Balcony Scene Quotes

My name, dear saint, is hateful to myself,” he said. “Because it is an enemy to thee.” The balcony scene. Too mistrustful to guess at the meaning, I said, “Don’t do that, James, please—right now can we just be ourselves?” He crouched down, lifted the mangled script from the floor. “I’m sorry,” he said. “It’s easier now to be Romeo, or Macbeth, or Brutus, or Edmund. Someone else.

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.

In truth, fair Montague, I am too fond...

We should go back inside," she said, in a half whisper. She did not want to go back inside. She wanted to stay here, with Will achingly close, almost leaning into her. She could feel the heat that radiated from his body. His dark hair fell around the mask, into his eyes, tangling with his long eyelashes. "We have only a little time-" She took a step forward-and stumbled into Will, who caught her. She froze-and then her arms crept around him, her fingers lacing themselves behind his neck. Her face was pressed against his throat, his soft hair under her fingers. She closed her eyes, shutting out the dizzying world, the light beyond the French windows, the glow of the sky. She wanted to be here with Will, cocooned in this moment, inhaling the clean sharp scent of him., feeling the beat of his heart against hers, as steady and strong as the pulse of the ocean. She felt him inhale. "Tess," he said. "Tess, look at me." She raised her eyes to his, slow and unwilling, braced for anger or coldness-but his gaze was fixed on hers, his dark blue eyes somber beneath their thick black lashes, and they were stripped of all their usual cool, aloof distance. They were as clear as glass and full of desire. And more than desire-a tenderness she had never seen in them before, had never even associated with Will Herondale. That, more than anything else, stopped her protest as he raised his hands and methodically began to take the pins from her hair, one by one. This is madness, she thought, as the first pin rattled to the ground. They should be running, fleeing this place. Instead she stood, wordless, as Will cast Jessamine's pearl clasps aside as if they were so much paste jewelry. Her own long, curling dark hair fell down around her shoulders, and Will slid his hands into it. She heard him exhale as he did so, as if he had been holding his breath for months and had only just let it out. She stood as if mesmerized as he gathered her hair in his hands, draping it over one of her shoulders, winding her curls between his fingers. "My Tessa," he said, and this time she did not tell him that she was not his. "Will," she whispered as he reached up and unlocked her hands from around his neck. He drew her gloves off, and they joined her mask and Jessie's pins on the stone floor of the balcony. He pulled off his own mask next and cast it aside, running his hands through his damp black hair, pushing it back from his forehead. The lower edge of the mask had left marks across his high cheekbones, like light scars, but when she reached to touch them, he gently caught at her hands and pressed them down. "No," he said. "Let me touch you first. I have wanted...

All these years, whenever I thought of him, I'd think either of B. or of our last days in Rome, the whole thing leading up to two scenes: the balcony with its attendant agonies and via Santa Maria dell' Anima, where he'd pushed me against the old wall and kissed me and in the end let me put one leg around his. Every time I go back to Rome, I go back to that one spot. It is still alive for me, still resounds with something totally present, as though a heart stolen from a tale by Poe still throbbed under the ancient slate pavement to remind me that, here, I had finally encountered the life that was right for me but had failed to have.

