Bleed On Paper Quotes

Now I know that our world is no more permanent than a wave rising on the ocean. Whatever our struggles and triumphs, however we may suffer them, all too soon they bleed into a wash, just like watery ink on paper.

We are writers, my love. We don't cry; we bleed on paper.

I think myself cured of all spite, but when I touch pen to paper, the hurt of a boy bleeds out with sea-spawned ink, until I suspect each carefully formed black letter scabs over some ancient scarlet wound.

All I had to do was open a book - to see the stories bleeding from page to page. To see the memories etched onto paper.

Any messages for me?" Usually I got one or two, but mostly people who wanted my help preferred to talk in person. "Yes. Hold on." She pulled out a handful of pink tickets and recited from memory, without checking the paper. "Seven forty-two a.m., Mr. Gasparian: I curse you. I curse your arms so they wither and die and fall off your body. I curse your eyeballs to explode. I curse your feet to swell until blue. I curse your spine to crack. I curse you. I curse you. I curse you.

I'm not saying I hate you right now; I'm saying that if I had a knife in my hand, you would be bleeding.

Looking at herself in the mirror, she never forgot that death was hovering behind that face. Faint yet tenacious, like black writing bleeding through thin paper.

His fingers, frozen in midfidget on his good knee, said PEOPLE AREN'T SUPPOSED TO ASK ME THAT. Either that or I HAVE JUST BEEN SHOT THROUGH THE PAPER SCREEN. He wasn't bleeding.

Whatever our struggles and triumphs, however we may suffer them, all too soon they bleed into a wash, just like watery ink on paper.

All words are written in the same ink, 'flower' and 'power,' say, are much the same, and though I might write 'blood, blood, blood' all over the page, the paper would not be stained now would I bleed.

My particular dread--the vivid possibility that left me staring at tree shadows on the bedroom ceiling night after night--was having to lie in a small tent, alone in an inky wilderness, listening to a foraging bear outside and wondering what its intentions were. I was especially riveted by an amateur photograph in Herrero's book, taken late at night by a camper with a flash at a campground out West. The photograph caught four black bears as they puzzled over a suspended food bag. The bears were clearly startled but not remotely alarmed by the flash. It was not the size or demeanor of the bears that troubled me--they looked almost comically nonaggressive, like four guys who had gotten a Frisbee caught up a tree--but their numbers. Up to that moment it had not occurred to me that bears might prowl in parties. What on earth would I do if four bears came into my camp? Why, I would die, of course. Literally shit myself lifeless. I would blow my sphincter out my backside like one of those unrolling paper streamers you get at children's parties--I daresay it would even give a merry toot--and bleed to a messy death in my sleeping bag.

As a young girl I believed my life would never have been a struggle if Mr.Tanaka hadn't torn me away from my tipsy house. But now I know that our world is no more permanent than a wave rising on the ocean. Whatever our struggles and triumphs, however we may suffer them, all too soon they bleed into a wash, just like watery ink on paper.

Emily woke to shadows and their voices. They looked different today, because the entire world hurt. The numbness had worn off sometime between sleep and awake, and she was seeing red. The shadows on the walls were not shadows at all, but red blobs consisting of teeth and claws. Her house reeked of pain. The whole world was fucking bleeding.

You may have bought my body, you may even have the papers to prove it, but don't fool yourself into thinking for a moment that my heart and mind were included in the purchase.

I wonder if I can write this history, or if on every page there will be some sneaking show of a bitterness I thought long dead. I think myself cured of all spite, but when I touch pen to paper, the hurt of a boy bleeds out with the sea-spawned ink, until I suspect each carefully formed black letter scabs over some ancient scarlet wound.

When a man bleeds inwardly, it is a dangerous thing for himself; but when he laughs inwardly, it bodes no good to other people.

You want poetry, first you have to muck in with humanity, you have to fight with paper and pencil for weeks and weeks until your heart bleeds: verses aren't channelled into your head by angels or muses or sprites of nature.

