Blank Frame For Quotes

Vision’s mostly a lie anyway,” he continued. “We don’t really see anything except a few hi-res degrees where the eye focuses. Everything else is just peripheral blur, just … light and motion. Motion draws the focus. And your eyes jiggle all the time, did you know that, Keeton? Saccades, they’re called. Blurs the image, the movement’s way too fast for the brain to integrate so your eye just … shuts down between pauses. It only grabs these isolated freeze-frames, but your brain edits out the blanks and stitches an … an illusion of continuity into your head.

We begin to climb and my husband catches up with me again, making one of the brief appearances, framed memories he specializes in: crystal-clear image enclosed by a blank wall.

What’s your heritage, anyway?” I said irritably, backing away, putting more space between us. He regarded me blankly, looking startled by the personal question, and as if he lacked a frame of reference for one.

I was a ghost, a skeletal frame of bones and sweat, a distraction for a night, barely something to cling to in the dark, a blank canvas on which to project whoever it was that they actually desired… I was a way station, a stopping-off point, to fill up and get off and move on.

Very suddenly there came back to my soul motion and sound—the tumultuous motion of the heart, and, in my ears, the sound of its beating. Then a pause in which all is blank. Then again sound, and motion, and touch—a tingling sensation pervading my frame. Then the mere consciousness of existence, without thought—a condition which lasted long. Then, very suddenly, thought, and shuddering terror, and earnest endeavor to comprehend my true state. Then a strong desire to lapse into insensibility.

The memory of human blood manifests now as a kind of visceral reaction to seeing people's veins and their necks. The skin on a neck appears to me as different from the skin anywhere else on a body. It seems as thin and consumable as rice paper wrapped around a sweet. It is too blank compared with skin everywhere else, as though it is asking to have marks made on it, like very expensive calligraphy paper, or cold-pressed Fabriano. Often, I wonder whether the urge I have to make art is the same as the urge to consume and destroy the blankness of a human neck. While at art college, I read that the best paper used by artists in the seventeenth century was made from the skins of lamb fetuses. This skin was soft and absorbent, and had an even texture right across its surface. For a long time, the process of creating art has been linked to the killing of living things. My dad, even, used fine silk stretched across wooden frames in his own work as a painter. Once, when we still had some of his pieces, I looked at the odd geometric shapes he created on a huge sheet and thought about all the silkworms who had had their cocoons torn open before they were able to become moths.

The old frame house down near the waterfront had never held so many people since the day it was put up. It must have been a pleasant place fifty years before: trees overhanging the limpid water, cows grazing in the meadows on both sides of the river, little frame houses like this one dotting the banks here and there. It wasn't a pleasant place any more: garbage scows, coal yards, the river a greasy gray soup. Dead-end blocks of decrepit tenements on one side of it, lumberyards and ice-plants and tall stacks on the other. The house was set far back from the street, hemmed in by the blank walls that rose around it. ("I Wouldn't Be In Your Shoes")

I finish off the wine and attempt to write. I must write, I have to write. Writing is why I’m here. I stare at my open notebook, blank for all but one badly drawn eye. A few swirls. The words I don’t know scratched over and over again. Surrounded by limp flowers. I long for my first writing office, the waiting area of the hair salon where my mother worked when I was a child. I wrote with such feverish abandon on that sagging couch between the dusty Buddha and the dustier fake flowers, beneath framed photos of women smiling under impossibly, painfully elaborate arrangements of hair. Clients would sit in waiting area chairs nearby, pretending to read magazines but all the while regarding me askance, a lanky child in a Swamp Thing T-shirt clutching her mermaid journal close, staring at them through bangs I barely ever let my mother cut. I was afraid she’d gouge out my eyes. Whatcha workin’ on there? they might ask me. Uncovering your secret shame, I thought. Don’t mind my daughter, my mother would say as she led them to a chair, tilted their heads back into a wash sink where they’d immediately close their eyes.

An artist adopts a radically different view regarding the importance of time than a businessperson does. Instead of perceiving time as a merchantable facet doled out incrementally according to marketplace demands, an artist portrays time as an agent of destruction. The irrevocability of time frames the human condition. Time might the medium of all human experience, but its passage obscures and eventually obliterates all human endeavors. Time unchecked leads to a blank slate of nothingness. Time’s destructive march towards meaningless is arrested through memory and art depicting humankind’s struggles and accomplishments.

