American flag standing prominently in front of the auditorium. And never before was I so heartbroken that the cross was missing. For the flag and the cross are both spiritual. And they are both political. It is a dangerous day when we can take the cross out of the church more easily than the flag. No wonder it is hard for seekers to find God nowadays. It’s difficult to know where Christianity ends and America begins.1 Our money says, “In God We Trust.” God’s name is on America’s money, and America’s flag is on God’s altars.

Coriolanus thought it was quite a display for Arachne, disproportionate to both her life and death, the latter of which could have been avoided if she'd refrained from being such an exhibitionist. So many people had died heroically in the war, with so little recognition, that it grated on him. He was relieved that he was singing instead of having to praise her talents, which, if memory served, were limited to being loud enough to fill the school auditorium without a mic and the ability to balance a spoon on her nose.

He crossed the stage, pushed the bench back and sat, hands resting on the keyboard cover. After a moment, he took off the cloth, and uncovered the keyboard. He rested his fingers on the keys, but didn’t depress them, simply sitting there for a moment, in the dark and silent auditorium, and closed his eyes. He belonged here. Not on a stage, but with a piano. It was the only place he felt alive. The groupies, the concerts, the strangely worshipful perks of fame, none of them made him feel complete like these moments alone did.

As the shabby section of the audience rose to its feet, waving its hats and food-wrappers, a rich, stale smell wafted through the auditorium. It had something of the fog on the boulevard outside, where the pavements were sticky with rain, but also something more intimate : it suggested old stew and course tobacco, the coat racks and bookshelves of a pawnshop, and damp straw mattresses impregnated with urine and patchouli. It was - as though the set designer had intended some ironical epilogue - the smell of the real Latin Quarter.

I remember a spring night in a school auditorium, during the rehearsal of a play. I am thirteen. I am weary of the farce, weary of the silliness of the cast, of our endless horseplay, mindlessness. A scene in which I have no part is being rehearsed; I stand in an open door at the rear of the dark and empty hall. A storm is under way. The door is on the lee of the building, and I step out under the overhang. The rain swirls and beats. Lightning reveals a familiar schoolyard in a ghostly light. I feel a sudden poignancy. Images strike my mind. The wind is the scream of a lost spirit, searching the earth and finding no good, recalling old bereavements, lashing the land with tears. Consciousness leaves my body, moves out in time and space. I undergo an expanding awareness of self, of separateness, of time flowing through me, bearing me on, knowing I have a chance, the one chance all of us have, the chance of a life, knowing a time will come when nothing lies ahead and everything lies behind, and hoping I can then look back and feel it well spent. How, in the light of fixed stars, should one live?

How many scenes of blasted terrain, or medics rushing headlong with a stretcher on which lay a figure beneath a sheet, too small, too anonymous, and too deathly still? How long would they mean? Ellie thought of the Japanese photographer, Hiroshi Sugimoto, who photographed movies inside the cinema. He left the shutter of the camera open in the dark auditorium and the film exposed for the entire length of the screening. The result was not a wildly complicated superimposition of images, but simple white-out, pure light, a flare of nothing. Too many images, layered together, left only a blank.

He was back at me like a cat, and he swung a hard chunk of wood from one of the smashed chairs. I caught the first one on the shoulder and I cleverly caught the next one right over the left ear. It broke a big white bell in my head, and he side-stepped, grunting for breath, and let me go down. I landed on my side, and he punted me in the belly like Groza trying for one from the mid-field stripe. I had that fractional part of consciousness left which gave me a remote and unimportant view of reality. The world was a television set at the other end of a dark auditorium, with blurred sound and a fringe area picture.

We were still so young when our eyes first met. We would run holding hands through the lawn of the college campus. I vividly remember the grass beneath the cherry tree that had water at the tip which touched our legs. I vividly remember how we would talk about our future as the sun rays sparkled like diamonds through the leaves of the trees outside the campus auditorium. I vividly remember your urge to touch my erratic strands in the gentle breeze outside the canteen. And then we allowed distance to conquer the space between us so we could build a career, sculpt a life and keep the promises. And did we not do well!