Torch strode over and stared at the fiver "What's this?" "Some change for you. Buy your flunkies some decent clothes." I dipped my fingers into the jar and smeared think fragrant paste on my face. Torch frowned, mirroring the expression on my aunt's face. "Change?" Oh, for crying out loud. "It's money. We don't use coins as currency now, we use paper money." He stared at me. "I'm insulting you! I'm saying your poor, like a beggar, because your undead are in rags. I'm offering to clothe your servants for you, because you can't provide for them. Come on, how thick do you have to be?" He jerked his hand up. A jet of flame erupted from his fingers, sliding against the ward. I jerked back from the windows on instinct. The fire died. I leaned forward. "Do you understand now?" More fire. "What's the matter? Was that not enough money?

I feel like a paper cut just waiting to bleed.

Good poets bleed their pain out in their words. They capture the desolation and the hopelessness of life and transcribe it to paper in a way that makes you feel like your throat’s just been cut. It’s visceral. All troubled souls have a favorite poet.

But now I know that our world is no more permanent than a wave rising on the ocean. Whatever our struggles and triumphs, however we may suffer them, all too soon they bleed into a wash, just like watery ink on paper.

We are writers, my love. We don't cry. We bleed on paper.

When my nose finally stops bleeding and I've disposed of the bloody paper towels, Teddy Barnes insists on driving me home in his ancient Honda Civic, a car that refuses to die and that Teddy, cheap as he is, refuses to trade in.

It is only when you open your veins and bleed onto the page a little that you establish contact with your reader. If you do not believe in the characters or the story you are doing at that moment with all your mind, strength, and will, if you don't feel joy and excitement while writing it, then you're wasting good white paper, even if it sells, because there are other ways in which a writer can bring in the rent money besides writing bad or phony stories.

The vampire gagged. The muscles of its neck constricted, widened, constricted again, and it disgorged a six-inch-long metal cylinder onto my desk. The bloodsucker grasped it, twisted the cylinder’s halves apart, and retrieved a roll of papers. “Photographs,” Ghastek said, handing me a couple of sheets from the roll. “That’s disgusting.” “He is thirty years old,” Ghastek said. “All his internal organs, with the exception of the heart, atrophied long ago. The throat makes for a very good storage cavity. People seem to prefer it to the anus.” Translation: be happy I didn’t pull it out of my ass. Thank the gods for small favors.

Your skin isn't paper, don't cut it. Do what I did, find something you love, and let that make you bleed

our world is no more permanent than a wave rising on the ocean. Whatever our struggles and triumphs, however we may suffer them, all too soon they bleed into a wash, just like watery ink on paper.

Look at that," he said. "How the ink bleeds." He loved the way it looked, to write on a thick pillow of the pad, the way the thicker width of paper underneath was softer and allowed for a more cushiony interface between pen and surface, which meant more time the two would be in contact for any given point, allowing the fiber of the paper to pull, through capillary action, more ink from the pen, more ink, which meant more evenness of ink, a thicker, more even line, a line with character, with solidity. The pad, all those ninety-nine sheets underneath him, the hundred, the even number, ten to the second power, the exponent, the clean block of planes, the space-time, really, represented by that pad, all of the possible drawings, graphs, curves, relationships, all of the answers, questions, mysteries, all of the problems solvable in that space, in those sheets, in those squares.

Yute told me a great writer once said that fiction was easy—all you have to do is sit in front of a blank page and bleed.” Livira snorted. “Yute said there was a people who took that literally. They wrote everything in blood, which he felt was trying too hard, but perhaps a good way to conserve paper and make sure you get to the point quickly.

I was especially riveted by an amateur photograph in Herrero’s book, taken late at night by a camper with a flash at a campground out West. The photograph caught four black bears as they puzzled over a suspended food bag. The bears were clearly startled but not remotely alarmed by the flash. It was not the size or demeanor of the bears that troubled me — they looked almost comically unagressive, like four guys who had gotten a Frisbee caught up a tree — but their numbers. Up to that moment it had not occurred to me that bears might prowl in parties. What on earth would I do if four bears came into my camp? Why, I would die, of course. Literally shit myself lifeless. I would blow my sphincter out my backside like one of those unrolling paper streamers you get at children’s parties — I daresay it would even give a merry toot — and bleed to a messy death in my sleeping bag.

I am a daydreamer.. I daydream a lot, and thus is when my wicked imagination emerges to bleed upon my paper...