I’m going to visit you every day. And then someday, when they find a way to reverse your condition scientifically, medically, we’ll buy some land with wonderful trees and build treehouses in every one of them. And we could have a bunch of kids, and read plays together, as a family, and on clear nights, we’ll look at the stars. Can you picture it? And if you decide you don’t want kids, Totally okay, totally fine. We’ll read every book and watch every show and sleep in and travel and make money and art and love all the time, whenever we want. Or we could adopt a couple big dogs. You’ve always wanted big dogs, right?” Lewis stared at her blankly as his tail swished in the surf behind him. “Why aren’t you saying anything? Please say something,” Wren begged, clutching him harder. “I’m not the person I used to be. I’m not the man you married.” “What do you mean?” Lewis wished he could embrace her back, wrap two human arms around her small, shivering frame. He tried to do the best he could with words: “It’s like standing in my childhood bedroom, looking around at the comic books, action figures, and school yearbooks with signatures from all the girls, and remembering how that tiny room used to be my only stake in the world. I don’t know how else to explain it. There are things I cannot unsee.

When Lauren returned from lunch there were two dozen breathtakingly gorgeous red roses in a vase on her desk. She removed the card from its envelope and stared at it in blank amazement. On it was written "Thank you, sweetheart," followed by the initial J. When Lauren looked up,Nick was standing in the doorway,his shoulder casually propped against the frame. But there was nothing casual about the rigid set of his jaw or the freezing look in his gray eyes. "From a secret admirer?" he asked sarcastically. It was the first personal comment he had addressed to her in four days. "Not a secret admirer exactly," she hedged. "Who is he?" Lauren tensed. He seemed so angry she didn't think it would be wise to mention Jim's name. "I'm not absolutely certain." "You aren't absolutely certain?" he bit out. "How many men with the inital J are you seeing? How many of them think you're worth more than a hundred dollars in roses as a way of saying thank you?" "A hundred dollars?" Lauren repeated, so appalled at the expense that she completely overlooked the fact that Nick had obviously opened the envelope and read the card. "You must be getting better at it," he mocked crudely. Inwardly Lauren flinched, but she lifted her chin. "I have much better teachers now!" With an icy glance that raked her from head to toe,Nick turned on his heel and strode back into his office. For the rest of the day he left her completely alone.

I grab one of the lanterns we’ve left in the mudroom and head toward my parents’ room, expecting Ryder to follow. But he pauses at the bottom of the stairs. “I guess I should…you know. The guestroom. Should be safe upstairs now.” I just stare at him, trying to decide if he’s serious. But then he reaches for the banister, and I realize he is. “You don’t have to,” I say, my cheeks flushing hotly. “I mean…I’m fine with you down here. With me.” I can’t believe I just said that. But, jeez, everything’s so awkward now. “You sure?” he asks, taking a step toward me. I shift my weight from one foot to the other. “Yeah, I’m…you know, getting used to having you around. Anyway,” I say breezily, “we might get some more severe stuff tonight. Probably shouldn’t take any chances.” Oh my God, I’m practically begging him to stay with me. What is wrong with me? “You’re probably right,” Ryder says, relenting. I try to think of something clever to say, but come up blank. So I turn and stalk off to my parents’ room instead. Ryder finds me in the bathroom, brushing my teeth with bottled water. He stands in the doorway, leaning against the wooden frame, watching me. Our gazes meet in the mirror--which, of course, makes gooseflesh rise on my skin. I spit in the sink and take a swig of water to rinse. “Jem?” I turn, the marble countertop digging into my back. He moves toward me, closing the distance between us. I sway slightly on my feet as he reaches for me, his dark eyes filled with heat. His gaze sweeps across my face, warming my skin, making my breath catch in my throat. Oh man.