One day about a month ago, I really hit bottom. You know, I just felt that in a Godless universe, I didn't want to go on living. Now I happen to own this rifle, which I loaded, believe it or not, and pressed it to my forehead. And I remember thinking, at the time, I'm gonna kill myself. Then I thought, what if I'm wrong? What if there is a God? I mean, after all, nobody really knows that. But then I thought, no, you know, maybe is not good enough. I want certainty or nothing. And I remember very clearly, the clock was ticking, and I was sitting there frozen with the gun to my head, debating whether to shoot. [The gun fires accidentally, shattering a mirror] All of a sudden, the gun went off. I had been so tense my finger had squeezed the trigger inadvertently. But I was perspiring so much the gun had slid off my forehead and missed me. And suddenly neighbors were, were pounding on the door, and, and I don't know, the whole scene was just pandemonium. And, uh, you know, I-I-I ran to the door, I-I didn't know what to say. You know, I was-I was embarrassed and confused and my-my-my mind was r-r-racing a mile a minute. And I-I just knew one thing. I-I-I had to get out of that house, I had to just get out in the fresh air and-and clear my head. And I remember very clearly, I walked the streets. I walked and I walked. I-I didn't know what was going through my mind. It all seemed so violent and un-unreal to me. And I wandered for a long time on the Upper West Side, you know, and-and it must have been hours. You know, my-my feet hurt, my head was-was pounding, and-and I had to sit down. I went into a movie house. I-I didn't know what was playing or anything. I just, I just needed a moment to gather my thoughts and, and be logical and put the world back into rational perspective. And I went upstairs to the balcony, and I sat down, and, you know, the movie was a-a-a film that I'd seen many times in my life since I was a kid, and-and I always, uh, loved it. And, you know, I'm-I'm watching these people up on the screen and I started getting hooked on the film, you know. And I started to feel, how can you even think of killing yourself. I mean isn't it so stupid? I mean, l-look at all the people up there on the screen. You know, they're real funny, and-and what if the worst is true. What if there's no God, and you only go around once and that's it. Well, you know, don't you want to be part of the experience? You know, what the hell, it's-it's not all a drag. And I'm thinkin' to myself, geez, I should stop ruining my life - searching for answers I'm never gonna get, and just enjoy it while it lasts. And, you know, after, who knows? I mean, you know, maybe there is something. Nobody really knows. I know, I know maybe is a very slim reed to hang your whole life on, but that's the best we have. And then, I started to sit back, and I actually began to enjoy myself.

got up and disappeared in the dark, there one minute, gone the next, like on the apartment balcony in Paris. Nice and I squatted side by side, with our backs against the wall. I said, “This is the scene where I try to get rid of you.” She didn’t answer.

They went along a balcony that looked down over the dining room and the dance floor. The lisp of hot jazz came up to them from the lithe, swaying bodies of a high-yaller band. With the lisp of jazz came the smell of food and cigarette smoke and perspiration. The balcony was high and the scene down below had a patterned look, like an overhead camera shot. (Nevada Gas)

For his son-in-law the Pope suffered no further spasms of morality. Rather, judging from Burchard’s diary, the last inhibitions, if any, dropped away. Two months after Alfonso’s death, the Pope presided over a banquet given by Cesare in the Vatican, famous in the annals of pornography as the Ballet of the Chestnuts. Soberly recorded by Burchard, fifty courtesans danced after dinner with the guests, “at first clothed, then naked.” Chestnuts were then scattered among candelabra placed on the floor, “which the courtesans, crawling on hands and knees among the candelabra, picked up, while the Pope, Cesare and his sister Lucrezia looked on.” Coupling of guests and courtesans followed, with prizes in the form of fine silken tunics and cloaks offered “for those who could perform the act most often with the courtesans.” A month later Burchard records a scene in which mares and stallions were driven into a courtyard of the Vatican and equine coupling encouraged while from a balcony the Pope and Lucrezia “watched with loud laughter and much pleasure.” Later they watched again while Cesare shot down a mass of unarmed criminals driven like the horses into the same courtyard.

I watched The Sound of Music possibly a hundred times as a small girl. Everyone has their favourite or most memorable scene, mine was when the Baroness was with the Baron von Trapp out on the balcony that night. She saw how he was looking at Maria (the governess, Julie Andrews), and in those moments she chose to be graceful enough not to force his feelings. She told him that she could see the way he looks at her, and the way she looks at him, and she then chose to gracefully step aside. It's strange, but that's what I remembered the most as a child. I said to myself, that someday when I'm a woman, if I am ever with a man who falls in love with someone else, I would have the grace of the Baroness, enough to walk away. I always wanted to be the kind of person who lets people love each other.

Angered by his quick recovery, commentators sought to recast the triumphant scene of his return to the White House. When Trump appeared on the White House balcony after his return from Walter Reed, NBC News’s presidential historian Michael Beschloss tweeted, “In America, our Presidents have generally avoided strongman balcony scenes—that’s for other countries with authoritarian systems.”61 While the tweet was amplified by Beschloss’s fellow Resistance members, Americans with better knowledge of presidential history responded with pictures of every other president pictured at the balcony, be it President Barack Obama (many, many times—once with communist dictator Xi Jinping, no less), President George W. Bush, President George H. W. Bush, President Ronald Reagan, President Jimmy Carter, President Richard Nixon, on back to President Dwight D. Eisenhower and President Franklin Delano Roosevelt.62