At a community college in California, an auditorium full of returning women students is into a long and serious discussion about how difficult it is to get their male partners to share equally in the housework and child care. It’s not just because the men are resistant; it’s because the women themselves feel guilty, or don’t want to seem like nags, or don’t know how to divide work and child care because they’ve never seen it at home. One woman rises to speak: “Close your eyes and pretend you are living with a woman—how would you divide the housework?” There is a long pause. “Now, don’t lower your standards.” There are cheers of approval.

And man has sought immortality. A writer, if he is a good writer, seeks immortality through his books, through his words, through his thoughts. He is there, at least he is there, he thinks, permanently. There is nothing permanent. There is no permanency of you. Others seek immortality in history - the politicians, the kings. But you and I are not writers; we are not kings; we don't make history. We are ordinary people, living with trouble, pain, anxiety, not knowing, confused, with a little affection, we are the ordinary people. And also we want immortality. We have never asked what is immortality. That is, not mortality, immortality means no dying. And if one has gone into it very deeply, one sees there is nothing permanent, nothing, either on earth or in yourself. Which isn't a despair, which isn't something to be frightened of. And when you see there is nothing permanent, that very observation, that very perception is the highest form of intelligence. And intelligence, which is not personal, which is not yours, or mine, is the everlasting. And from there the mind becomes infinite, because it is no longer caught in attachment, it is no longer seeking anything, any experience. It is completely a light to itself and therefore eternal. from:J. Krishnamurti 3rd Public Talk Masonic Auditorium San Francisco 23rd March 1975

As you sit there watching a performance of a Shakespeare, Johnson, or Marlowe play, the crowd will fade into the background. Instead, you will be struck by the diction. There are words and phrases that you will not find funny, but which will make the crowd roar with laughter. Your familiarity with the meanings of Shakespeare's words will rise and fall as you see and hear the actors' deliveries and notice the audience's reaction. That is the strange music of being so familiar with something that is not of your own time. What you are listening to in that auditorium is the genuine voice, something of which you have heard only distant echoes. Not every actor is perfect in his delivery; Shakespeare himself makes that quite clear in his Hamlet. But what you are hearing is the voice of the men for whom Shakespeare wrote his greatest speeches. Modern thespians will follow the rhythms or the meanings of these words, but even the most brilliant will not always be able to follow both rhythm and meaning at once. If they follow the pattern of the verse, they risk confusing the audience, who are less familiar with the sense of the words. If they pause to emphasize the meanings, they lose the rhythm of the verse. Here, on the Elizabethan stage, you have a harmony of performance and understanding that will never again quite be matched in respect of any of these great writers.

Shortly after the Gulf War in 1992 I happened to visit a July Fourth worship service at a certain megachurch. At center stage in this auditorium stood a large cross next to an equally large American flag. The congregation sang some praise choruses mixed with such patriotic hymns as “God Bless America.” The climax of the service centered on a video of a well-known Christian military general giving a patriotic speech about how God has blessed America and blessed its military troops, as evidenced by the speedy and almost “casualty-free” victory “he gave us” in the Gulf War (Iraqi deaths apparently weren’t counted as “casualties” worthy of notice). Triumphant military music played in the background as he spoke. The video closed with a scene of a silhouette of three crosses on a hill with an American flag waving in the background. Majestic, patriotic music now thundered. Suddenly, four fighter jets appeared on the horizon, flew over the crosses, and then split apart. As they roared over the camera, the words “God Bless America” appeared on the screen in front of the crosses. The congregation responded with roaring applause, catcalls, and a standing ovation. I saw several people wiping tears from their eyes. Indeed, as I remained frozen in my seat, I grew teary-eyed as well - but for entirely different reasons. I was struck with horrified grief. Thoughts raced through my mind: How could the cross and the sword have been so thoroughly fused without anyone seeming to notice? How could Jesus’ self-sacrificial death be linked with flying killing machines? How could Calvary be associated with bombs and missiles? How could Jesus’ people applaud tragic violence, regardless of why it happened and regardless of how they might benefit from its outcome? How could the kingdom of God be reduced to this sort of violent, nationalistic tribalism? Has the church progressed at all since the Crusades? Indeed, I wondered how this tribalistic, militaristic, religious celebration was any different from the one I had recently witnessed on television carried out by Taliban Muslims raising their guns as they joyfully praised Allah for the victories they believed “he had given them” in Afghanistan?