They started calling people my grandfather’s age “generation ink”. He represents the era when extensive tattoos tipped into the mainstream. Now the old men and women sit together in the lounge room of my grandfather’s nursing home, watching daytime television. They don’t watch sport. Tattoos from their wrist to shoulders and across their chest, snake beneath their woolen cardigans and cotton shirts. Withered souls eternally painted in often incomprehensible scrawling. Faded colours. But that’s not to say that they regret getting inked. Far from it. It’s a part of who they are. As real and as precious as the blank skin they were born with. Their tastes in music haven’t mellowed either. They slowly approach the sound-system, leaning on their walking frame, and skip to songs by Pantera and Sepultura. Or Metallica, Slayer and Iron Maiden. My grandfather enjoyed punk and post-rock bands like Millencolin, Thursday, Coheed and Cambria or At The Drive-In.

I’m going to visit you every day. And then someday, when they find a way to reverse your condition scientifically, medically, we’ll buy some land with wonderful trees and build treehouses in every one of them. And we could have a bunch of kids, and read plays together, as a family, and on clear nights, we’ll look at the stars. Can you picture it? And if you decide you don’t want kids, Totally okay, totally fine. We’ll read every book and watch every show and sleep in and travel and make money and art and love all the time, whenever we want. Or we could adopt a couple big dogs. You’ve always wanted big dogs, right?” Lewis stared at her blankly as his tail swished in the surf behind him. “Why aren’t you saying anything? Please say something,” Wren begged, clutching him harder. “I’m not the person I used to be. I’m not the man you married.” “What do you mean?” Lewis wished he could embrace her back, wrap two human arms around her small, shivering frame. He tried to do the best he could with words: “It’s like standing in my childhood bedroom, looking around at the comic books, action figures, and school yearbooks with signatures from all the girls, and remembering how that tiny room used to be my only stake in the world. I don’t know how else to explain it. There are things I cannot unsee.

How?” Dr. Tuttle asked. “Slit her wrists,” I lied. “Good to know.” Her hair was red and frizzy. The foam brace she wore around her neck had what looked like coffee and food stains on it, and it squished the skin on her neck up toward her chin. Her face was like a bloodhound’s, folded and drooping, her sunken eyes hidden under very small wire-framed glasses with Coke-bottle lenses. I never got a good look at Dr. Tuttle’s eyes. I suspect that they were crazy eyes, black and shiny, like a crow’s. The pen she used was long and purple and had a purple feather at the end of it. “Both my parents died when I was in college,” I went on. “Just a few years ago.” She seemed to study me for a moment, her expression blank and breathless. Then she turned back to her little prescription pad. “I’m very good with insurance companies,” she said matter-of-factly. “I know how to play into their little games. Are you sleeping at all?” “Barely,” I said. “Any dreams?” “Only nightmares.” “I figured. Sleep is key. Most people need upwards of fourteen hours or so. The modern age has forced us to live unnatural lives. Busy, busy, busy. Go, go, go. You probably work too much.” She scribbled for a while on her pad. “Mirth,” Dr. Tuttle said. “I like it better than joy. Happiness isn’t a word I like to use in here. It’s very arresting, happiness. You should know that I’m someone who appreciates the subtleties of human experience. Being well rested is a precondition, of course. Do you know what mirth means? M-I-R-T-H?” “Yeah. Like The House of Mirth,” I said. “A sad story,” said Dr. Tuttle. “I haven’t read it.” “Better you don’t.

At some point, potential had to be realized, or you simply ended where you began: a blank, empty, meaningless frame of white, waiting for effort to give it meaning.

automatically. What are the characteristics of your surroundings, and which of these are significant to you? Are there certain views across some lawns, over some factories, or down a street that you habitually look at? Do they elicit pleasure, revulsion, or depression? Or are you intrigued by more abstract responses, such as color relationships, repetitive patterns, or sequences of overlapping forms? What time of day is it? Or doesn’t that matter? (See fig. 14.) What is your viewpoint? Are you observing your subject from below some high cliffs, or are you standing on an elevated subway platform? Do you see ten miles of verdant farmland, a gas station, or a piece of newspaper caught between trash cans by the curb? How much of the view should you include? Here you have to employ another example of editing. To draw everything indiscriminately may be too complicated or too boring, or both. If you’re in doubt about where to set the limits of your composition, use an empty 35mm slide frame. By moving it around and holding it at varying distances from your eye, you can isolate the section of what you’re looking at that interests you the most.