Writing has always been therapy for me. When life cuts me, I bleed on paper.

I wanted to defeat Dr. Jacobs, to stand over him in triumph. Or, okay, at the very least, see him howling in immense pain and possibly— no, definitely, bleeding. See? Compromise. That really is the key to success.

What on earth would I do if four bears came into my camp? Why, I would die, of course. Literally shit myself lifeless. I would blow my sphincter out my backside like one of those unrolling paper streamers you get at children’s parties—I daresay it would even give a merry toot—and bleed to a messy death in my sleeping bag.

The level of violence finally forced the local paper to do what the local police would not: Talk to the victims. Shaina Perry remembers the punch to her face, blood streaming from a cut over her eye, her backpack with her asthma inhaler, debit card, and cell phone stolen, and then the laughter. They just said “Oh, white girl bleeds a lot,” said Perry, 22, who was attacked at Kilbourn Reservoir Park over the Fourth of July weekend.2

There are guys bleeding to death who don't know it, they're smiling, they're talking, they don't feel pain because they're in shock, they ask you for some water and then they're dead. On D-day I ran past a guy lying on his spilled guts with his eyes closed and his thumb in his mouth. Eisenhower's speech had been read to us over the loudspeaker by our commander when we crossed the channel that morning. What valor and inspiration were in his words- all about how we were embarked on a great crusade, that the hopes and prayers of a liberty loving people were going with us....I got gooseflesh when he asked for the blessing of almighty god on this great and noble undertaking. But how to reconcile that with spilled guts on a beach and flies in the eyes of some dead nineteen year old kid who traded his life for some words on paper?

An ax came through the door. Then two firefighters. They looked down at and assistant mall manager crying and wearing a melted toupee, sitting cross-legged next to a mall cop with a bleeding ankle and a mouth full of paper. One of the firefighters look at the other. "Not again.

Everyone who signed that piece of paper had a job to do, including me. Mine was to bleed.

Writing comes easy. All you have to do is stare at a blank piece of paper until your forehead bleeds." —Douglas Adams

Hemingway once said that ‘there is nothing to writing, you just sit down at a typewriter and bleed.’ What Hemingway failed to mention is that bleeding is the easy part. To cut is what makes writing hard. Sitting down to write and hitting that first key or touching the tip of your pen to that blank sheet of paper - that’s the hard part. Once you start - once you spill that first bit of ink and let it bleed into the page, the rest takes care of itself. There’s nothing to it. You just sit there and bleed until it stops. It is not for this reason, but it’s still interesting and worth mentioning that the word ‘write’ comes from the Proto-Germanic word ‘writan,’ which literally meant to scratch, tear, or cut.

Ink flows like blood from a freshly cut vein. My soul bleeds onto the paper. Bleeds and bleeds and bleeds until there's nothing left. Not a single word. Only when I'm empty do I see how to fill myself again, how to start being a whole person for once.

I sat on the floor of my room bleeding into a rolled-up piece of tissue paper and thinking about my own death. I was like an empty cup, which Nick had emptied out, and now I had to look at what had spilled out of me: all my delusional beliefs about my own value

Money was the blood of civilized society, its currents running through everything and everyone. Where money was insufficient, things withered. People starved, sickened and died, constructions eroded, even ideas perished. Where funds were plentiful, the same things blossomed with new life. And money was, in the end, little more than the product of collective imagination. A slip of paper or a coin had no value beyond that of the material it was fashioned of. It only took on a life of its own when people as a whole collectively agreed that certain papers and coins were worth something. Only then did people bleed and die for it. For a fantasy, a faith given form in hard, concrete numbers. Then again, much of society was built on a series of shared delusions. Clothing was little more than scraps of particular materials with particular geometries, but people clung to the idea of fashion. Style. Good and bad fashion was another belief system, one which all members of a culture were indoctrinated into. Breaking certain conventions didn’t only challenge the aesthetic sensibilities of others, but it challenged their sense of self. It reminded them, subconsciously, of the very pretendings they clung to. Only those with power could stand against society’s tides, flaunt the collective’s ‘safe’ aesthetic. When one had enough power, others couldn’t rise against them and safely say something calculated to reduce their own dissonance and remind the offending party of the unspoken rules. When one had enough power to take a life with a twitch of a finger, a thought, they earned the right to wear skin-tight clothing and call themselves Hero, or Legend. To wear a mask and name themselves something inane like ‘the Cockatoo’ and still take themselves seriously.