this reaction. This was on college campuses, exactly the kind of environment where I had expected curiosity, lively debate, and, yes, the thrill and energy of like-minded activists. Instead almost every campus audience I encountered bristled with anger and protest. I was accustomed to radical Muslim students from my experience as an activist and a politician in Holland. Any time I made a public speech, they would swarm to it in order to shout at me and rant in broken Dutch, in sentences so fractured you wondered how they qualified as students at all. On college campuses in the United States and Canada, by contrast, young and highly articulate people from the Muslim student associations would simply take over the debate. They would send e-mails of protest to the organizers beforehand, such as one (sent by a divinity student at Harvard) that protested that I did not “address anything of substance that actually affects Muslim women’s lives” and that I merely wanted to “trash” Islam. They would stick up posters and hand out pamphlets at the auditorium. Before I’d even stopped speaking they’d be lining up for the microphone, elbowing away all non-Muslims. They spoke in perfect English; they were mostly very well-mannered; and they appeared far better assimilated than their European immigrant counterparts. There were far fewer bearded young men in robes short enough to show their ankles, aping the tradition that says the Prophet’s companions dressed this way out of humility, and fewer girls in hideous black veils. In the United States a radical Muslim student might have a little goatee; a girl may wear a light, attractive headscarf. Their whole demeanor was far less threatening, but they were omnipresent. Some of them would begin by saying how sorry they were for all my terrible suffering, but they would then add that these so-called traumas of mine were aberrant, a “cultural thing,” nothing to do with Islam. In blaming Islam for the oppression of women, they said, I was vilifying them personally, as Muslims. I had failed to understand that Islam is a religion of peace, that the Prophet treated women very well. Several times I was informed that attacking Islam only serves the purpose of something called “colonial feminism,” which in itself was allegedly a pretext for the war on terror and the evil designs of the U.S. government. I was invited to one college to speak as part of a series of

had said, in effect: “Okay, if you can figure out the tilt, you can figure out any damn thing you choose. Because even light has weight, and when the note of a trainwhistle suddenly drops it’s the Doppler effect and when an airplane breaks the sound barrier that bang isn’t the applause of the angels or the flatulence of demons but only air collapsing back into place. I gave you the tilt and then I sat back about halfway up the auditorium to watch the show. I got nothing else to say, except that two and two makes four, the lights in the sky are stars, if there’s blood grownups can see it as well as kids, and dead boys stay dead.” You can live with fear, I think, Stan would have said if he could. Maybe not forever, but for a long, long time. It’s offense you maybe can’t live with, because it opens up a crack inside your thinking, and if you look down into it you see there are live things down there, and they have little yellow eyes that don’t blink, and there’s a stink down in that dark, and after awhile you think maybe there’s a whole other universe down there, a universe where a square moon rises in the sky, and the stars laugh in cold voices, and some of the triangles have four sides, and some have five, and some of them have five raised to the fifth power of sides. In this universe there might grow roses which sing. Everything leads to everything, he would have told them if he could. Go to your church and listen to your stories about Jesus walking on the water, but if I saw a guy doing that I’d scream and scream and scream. Because it wouldn’t look like a miracle to me. It would look like an offense.

I have always had a weakness for footnotes. For me a clever or a wicked footnote has redeemed many a text. And I see that I am now using a long footnote to open a serious subject - shifting in a quick move to Paris, to a penthouse in the Hotel Crillon. Early June. Breakfast time. The host is my good friend Professor Ravelstein, Abe Ravelstein. My wife and I, also staying at the Crillon, have a room below, on the sixth floor. She is still asleep. The entire floor below ours (this is not absolutely relevant but somehow I can't avoid mentioning it) is occupied just now by Michael Jackson and his entourage. He performs nightly in some vast Parisian auditorium. Very soon his French fans will arrive and a crowd of faces will be turned upward, shouting in unison, 'Miekell Jack-sown'. A police barrier holds the fans back. Inside, from the sixth floor, when you look down the marble stairwell you see Michael's bodyguards. One of them is doing the crossword puzzle in the 'Paris Herald'.