Back in my cabin I asked the library computer for hard copy of Chapter One, but instead of getting something out of a slot, I was answered by "Press READY on slate." There was a thin, blank, white panel, the size of a sheet of office stationery, resting on a frame at the console. Indeed it had a small square marked READY on its corner, and when I pressed it the panel displayed the title, author, and so on in black on white, various data-search key words, and the phrase, BOOK LOADED. I found that from then on I could take that "slate" anywhere and have it display any page of the book on command. The display was a liquid crystal, and evidently the slate's memory was capable of storing more than a hundred thousand words.

No, I work for the newspaper, the Miami News. The hip-hopper's stare was blank. "What channel?" The future of my chosen profession looked bleak.

Another thing to do is to freeze frame the memory. I know that sounds crazy at first, but the best thing to do then is to jump to the end, freeze-frame it and literally grab a whiteness knob in your mind and turn it very quickly so that it goes blank-out white, phhhhhp. Very quickly, so the whiteness literally replaces the memory so you can’t see it.

A window opening on nothing but the blank sky was endlessly attractive to me; if I watched long enough, a bird or a cloud would appear within the frame, and I watched with patience.

The reason why we can’t see our eyes moving with our own eyes is because our brains edit out the bits between the saccades—a process called saccadic suppression. Without it, we’d look at an object and it would be a blurry mess. What we perceive as vision is the director’s cut of a film, with your brain as the director, seamlessly stitching together the raw footage to make a coherent reality. Perception is the brain’s best guess at what the world actually looks like. Immense though the computing power of that fleshy mass sitting in the darkness of our skulls is, if we were to take in all the information in front of our eyes, our brains would surely explode.** Instead, our eyes sample bits and pieces of the world, and we fill in the blanks in our heads. This fact is fundamental to the way that cinema works. A film is typically 24 static images run together every second, which our brain sees as continuous fluid movement—that’s why it’s called a movie. The illusion of movement actually happens at more like 16 frames per second. At that speed, a film projection is indistinguishable from the real world, at least to us. It was the introduction of sound that set the standard of 24 frames per second with The Jazz Singer in 1927, the first film to have synchronized dialogue. The company

Raising his fist, Hayder knocked on the condo door but didn’t wait for an answer. Being the pride’s beta gave him certain liberties, such as access to all the units in the building— a building owned and managed by, you guessed it, the pride. Slapping his hand on the control panel alongside the door, he waited for the telltale click before turning the handle to open it. In he walked, uninvited, only to stop dead. Almost literally, and with good reason, given a gun wavered in front of his face. Bullets fired point-blank never boded well. However, the weapon wasn’t the most shocking thing he faced. No, that was reserved for the possessive growl of his lion and the unwavering sureness that gobsmacked him when he caught the scent of the gun wielder. A woman. But not just any woman. Mine. Our mate. Uh-oh. Like most shapeshifters, Hayder had heard of the so-called certainty that hit certain couples when they first met. The zing of awareness. The moment of recognition. Or, in his case, the slam and resounding clang of a door on a cell labeled Monogamy. Argh. Not the dreaded M word. A cowardly lion might have run away, but Hayder wasn’t one to fear anything, especially not the short and trembling woman in front of him. Barely reaching his chin with deep brown hair held back in a ponytail, she didn’t possess a fearsome mien. On the contrary, everything about her appeared soft and delicate, from the silky smoothness of her skin and the long lashes framing the biggest brown eyes to her cupid’s-bow lips, pursed and pink. She was also, judging by her scent, a Lycan. Cats and dogs aren’t supposed to mix. But tell that to his lion, who urged him to give her cheek a lick to say hello. Uh, no. Somehow slobbering over a woman, armed with a gun, didn’t seem appropriate. Introductions, though, might help. “Are you Jeoff’s sister?” he asked when she didn’t seem inclined to speak. Nor did she lower her weapon, but he allowed it for the moment. The acrid stink of fear rolled off her and agitated his lion. She fears. Feared him and Hayder didn’t like it one bit. “Who are you? What do you want?” Her words might have proven more forceful if they’d emerged less breathy and high pitched. “I’m Hayder.” He might have said more, like I am the most awesome beta the pride could ever hope for. He could have boasted he was a lion with a mane only slightly less impressive than that of Arik, the alpha king. He might have probably said something witty and flirty too, if she hadn’t almost shot him!