Tony Williams: You’ve often mentioned that Tales of Hoffmann (1951) has been a major influence on you. George Romero: It was the first film I got completely involved with. An aunt and uncle took me to see it in downtown Manhattan when it first played. And that was an event for me since I was about eleven at the time. The imagery just blew me away completely. I wanted to go and see a Tarzan movie but my aunt and uncle said, “No! Come and see a bit of culture here.” So I thought I was missing out. But I really fell in love with the film. There used to be a television show in New York called Million Dollar Movie. They would show the same film twice a day on weekdays, three times on Saturday, and three-to-four times on Sunday. Tales of Hoffmann appeared on it one week. I missed the first couple of days because I wasn’t aware that it was on. But the moment I found it was on, I watched virtually every telecast. This was before the days of video so, naturally, I couldn’t tape it. Those were the days you had to rent 16mm prints of any film. Most cities of any size had rental services and you could rent a surprising number of films. So once I started to look at Tales of Hoffmann I realized how much stuff Michael Powell did in the camera. Powell was so innovative in his technique. But it was also transparent so I could see how he achieved certain effects such as his use of an overprint in the scene of the ballet dancer on the lily ponds. I was beginning to understand how adept a director can be. But, aside from that, the imagery was superb. Robert Helpmann is the greatest Dracula that ever was. Those eyes were compelling. I was impressed by the way Powell shot Helpmann sweeping around in his cape and craning down over the balcony in the tavern. I felt the film was so unique compared to most of the things we were seeing in American cinema such as the westerns and other dreadful stuff I used to watch. Tales of Hoffmann just took me into another world in terms of its innovative cinematic technique. So it really got me going. Tony Williams: A really beautiful print exists on laserdisc with commentary by Martin Scorsese and others. George Romero: I was invited to collaborate on the commentary by Marty. Pat Buba (Tony’s brother) knew Thelma Schoonmaker and I got to meet Powell in later years. We had a wonderful dinner with him one evening. What an amazing guy! Eventually I got to see more of his movies that I’d never seen before such as I Know Where I’m Going and A Canterbury Tale. Anyway, I couldn’t do the commentary on Tales of Hoffmann with Marty. But, back in the old days in New York, Marty and I were the only two people who would rent a 16mm copy of the film. Every time I found it was out I knew that he had it and each time he wanted it he knew who had it! So that made us buddies.

A gentle breeze rustled through the leaves, bringing with it the scent of fresh-turned earth and lavender blossoms. Amanda drew to the side of the balcony, where she was completely concealed from view. As she leaned against the wall of the house, the rough texture of the red brick gently abraded her bare shoulders. She had worn a pale blue, corded-silk gown with a low-cut back, and draperies of gauze that crossed over the bodice in an X pattern. The long sleeves of the gown were made of more transparent gauze, while her hands were encased in white gloves. The flash of her bare arms beneath the filmy blue silk made Amanda feel sophisticated and daring.

For a while the lie had held up. But since the explanations he gave Eleonora for all his absences were increasingly implausible, the scenes had begun again. Once his wife had grabbed a knife and tried to stab herself in the stomach. Another time she had gone out on the balcony and wanted to jump. Yet another time she had left home, taking the child; she had disappeared for an entire day and he was dying with fear. But when he finally tracked her down at the house of a beloved aunt, he realized that Eleonora had changed. She was no longer angry, there was just a hint of contempt. One morning—Nino said, breathlessly—she asked if I had left you. I said yes. And she said: All right, I believe you. She said it just like that and from then on she began to pretend to believe me, pretend. Now we live in this fiction and things are working well. In fact, as you see, I’m here with you, I sleep with you, if I want I’ll go away with you. And she knows everything, but she behaves as if she knew nothing.

My room had a balcony where I could watch the setting sun flood the desert floor and burnish the golden slopes of the MacDonnell Ranges beyond – or at least I could if I looked past the more immediate sprawl of a K-Mart plaza across the road. In the two million or more square miles that is the Australian outback, I don’t suppose there is a more unfortunate juxtaposition. Allan was evidently held by a similar thought, for a half hour later when we met out front he was staring at the same scene. ‘I can’t believe we’ve just driven a thousand miles to find a K-Mart,’ he said. He looked at me. ‘You Yanks have a lot to answer for, you know.’ I started to protest, in a sputtering sort of way, but what could I say? He was right. We do. We have created a philosophy of retailing that is totally without aesthetics and totally irresistible. And now we box these places up and ship them to the far corners of the world. Visually, almost every arrestingly regrettable thing in Alice Springs was a product of American enterprise, from people who couldn’t know that they had helped to drain the distinctiveness from an outback town and doubtless wouldn’t see it that way anyway. Nor come to that, I dare say, would most of the shoppers of Alice Springs, who were no doubt delighted to get lots of free parking and a crack at Martha Stewart towels and shower curtains. What a sad and curious age we live in. We