I felt as though the temple curtain had been drawn aside without warning and I, a goggle-eyed stranger somehow mistaken for an initiate, had been ushered into the sanctuary to witness the mystery of mysteries. I saw a phantasmagoria, a living tapestry of forms jeweled in minute detail. They danced together like guests at a rowdy wedding. They changed their shapes. Within themselves they juggled geometrical shards like the fragments in a kaleidoscope. They sent forth extensions of themselves like the flares of suns. Yet all their activity was obviously interrelated; each being's actions were in step with its neighbors'. They were like bees swarming: They obviously recognised each other and were communicating avidly, but it was impossible to know what they were saying. They enacted a pageant whose beauty awed me. As the lights came back on, the auditorium seemed dull and unreal.I'd been watching various kinds of ordinary cells going about their daily business, as seen through a microscope and recorded by the latest time-lapse movie techniques. The filmmaker frankly admitted that neither he nor anyone else knew just what the cells were doing, or how and why they were doing it. We biologists, especially during our formative years in school, spent most of our time dissecting dead animals and studying preparations of dead cells stained to make their structures more easily visible—"painted tombstones," as someone once called them. Of course, we all knew that life was more a process than a structure, but we tended to forget this, because a structure was so much easier to study. This film reminded me how far our static concepts still were from the actual business of living. As I thought how any one of those scintillating cells potentially could become a whole speckled frog or a person, I grew surer than ever that my work so far had disclosed only a few aspects of a process-control system as varied and widespread as life itself, of which we'd been ignorant until then.

was no one else there to comfort her. There was only him. The real him. She stepped forward and laid her head against his chest. Samantha: I’ll never forget the moment when Perry and Celeste walked into the trivia night. There was like this ripple across the room. Everyone just stopped and stared. 23. Isn’t this FANTASTIC!” cried Madeline to Chloe as they took their really very excellent seats in front of the giant ice rink. “You can feel the cold from the ice! Brrr! Oh! Can you hear the music? I wonder where the princesses—” Chloe had reached over and placed one hand gently over her mother’s mouth. “Shhh.” Madeline knew she was talking too much because she was feeling anxious and ever so slightly guilty. Today needed to be stupendous to make it worth the rift she’d created between herself and Renata. Eight kindergarten children, who would otherwise be attending Amabella’s party, were here watching Disney On Ice because of Madeline. Madeline looked past Chloe at Ziggy, who was nursing a giant stuffed toy on his lap. Ziggy was the reason they were here today, she reminded herself. Poor Ziggy wouldn’t have been at the party. Dear little fatherless Ziggy. Who was possibly a secret psychopathic bully . . . but still! “Are you taking care of Harry the Hippo this weekend, Ziggy?” she said brightly. Harry the Hippo was the class toy. Every weekend it went home with a different child, along with a scrapbook that had to be returned with a little story about the weekend, accompanied by photos. Ziggy nodded mutely. A child of few words. Jane leaned forward, discreetly chewing gum as always. “It’s quite stressful having Harry to stay. We have to give Harry a good time. Last weekend he went on a roller coaster— Ow!” Jane recoiled as one of the twins, who was sitting next to her and fighting his brother, elbowed her in the back of the head. “Josh!” said Celeste sharply. “Max! Just stop it!” Madeline wondered if Celeste was OK today. She looked pale and tired, with purplish shadows under her eyes, although on Celeste they looked like an artful makeup effect that everyone should try. The lights in the auditorium began to dim, and then went to black. Chloe clutched Madeline’s arm. The music began to pound, so loud that Madeline could feel the vibrations. The ice rink filled with an