In the field of decision analysis, the utility or value that a person assigns to a particular outcome is termed his "preference." Researchers have found that patients often construct their preferences on the spot when the doctor gives a diagnosis and recommends a treatment. Such patients are something of a "blank slate" upon which the doctor can "write" his or her own preference. In this setting, the patient is especially susceptible to how the physician frames the pros and cons both the treatment. (p57)

Here on Frogmore, those who govern share a set of cultural practices and values entirely alien to the various cultural groups that together make up a super-majority population. Each member of that super-majority is in theory “allowed” to live in accordance with their cultural traditions and customs. In practice, however, they are in every respect treated as isolated monads assumed to share the cultural values and practices of the rulers. This assumption effectively strips them of their culture in every important context, rendering their cultural context invisible, allowing the rulers’ cultural values to be projected onto them as though they were blank slates. Thus, their voices are inaudible and unintelligible when the policies that affect them are being framed. And thus justice, in the rulers’ courts of law, is an utter impossibility.

Who is the handsome black man you were standing with?” “He says he is a business associate of the Hadrah." "What’s his name?" My Valet enquired. I just looked at Andy blankly. I hadn’t a clue. “The Nubian?” I framed my response as a question.

At some point, potential had to be realized, or you simply ended where you began: a blank, empty, meaningless frame of white, waiting for effort to give it meaning. She

Everything okay?” Hunter called to me. He sounded like a noncommittal friend asking after my health. I looked like a crazy person sitting at the table after everyone else had left, staring at “The Space Between.” I was going to sound like a crazy person no matter what I said to him next. It had to be said. I stood with my book bag, swept up “The Space Between” without a single mark on it, and crumpled it in one fist. Rounding the table, I showed his story at his chest. He took the wad of paper. “What’s the matter?” he asked innocently. I thought of Sumer, Manohar, and Brian just outside the door, listening. I did not want them to hear this. But if I asked Hunter to step away from the door and close it so we could have a private conversation, I would be showing him how much I cared. I was through with that. I moved even closer to him and met his gaze. “I’m below you?” “I don’t know what you’re talking about,” he said evenly, looking me straight in the eye, obviously waiting at the door for exactly this altercation, which proved he did in fact know what I was talking about, and I had had enough. “I’ll tell you what I’m talking about.” I touched the thumb of my opposite hand. “I wrote a story about how much I liked you. I never meant for you to read it.” I touched my pointer finger. “You wrote a story about how much you hated me.” Hunter’s grin melted from his face. He took a breath to say something. “No, you’re right,” I interrupted him. “Not one story. You wrote three stories like that.” I touched my third finger. “I wrote a story about my mother, hoping we could talk about it.” I touched my fourth finger. “In response, you wrote a story about looking down on me.” I touched my pinkie, really banged on it with my other finger, until I bent it backward and hurt it. “Don’t write any more stories about me, Hunter. And I won’t write any more stories about you. Deal?” I whirled toward the door. “Wait,” he said. Whatever. I’d reached the threshold. The light was brighter in the hallway, and Summer, talking to Manohar and Brian, looked up at me with concern in her eyes. “Erin.” His hot hand was on my shoulder. He pulled me back into the room, against the door, out of their line of sight. He leaned close. This must have been because he didn’t want the others to hear, but I could almost have pretend that he wanted to be near me as he growled against my cheek, “If that’s all you got from my story, that I hate you, you’re not a careful reader.” Even though my heart raced with his closeness, I tilted my head and stared at him blankly. “I don’t know what you’re talking about.” Two could play that game. I rolled away from him and stepped around the door frame. He caught me and pulled me back again. Pinned me against the door. Crushed my lips beneath his.