There was Brunhilde, a star shining high above the hillside behind her, dark, rippling hair hanging below her waist, standing in full command, spear in hand. Constance could not help thinking the star so large and bright might have shone over Bethlehem. She was momentarily grateful for her veil, not only for the concealment of her identity but also of her amused response to the scene before her. She struggled to contain herself as her eyes moved to the second vignette: here was fair Juliet, standing beneath rather than on her balcony, garbed in simple lines, her head wreathed in flowers, a cross of stars high above her. Ah, those star-crossed lovers, thought Constance. Again, she was glad that she could hide her amusement. How clever these women, she thought. The third was Semiramis, a quarter moon low above the exotic turrets behind her crowned head, a long-handled fan in her hand, like the fan of a servant. How should Constance interpret this? At once she noticed the replication of the shape of Brunhilde’s spear, but it was enlarged. Semiramis, the queen who had served for her son yet had conquered her foes and enlarged her kingdom. And was this moon waxing or waning? Rising or setting? Or perhaps the enigma of a waxing moon rising. Ah, somehow that was comfort. Last, before a rising sun, framed by trees that reached out to touch one another, stood Pocahontas, her costume appearing authentic, a feather in her headdress, the emblematizing dawn of a new age, a new woman in a new world. May it be so, thought Constance.

A school bus is many things. A school bus is a substitute for a limousine. More class. A school bus is a classroom with a substitute teacher. A school bus is the students' version of a teachers' lounge. A school bus is the principal's desk. A school bus is the nurse's cot. A school bus is an office with all the phones ringing. A school bus is a command center. A school bus is a pillow fort that rolls. A school bus is a tank reshaped- hot dogs and baloney are the same meat. A school bus is a science lab- hot dogs and baloney are the same meat. A school bus is a safe zone. A school bus is a war zone. A school bus is a concert hall. A school bus is a food court. A school bus is a court of law, all judges, all jury. A school bus is a magic show full of disappearing acts. Saw someone in half. Pick a card, any card. Pass it on to the person next to you. He like you. She like you. K-i-s-s-i . . . s-s-i-p-p-i is only funny on a school bus. A school bus is a stage. A school bus is a stage play. A school bus is a spelling bee. A speaking bee. A get your hand out of my face bee. A your breath smell like sour turnips bee. A you don't even know what a turnip bee is. A maybe not, but I know what a turn up is and your breath smell all the way turnt up bee. A school bus is a bumblebee, buzzing around with a bunch of stingers on the inside of it. Windows for wings that flutter up and down like the windows inside Chinese restaurants and post offices in neighborhoods where school bus is a book of stamps. Passing mail through windows. Notes in the form of candy wrappers telling the street something sweet came by. Notes in the form of sneaky middle fingers. Notes in the form of fingers pointing at the world zooming by. A school bus is a paintbrush painting the world a blurry brushstroke. A school bus is also wet paint. Good for adding an extra coat, but it will dirty you if you lean against it, if you get too comfortable. A school bus is a reclining chair. In the kitchen. Nothing cool about it but makes perfect sense. A school bus is a dirty fridge. A school bus is cheese. A school bus is a ketchup packet with a tiny hole in it. Left on the seat. A plastic fork-knife-spoon. A paper tube around a straw. That straw will puncture the lid on things, make the world drink something with some fizz and fight. Something delightful and uncomfortable. Something that will stain. And cause gas. A school bus is a fast food joint with extra value and no food. Order taken. Take a number. Send a text to the person sitting next to you. There is so much trouble to get into. Have you ever thought about opening the back door? My mother not home till five thirty. I can't. I got dance practice at four. A school bus is a talent show. I got dance practice right now. On this bus. A school bus is a microphone. A beat machine. A recording booth. A school bus is a horn section. A rhythm section. An orchestra pit. A balcony to shot paper ball three-pointers from. A school bus is a basketball court. A football stadium. A soccer field. Sometimes a boxing ring. A school bus is a movie set. Actors, directors, producers, script. Scenes. Settings. Motivations. Action! Cut. Your fake tears look real. These are real tears. But I thought we were making a comedy. A school bus is a misunderstanding. A school bus is a masterpiece that everyone pretends to understand. A school bus is the mountain range behind Mona Lisa. The Sphinx's nose. An unknown wonder of the world. An unknown wonder to Canton Post, who heard bus riders talk about their journeys to and from school. But to Canton, a school bus is also a cannonball. A thing that almost destroyed him. Almost made him motherless.