The Marquis de V... - whose falsetto voice and little watery eyes I have always detested - was saying to me with a wicked smile: 'Then again, the master gymnast might break his neck at any moment. What he is doing now is very dangerous, my dear, and the pleasure you take in his performance is the little frisson that danger affords you. Wouldn't it be thrilling, if his sweaty hand failed to grip the bar? The velocity acquired by his rotation about the bar would break his spine quite cleanly, and perhaps a little of the cervical matter might spurt out as far as this! It would be most sensational, and you would have a rare emotion to add to the field of your experience - for you collect emotions, don't you? What a pretty stew of terrors that man in tights stirs up in us! 'Admit that you almost wish that he will fall! Me too. Many others in the auditorium are in the same state of attention and anguish. That is the horrible instinct of a crowd confronted with a spectacle which awakens in it the ideas of lust and death. Those two agreeable companions always travel together! Take it from me that at the very same moment - see, the man is now holding on to the bar by his fingertips alone - at the very same moment, a good number of the women in these boxes are ardently lusting after that man, not so much for his beauty as for the danger he courts.' The voice subtly changed its tone, suddenly becoming more interested. 'You have singularly pale eyes this evening, my dear Freneuse. You ought to give up bromides and take valerian instead. You have a charming and curious soul, but you must take command of its changes. You are too ardently and too obviously covetous, this evening, of the death - or at least the fall - of that man.' I did not reply. The Marquis de V... was quite right. The madness of murder had taken hold of me again; the spectacle had me in its hallucinatory grip. Straitened by a penetrating and delirious anguish, I yearned for that man to fall. There are appalling depths of cruelty within me.

LEAD PEOPLE TO COMMITMENT We have seen that nonbelievers in worship actually “close with Christ” in two basic ways: some may come to Christ during the service itself (1 Cor 14:24 – 25), while others must be “followed up with” by means of after-service meetings. Let’s take a closer look at both ways of leading people to commitment. It is possible to lead people to a commitment to Christ during the service. One way of inviting people to receive Christ is to make a verbal invitation as the Lord’s Supper is being distributed. At our church, we say it this way: “If you are not in a saving relationship with God through Christ today, do not take the bread and the cup, but as they come around, take Christ. Receive him in your heart as those around you receive the food. Then immediately afterward, come up and tell an officer or a pastor about what you’ve done so we can get you ready to receive the Supper the next time as a child of God.” Another way to invite commitment during the service is to give people a time of silence or a period of musical interlude after the sermon. This affords people time to think and process what they have heard and to offer themselves to God in prayer. In many situations, it is best to invite people to commitment through after-meetings. Acts 2 gives an example. Inverses 12 and 13 we are told that some folks mocked after hearing the apostles praise and preach, but others were disturbed and asked, “What does this mean?” Then, we see that Peter very specifically explained the gospel and, in response to the follow-up question “What shall we do?” (v. 37), he explained how to become a Christian. Historically, many preachers have found it effective to offer such meetings to nonbelievers and seekers immediately after evangelistic worship. Convicted seekers have just come from being in the presence of God and are often the most teachable and open at this time. To seek to “get them into a small group” or even to merely return next Sunday is asking a lot. They may also be “amazed and perplexed” (Acts 2:12), and it is best to strike while the iron is hot. This should not be understood as doubting that God is infallibly drawing people to himself (Acts 13:48; 16:14). Knowing the sovereignty of God helps us to relax as we do evangelism, knowing that conversions are not dependent on our eloquence. But it should not lead us to ignore or minimize the truth that God works through secondary causes. The Westminster Confession (5.2 – 3), for example, tells us that God routinely works through normal social and psychological processes. Therefore, inviting people into a follow-up meeting immediately after the worship service can often be more conducive to conserving the fruit of the Word. After-meetings may take the shape of one or more persons waiting at the front of the auditorium to pray with and talk with seekers who wish to make inquiries right on the spot. Another way is to host a simple Q&A session with the preacher in or near the main auditorium, following the postlude. Or offer one or two classes or small group experiences targeted to specific questions non-Christians ask about the content, relevance, and credibility of the Christian faith. Skilled lay evangelists should be present who can come alongside newcomers, answer spiritual questions, and provide guidance for their next steps.