My question to readers accusing us of political correctness is: Why do you care so much about the attackers’ race? If you fear or dislike blacks, I suppose it would confirm your prejudice. But otherwise, it tells you nothing useful.20 Well, Mr. Steve Chapman, here’s one reason that we should care: when papers like the Chicago Tribune support affirmative action, racial quotas, and other race-based solutions to very difficult problems, asking for the paper to identify the assailants is one way of asking “How’s that working out for you?” On a more practical level, giving the details may help someone avoid being a victim of the next mob attack.

No one knows how often guns are used for self-defense. According to a Cato Institute white paper called Tough Targets, the number of crimes thwarted by guns every year ranges anywhere from tens of thousands to as high as two million. The work of author John Lott is the best place to go for more of this kind of information.15

Tom’s sergeant was shot six times by an assailant, while a bystander was struck twice. As the sergeant lay on the ground, bleeding, he asked for a slip of paper and scribbled on it a message for Ranger headquarters: “I am shot all to pieces. Everything quiet.” Somehow, he survived his wounds, but the innocent bystander died.

I never believed in marriage,” he said. “Ultimately, it’s just a stupid piece of paper, but I really, really want to sign that stupid piece of paper with your name beside mine. When our kids grow up, I want to be able to look at them and say, ‘You see that woman over there? She has some serious magic and somehow, I was the one who caught it all.’” His Adam’s apple bobbed. “What I’m trying to say is that I love you, Tessa Monte. I bleed for you. You’re the only woman in the world who can make me believe that love exists. The only woman in the world I’d ever want tied to me for an eternity. The only woman I could ever envision raising my children. Please marry me.

His feet went banging down some stairs. He closed his eyes. They went through cinders and dirt, his heels gathering small windrows of trash. A dim world receded above his upturned toes, shapes of skewed shacks erupted bluely in the niggard lamplight. The rusting carcass of an automobile passed slowly on his right. Dim scenes pooling in the summer night, wan ink wash of junks tilting against a paper sky, rorschach boatmen poling mutely over a mooncobbled sea. He lay with his head on the moldy upholstery of an old car seat among packingcrates and broken shoes and suncrazed rubber toys in the dark. Something warm was running on his chest. He put up a hand. I am bleeding. Unto my death.

I want to say that yes, it was worth it; that I could suffer through pain and torture for her and go through a lot more than what Puck and his friends are capable of, and I can do it for all of eternity; suffer, until she realizes how much I love her. But she’s gone before I can say any of it. I wait till she’s left. And then I reach for my wallet. Hidden inside one of the flaps is a piece of paper that barely conceals a razorblade. Its frayed edges still have my blood on them. The blood is from the previous cuts I’ve made and I carry it around like a trophy, like Dexter carries around his victims’ blood on slides. I use that blade to give myself a cut and it starts bleeding. Right away, it feels as though the pressure that has been building inside me ever since that confrontation with Puck is lifted. I feel free again.

After looking at the bite and seeing that the bleeding has already stopped, she asked, "How was making out with my leg?" "Pretty good," I said, which was true. She leaned her body into mine a little and I could feel her upper arm against my ribs. "I shaved this morning for precisely that reason. I was like, 'Well, you never know when someone is going to clamp down on your calf and try to suck out the snake poison.

I record the events of my life, filling up one notebook after another. Maybe I'm not getting the details exactly right, but it doesn't matter. The strict facts hold no currency here. What counts is the saliva I just spat on this very sheet of paper. The thick gob slowly dissolves a small circle in the text and turns the words translucent. The ink starts to bleed. The fibers loosen. If you run your fingers along this paragraph, you'll find the site where I stabbed my thumb straight through the page. There is an entire world in that hole.