Entirely out of patience, Dr Caldwell reaches out her hand to pick up the scalpel again. But right then, something happens that makes her stop. Two things, really. The first is an explosion, loud enough to make the windows rattle in their frames. The second is an ear-splitting scream, like a hundred people shrieking all at the same time. Dr Selkirk’s face looks first blank, then terrified. “That’s general evacuation,” she says. “Isn’t it? Isn’t that the evacuation siren?” Dr Caldwell doesn’t waste time answering her. She crosses to the window and hauls up the blinds. Melanie

Therefore, if anyone is in Christ, the new creation has come: The old has gone, the new is here! —2 Corinthians 5:17 (NIV) It’s amazing what a few gallons of butter-yellow paint can do for your soul. As I stepped out of a difficult year that included financial hardship and a painful divorce, I wanted my home to reflect not only my survival, but also my hope and renewed joy. I got rid of every painting and hung up blank white canvases waiting for colors and inspiration. Old photos were taken down and new ones were framed. My dingy linoleum floors were covered by bright laminate wood, and the dining room chairs were newly dressed in dark, childproof upholstery. As my home was undergoing its slow rebirth, I asked advice from carpenters who had come to my church on a missions trip from North Carolina. “I’m thinking of building a loft bed for my boys,” I said. I wanted them to have space for all their toys. “Is it safe to use my old bed frame to build it?” “Why don’t you wait till we get back to New York City next month?” they responded. I waited and painted my sons’ walls the color of sunny skies, and when the team finally returned they had a surprise waiting for me: the loft bed! I was overwhelmed by their generosity and love. As they installed the bed, I could feel God’s hand in it. He’d done so much to transform me on the inside and now He was helping me transform everything else. Lord, thank You for the gift of renewal. —Karen Valentin Digging Deeper: Rom 12:2; 1 Pt 1:13

Vision’s mostly a lie anyway,” he continued. “We don’t really see anything except a few hi-res degrees where the eye focuses. Everything else is just peripheral blur, just … light and motion. Motion draws the focus. And your eyes jiggle all the time, did you know that, Keeton? Saccades, they’re called. Blurs the image, the movement’s way too fast for the brain to integrate so your eye just … shuts down between pauses. It only grabs these isolated freeze-frames, but your brain edits out the blanks and stitches an … an illusion of continuity into your head.

Regardless of how your designs were created, InVision and Marvel allow you to easily turn them into functional prototype websites. With InVision, you upload your page designs, and then link them together to make the website navigable. Then, you can carry out user tests on what, to the users, appears to be a real website, even though it hasn’t seen a smidgen of code. InVision also allows other people to give written feedback on your work-in-progress designs. You upload your designs, and then invite others to annotate them with whatever type of feedback you desire. Notable has similar functionality. Alternatives include Firefly and BugHerd. The Composite app connects to Photoshop files, turning them into clickable prototypes. To gather feedback on your work-in-progress videos, you can use Frame.io, a fantastic web-based platform. Alternatives include Wipster, Symu, Vidhub, and Kollaborate. Such services provide great benefits; it’s hard to gather and record such feedback even when everyone’s in the same room. Optimal Workshop provides several tools (OptimalSort, Treejack, and Chalkmark) to help you optimize your website’s navigation and information architecture. The tools are described in our article about card sorting. Alternatives for card sorting include SimpleCardSort, UsabiliTEST, and Xsort.

There are several books on Walter Potter---one is called Sweet Death: A Feast With Kittens; another, The Victorian Visionary: Inventor of Kitsch. There are some on carnivals, fairgrounds, prison murals, prison art, and a hefty book with a title in gold, Portraits of Icons: From Alexamenos Graffito to Peter Blake's Sgt. Pepper. There are also books I have seen before, books I used to, until very recently when I lost my suitcase, own. One is a book on the abstract expressionist Bernice Bing; colors from her piece Burney Falls cascade down the spine---deep red, tinged with orange, outlined in black against white, brown and peach like skin. There's a book on the performance artist Senga Nengudi too, and another on the painter Amrita Sher-Gil. I take this last one off the shelf, and it falls open to a middle page, which has a picture of her painting Three Girls on it. I stand there for a moment, looking at the three girls' faces: calm, patiently waiting. They are huddled close together, as though perhaps they are sisters, but I don't think they could be; they look too different. I had a postcard of this painting taped to my wall while I was growing up. It was blank on the other side, but I kept it because I had found it tucked in the wooden frame of one of Dad's paintings. It went missing at some point, but while I had it, I looked at it often and felt that I knew---like really knew, as though I had a sense about these things---that the girls depicted were vampires, and that they were still out there in the world, looking exactly the same as when Sher-Gil painted them in 1935, and that I would one day meet them. The painting, I decided when I was a child, depicted the three girls quietly waiting for three brothers to come out of a house so that they could eat them.