Marius’s A Midsummer Night’s Dream will close the season for us, and it’s a world premiere, so there will be much fanfare, for the handful of people still interested in these things. I think he’s done a fantastic job with it, but there are a host of problems with turning complicated stories into ballets. (Romeo and Juliet would be an exception. I would argue that the ballet is better than the play. If you disagree, it’s only because you’ve never seen the balcony scene pas de deux or you are made of igneous rock.) There are some obvious things that shouldn’t be made into ballets, like the life of Louis B. Pasteur or shark attacks. But a tale of warring fairies and love potions gone awry seems like it would be an easy match. Unfortunately, any story ballet is going to need pantomime and require acting, and here’s where we run into trouble. You try coming up with a very clear and specific gesture that indicates “Hey, why don’t you sprinkle the juice of that flower into the eyeballs of these characters” or “I’m really attached to this changeling child and you can’t have him” and you will see what I mean.

a shake. He was a problem, she couldn’t deny it. The infuriating man could unveil her activities without the slightest glance back over his shoulder. One who could destroy her plans—much too easily and much too quickly. Sure, she was an oddity; she knew that. But she should have been inconsequential to a man with his considerable status and power—a hiccup in his life. Maybe he had forgotten their whole little scene on the balcony by now. And with luck, the inconvenience she had caused him the previous night in the street fight would also soon leave his mind. With even more luck, she would find her father’s other murderers tonight, and be done with the whole affair before he exposed her escapades. “Aggie dear, are you all right? You look a bit flushed and preoccupied,” her aunt said, worry evident in her brow. “Does your headache bother you overly much?” Aggie forced a smile. “No, Aunt Bea, I am fine, just a little tired. You saw me earlier, and I could not get back to sleep today.” “Well, no surprise after the last year you

For her part, Kelly expressed warm feelings about Cooper as well. “He’s the one who taught me to relax during a scene and let the camera do some of the work,” she would recall. “On the stage you have to emote not only for the front rows, but for the balcony too, and I’m afraid I overdid it. He taught me the camera is always in the front row, and how to take it easy.

The film strives for charm but falls flat in its attempt,” he read aloud. “Although fiction generally requires some suspension of disbelief, the utter ridiculousness of the balcony scene gives me so much secondhand embarrassment I want to bleach my memory so I never have to think about it again. I have more chemistry with my bedroom lamp than the lead actors have with each other, and the dialogue sounds like that of a parody rather than an actual romantic comedy. If AI wrote and performed a movie, it would look like this.” He was quiet for a second before looking at me. “What the hell have you been doing with your bedroom lamp?” “Turning it on,” I said in response to his question. “Oh God. That was terrible.

Judith slid the disk into the drive. Seconds later, the film began. Close-up of the actress, twentysomething years old, dark lipstick, Chanel suit, looking straight at the camera. Clearly, seeing this was not to the septuagenarian’s liking. Her features tightened in an anxious expression. After the scene of the slit eyeball, she grabbed up the remote and hit STOP. She stood up sharply and went outside to pour herself some more champagne. Sharko and Lucie glanced at each other, then joined her on the balcony. The old voice was harsh, dry: “What do you want?” Sharko leaned against the railing, his back to the port and the amateur sailors polishing their craft down below. A hellish sun beat against his neck. “So was that your last film?” She nodded, her lips still pressed together.

Shakespeare's intention: he so carefully devised the balcony scene as prelude, and the farewell scene as post-consummation, in order to avoid embarrassing both the boy actor who created his Juliet and the audience.