The Butcher’s Shop The pigs are strung in rows, open-mouthed, dignified in martyrs’ deaths. They hang stiff as Sunday manners, their porky heads voting Tory all their lives, their blue rosettes discarded now. The butcher smiles a meaty smile, white apron stained with who knows what, fingers fat as sausages. Smug, woolly cattle and snowy sheep prance on tiles, grazing on eternity, cute illustrations in a children’s book. What does the sheep say now? Tacky sawdust clogs your shoes. Little plastic hedges divide the trays of meat, playing farms. playing farms. All the way home your cold and soggy paper parcel bleeds.

My saliva is sugary, my body warm: I feel neutral. My knife is on the table. I open it. Why not? It would be a change in any case. I put my left hand on the pad and stab the knife into the palm. The movement was too nervous; the blade slipped, the wound is superficial. It bleeds. Then what? What has changed? Still, I watch with satisfaction, on the white paper, across the lines I wrote a little while ago, this tiny pool of blood which has at last stopped being me. Four lines on a white paper, a spot of blood, that makes a beautiful memory. I must write beneath it: “Today I gave up writing my book on the Marquis de Rollebon.

I plucked a creased note from the table. Eight weeks ago, Curran, the Beast Lord of Atlanta, the lord and master of fifteen hundred shapeshifters, and my own personal psycho, had sat in the kitchen of my apartment in Atlanta and written out a menu on this piece of paper. I’d lost a bet to him, and according to the terms of our wager, I owed him one naked dinner. He’d added a disclaimer explaining that he’d settle for my wearing a bra and panties, since he wasn’t a complete beast—an assertion very open to debate. He’d set a date, November 15, which was today. I knew this because I had checked the calendar three times already.

As we read through this small pile of correspondence, a curious duplicity gradually emerges. In their language, the letters are among Kierkegaard’s most outstanding achievements so far as a writer. The pen no longer pauses with the ink bleeding onto the paper; the creaky Latin syntax that once could force Kierkegaard’s language into lackluster constructions is here replaced by a beguiling suppleness that lifts the lines from the page. They steal gently around their subject and draw on well-known Danish writers, such as Johannes Ewald, Jens Baggesen, Adam Oehlenschläger, Christian Winter, and Poul Martin Møller. Far from being ordinary communication, these letters are art. Therein lies the triumph and the tragedy. For the letters, by virtue of their undeniably aesthetic quality, almost cry out to the writer that a husband is not at all what he is to become, but an author. This makes them in effect letters of “farewell that try, with great discretion and an ingenious indirectness, to make the recipient understand that the man who celebrates her up and down the page has long ago vanished from her life because he has lost himself in recollection of her. His love is bound in artifice and imagination, and he has to accept the truth of the situation, that he is in real life unsuited to the married state. From the recollection that gives life to imagination there spreads also the death that parts the lovers.

It is true. I did fall asleep at the wheel. We nearly went right off a cliff down into a gorge. But there were extenuating circumstances.” Ian snickered. “Are you going to pull out the cry-baby card? He had a little bitty wound he forgot to tell us about, that’s how small it was. Ever since he fell asleep he’s been trying to make us believe that contributed.” “It wasn’t little. I have a scar. A knife fight.” Sam was righteous about it. “He barely nicked you,” Ian sneered. “A tiny little slice that looked like a paper cut.” Sam extended his arm to Azami so she could see the evidence of the two-inch line of white marring his darker skin. “I bled profusely. I was weak and we hadn’t slept in days.” “Profusely?” Ian echoed. “Ha! Two drops of blood is not profuse bleeding, Knight. We hadn’t slept in days, that much is true, but the rest . . .” He trailed off, shaking his head and rolling his eyes at Azami. Azami examined the barely there scar. The knife hadn’t inflicted much damage, and Sam knew she’d seen evidence of much worse wounds. “Had you been drinking?” she asked, her eyes wide with innocence. Those long lashes fanned her cheeks as she gaze at him until his heart tripped all over itself. Sam groaned. “Don’t listen to him. I wasn’t drinking, but once we were pretty much in the middle of a hurricane in the South Pacific on a rescue mission and Ian here decides he has to go into this bar . . .” “Oh, no.” Ian burst out laughing. “You’re not telling her that story.” “You did, man. He made us all go in there, with the dirtbag we’d rescued, by the way,” Sam told Azami. “We had to climb out the windows and get on the roof at one point when the place flooded. I swear ther was a crocodile as big as a house coming right at us. We were running for our lives, laughing and trying to keep that idiot Frenchman alive.” “You said to throw him to the crocs,” Ian reminded. “What was in the bar that you had to go in?” Azami asked, clearly puzzled. “Crocodiles,” Sam and Ian said simultaneously. They both burst out laughing. Azami shook her head. “You two could be crazy. Are you making these stories up?” “Ryland wishes we made them up,” Sam said. “Seriously, we’re sneaking past this bar right in the middle of an enemy-occupied village and there’s this sign on the bar that says swim with the crocs and if you survive, free drinks forever. The wind is howling and trees are bent almost double and we’re carrying the sack of shit . . . er . . . our prize because the dirtbag refuses to run even to save his own life—” “The man is seriously heavy,” Ian interrupted. “He was kidnapped and held for ransom for two years. I guess he decided to cook for his captors so they wouldn’t treat him bad. He tried to hide in the closet when we came for him. He didn’t want to go out in the rain.” “He was the biggest pain in the ass you could imagine,” Sam continued, laughing at the memory. “He squealed every time we slipped in the mud and went down.” “The river had flooded the village,” Sam added. “We were walking through a couple of feet of water. We’re all muddy and he’s wiggling and squeaking in a high-pitched voice and Ian spots this sign hanging on the bar.