I nod. “Yeah, I’ve gotten into raunchy hand lettering.” He laughs out loud, his head falling back. “What do you mean by raunchy?” “Well, I started out with inspirational quotes, because that’s what all the books teach you. I like to write on blank cards and send them to people. Well, ‘Believe in Yourself’ was getting boring, so I took up more raunchy sayings. You know how ladies are now cross-stitching swear words? Consider that me, but with a calligraphy pen.” “That’s amazing. Tell me one of your favorites.” We move forward in line as I think about it. “Well, last night I made a sign for my bathroom, which reminds me I need to get a frame for it. It says, ‘Please don’t do coke in the bathroom.’” Linus chuckles. “That’s a reasonable request.” “I sent a card to my brother that said, ‘Don’t be a douche canoe.’ I drew a little canoe in the middle. He liked it a lot. There’s just something special about using pretty handwriting to say rotten things.

Katz contends that before the advent of recording, vibrato added to a note was considered kitschy, tacky, and was universally frowned upon, unless one absolutely had to use it when playing in the uppermost registers. Vibrato as a technique, whether employed in a vocal performance or with a violin, helps mask pitch discrepancies, which might explain why it was considered “cheating.” As recording became more commonplace in the early part of the twentieth century, it was found that by using a bit more vibrato, not only could the volume of the instrument be increased (very important when there was only one mic or a single huge horn to capture an orchestra or ensemble), but the pitch—now painfully and permanently apparent—could be smudged by adding the wobble. The perceptibly imprecise pitch of a string instrument with no frets could be compensated for with this little wobble. The mind of the listener “wants” to hear the correct pitch, so the brain “hears” the right pitch among the myriad vaguenesses of pitch created by players using vibrato. The mind fills in the blanks, as it does with the visual gaps between movie and video frames, in which a series of stills creates the impression of seamless movement. Soon enough, conventional wisdom reversed itself, and now people find listening to classical string playing without vibrato to be painful and weird.

Every nation has a narrative—a story composed of historical interpretations, deletions, and fabrications that engender beliefs and traditions. And every national narrative has a “bad guy,” a scapegoat to take the blame for group and national failings, a bad guy against whom to unite the whole, to serve as a symbol of what the nation is not—thereby defining what the nation is. The antiwhites are products of this narrative, and the bad guy is my people, our people, the White race and our biospiritual expression: Western Civilization. Our most vulnerable members—our children—are the narrative’s primary victims. The Regime can never permit us to escape the role as the bad guy. It’s too important to the narrative. The narrative explains, defines, frames, and predicts the world as seen through the Regime’s self-serving lens. It also unites the diverse peoples that live in our countries. Without a common enemy at whom to direct unifying anger, an enemy who “oppresses” and “exploits” them, they would turn on one another—as has already begun in many areas where we are too few to blame. This Antiwhite Narrative cannot be altered, and it will not end well for us and our children. Either we jump off the pages of the narrative that stigmatizes us as the bad guy, the scapegoat, or we follow that story to its grisly conclusion. Our alternative is the pen and the blank page on which to write our own story, a story where we are not demonized for embracing our dignity, identity, and inheritance, where we are not vilified and discriminated against, where we can practice our culture, civilization, and religions the way we want to practice them, without being made to feel guilty for our preferences and history—a story where we are the good guys, the heroes, and where we have a future that is bright and safe for our children.

The heroine's journey, or her lack of one, serves as a reminder that whatever is dictated is not eternal, not predestined, not necessarily "true." The trajectory of literary women from brave to blank to bitter is a product of material social conditions. The fact that the heroine's journey is framed as a default one for women is proof of our failure to see, for so long, that other paths were possible, and that many other ones exist.

On that June 1957 morning, the eight men didn’t have an official contract, so instead they all signed a crisp dollar bill. One by one, these technology pioneers—Robert Noyce, Julius Blank, Victor Grinich, Jean Hoerni, Eugene Kleiner, Jay Last, Gordon Moore, and Sheldon Roberts—added a signature to their own declaration of independence, framing what would be a history-making choice: they would pursue their visionary ideas inside the structure of a new, innovative company.