Only now, standing with him, I realized it wouldn’t be enough. It would only hurt more now, knowing exactly what I could never have again. I would never make love with Seth again, never have these intimate moments of comfort and rapport. He wasn’t mine anymore. He never could be again.

gentlemen who were desirous of going with us, we all started westward, and after a pleasant trip arrived at Fort McPherson." Before he arrived at Fort McPherson, Cody was interviewed by the local press. Cody allowed, surely with tongue in cheek, that We have played New York until we forced Edwin Booth to go West. He said it would not do for him to try to buck against us, and he was right. I propose to [be] ... playing Shakespeare right through, from beginning to end, with Ned Buntline and Texas Jack to support me. I shall do Hamlet in a buckskin suit and when my father's ghost appears "doomed for a certain time," &c., I shall say to Jack, "Rope the cuss in, Jack!!" and unless the lasso breaks, the ghost will have to come. As Richard the Third I shall fight with pistols and hunting knives. In "Romeo and Juliet" I will put a half-breed squaw on the balcony, and make various interpretations of Shakespeare's words to suit myself. Shakespeare has had to endure many indignities over the years: bowdlerizations, bizarre directorial concepts, and costume choices of all kinds, but theatergoers, fortunately, were spared Hamlet in buckskin or the balcony scene in a Western saloon. On the other hand, it is possible that Cody, with his genius for showmanship, might have won over a whole new audience to the plays. During the run of The Scouts of the Prairie, Cody had not only overcome his initial stage fright but had developed enough self-confidence to feel comfortable onstage. Moreover, he knew that audiences responded favorably to him. Although he still did not consider himself an actor, he had begun to wear the more becoming mantle of "showman." Ned Buntline had all kinds

There’s a scene in one of the Twilight movies where Bella remains unmoving in a chair—riddled in heartbreak—while staring out the window watching the seasons pass before her eyes. And on my balcony, as the trees shed and deaden before giving new life to fresh blooms, I realized I’d lived the past three seasons of my life much the same way she did when she was deserted by love.

Arab retribution was swift and terrible. Six days after Deir Yassin, a bus convoy carrying eighty nurses and doctors headed toward Hadassah Hospital on Mount Scopus, set off slightly from the rest of Jewish Jerusalem. To get there, the convoy had to cross through Arab neighborhoods. Therefore, several armored cars escorted the buses. But the lead armored car hit a huge mine and tumbled into a crater, blocking the rest of the vehicles. Soon, Arab gunmen swarmed over the site, screaming, “Deir Yassin!” They began shooting at the trapped convoy, killing the passengers one by one. An attempt by the Haganah to rescue the trapped convoy failed. Some Arabs reached the vehicles and set them on fire, burning the passengers inside alive. The convoy’s agony was clearly visible to the civilians watching from rooftops and balconies around the city. The shooting went on for six hours, until the British finally authorized a force large enough to extricate the convoy. By the time they arrived at the scene of the devastation, there were only six survivors. It might have seemed that the episode that began at Deir Yassin the week before was over, but it was only beginning.

Michelle, the girls, and I visited a sprawling favela on the western end of Rio, where we dropped in at a youth center to watch a capoeira troupe perform and I kicked a soccer ball around with a handful of local kids. By the time we were leaving, hundreds of people had massed outside the center, and although my Secret Service detail nixed the idea of me taking a stroll through the neighborhood, I persuaded them to let me step through the gate and greet the crowd. Standing in the middle of the narrow street, I waved at the Black and brown and copper-toned faces; residents, many of them children, clustered on rooftops and small balconies and pressed against the police barricades. Valerie, who was traveling with us and witnessed the whole scene, smiled as I walked back inside, saying, “I’ll bet that wave changed the lives of some of those kids forever.” I wondered if that was true. It’s what I had told myself at the start of my political journey, part of my justification to Michelle for running for president—that the election and leadership of a Black president stood to change the way children and young people everywhere saw themselves and their world. And yet I knew that whatever impact my fleeting presence might have had on those children of the favelas and however much it might cause some to stand straighter and dream bigger, it couldn’t compensate for the grinding poverty they encountered every day: the bad schools, polluted air, poisoned water, and sheer disorder that many of them had to wade through just to survive. By my own estimation, my impact on the lives of poor children and their families so far had been negligible—even in my own country. My time had been absorbed by just trying to keep the circumstances of the poor, both at home and abroad, from worsening: making sure a global recession didn’t drastically drive up their ranks or eliminate whatever slippery foothold they might have in the labor market; trying to head off a change in climate that might lead to a deadly flood or storm; or, in the case of Libya, trying to prevent a madman’s army from gunning people down in the streets. That wasn’t nothing, I thought—as long as I didn’t start fooling myself into thinking it was anywhere close to enough.