Hey, Violet!” I jump, jolted out of my thoughts, to see Evan standing in front of me, holding out his hand. “Wanna dance?” he’s saying. I stare at him blankly. Then, around the side of his big frame, I see Kendra being waltzed around the terrace by some boy I don’t know. “Ev!” Paige reprimands her brother, giggling. “You say, ‘May I have the pleasure of this waltz?’” Evan goes one better: he bends over in an awkward bow as he repeats the words. I don’t feel remotely like dancing, but how can I possibly say no? So I take his hand and make a sound like “Oof!” as he pulls me toward him. I put my other hand up on his high wide shoulder and do my best to follow him as we trip and stumble at first, trying to get the one-two-three rhythm of the waltz. I’m mainly worried that he’ll tread on my feet, but he doesn’t, by some miracle, and gradually we sort of get it; I look up at him and he’s grinning down at me. “Paige dared me to ask someone to waltz,” he says confidingly, “and I picked you ’cause you’re such a good dancer.” “Thank you!” I say, flattered. “No, thank you,” he says, swinging us in a semicircle to make a turn and avoid crashing into the wall of the castello. “You’re actually kinda making me look like I know what I’m doing.

Trump was made for these moments, having spent decades mastering camera angles and production quality, distorting his expressions and gestures for maximum dramatic impact. He was having the time of his life. Bush was not. Awkward and reticent, with his six-foot-four frame coiling into itself due to poor posture, the former governor was already sore about having to compete with the Judas known as Rubio. Now he was forced to endure the indignity of sharing top billing with a man who had spent the last year mocking his family. Trump could read the repulsion on his rival’s face. At one commercial break, he turned to Bush. “Jeb, how you doing?” he asked. “I’m fine, Donald.” “So, where are you going after this?” “Headed to New York for some fund-raising events tomorrow.” Trump beamed. “You want a ride? I’ve got my plane here. We’re heading back tonight.” Bush stared blankly. “No. I’m good. We’ve got a ride.” “You sure?” Bush nodded briskly. “Okay. Let me know if you change your mind.” Trump, feet still positioned perfectly over his stage mark for the television cameras, turned toward his family in the front row and winked. It was a down payment on the space he would occupy inside Bush’s head for the duration of the campaign.

And turn no whither, but must needs decay And drop from out the universal frame Into that shapeless, scopeless, blank abyss, That utter nothingness, of which I came: This is it that has come to pass in me; Oh, horror! this it is, my dearest, this; So pray for me, my friends, who have not strength to pray.

There's something in Coach's tone that freezes me in place before her sparsely decorated desk. Beside her laptop, she always keeps a current team picture and a framed, signed Julie Chu puck. And they aren't there now. In fact, the desk calendar has been torn off to a blank sheet and the whiteboard on the wall, usually crowded with lines and drills has been scrubbed clean.

Another message comes in. This time it’s a video. It’s exactly the same scene as the picture, only not a still frame. With his eyes still on the camera, he drags a fingertip down my cheek. “Lily, Lily, Lily, wake up for me.” I moan in my sleep, but lift my head toward his voice. “Come on, baby, open your eyes for me.” I watch my lids flutter, another soft sound escaping. Randy’s not looking at the camera any more, he’s focused on me. “There you are. Didn’t I tell you? No time for sleeping tonight.” “No time,” I murmur. “That’s right. Where am I supposed to be right now?” His voice is whisper quiet, his chest rising and falling faster as I lift my head, blinking blearily up at him. My lips curve into a coy smile. “Inside me.” The video goes blurry when his mouth finds mine. His groan is the last thing I hear before the screen goes blank.

I liken mothers who help raise their grandchildren as the empty pages and white spaces inside a book, the extra pages at the beginning and end of the books, the white space found at the end of chapters. Readers flip through these sections, unaware of the necessary roles these spaces play in the construction of the story itself, these vital, invisible parts that hold the story together. Most readers unconsciously disregard these blank spaces, choosing instead to focus on the story's visible drama and characters, unaware that empty pages and spaces serve to mold a story into a meaning retelling. White space in a book frames its story.