To move more into living in love, we need to see how we are substituting for love and truth in our life. We create substitutes to stop us from feeling our deeper wounds, and these substitutes, needs and addictions keep us circling round and round in the effects of these deep seated emotions that form the very fabric of our wounded soul. The more we circle, the more frustrated we can become at our lack of progress, at our own unwillingness to feel deeper, until something has got to give. We fill the holes of our wounds with cheap, pale imitations and substitutes from the world and other people around us. All these substitutes are medications for the causal wound underneath. It is like covering over a bleeding, cut-off stump of an amputated arm with a piece of tissue paper, and hoping it will stick and do the job.

FIRST MARTIN LUTHER KING JR. in Memphis, then Bobby Kennedy in downtown Los Angeles. Soon it felt like you couldn’t open a paper without seeing the bleeding body of an important man. Stella started switching off the news when her daughter came bounding into the kitchen for breakfast. Loretta said that, a couple months ago, Cindy asked her what assassination meant. She told her the truth, of course—that an assassination is when someone kills you to make a point. Which was correct enough, Stella supposed, but only if you were an important man. Important men became martyrs, unimportant ones victims. The important men were given televised funerals, public days of mourning. Their deaths inspired the creation of art and the destruction of cities. But unimportant men were killed to make the point that they were unimportant—that they were not even men—and the world continued on.

Black writing through white paper Each time she groped her way back to health, she would find that life now cast a certain chill. A feeling which it would be too feeble to call “resentment”, too severe to call “rancour”. As though the one who had been tucking her in and kissing her forehead each night had suddenly turned on her yet again, driving her out of the house into the cold, making her painfully aware that all those sunny smiles had been only on the surface. Looking at herself in the mirror, she never forgot that death was hovering behind that face. Faint yet tenacious, like black writing bleeding through thin paper. Learning to love life again is a long and complicated process. Because at some point you will inevitably cast me aside. When I am at my weakest, when I am most in need of help, You will turn your back on me, cold and irrevocable. And that is something perfectly clear to me. And I cannot now return to the time before that knowledge.

She didn't look up, her gaze focused entirely on the paper before her as she drew what looked like a wing. He picked up one of the papers from the floor, and on it was a butterfly, the colors a blending of vibrant yellows and oranges. He held out the paper. "What's this one called?" "Golden Shimmer," she said. "She loves the sunlight." He picked up a picture of a light-purple butterfly with a string of pearls around her neck. "And this one?" "Lavender Lace. She has the power to heal all sorts of wounds." He scanned the room, all the pictures on the floor. "Do they each have a name?" Finally she looked at him, her bright-blue eyes meeting his. "Of course." And he realized with a pang of sadness that these were Libby's friends for life. "They are beautiful." A glint of a smile. "Thank you." He picked up another butterfly, this one a dark violet shade, a silver streak bleeding across the edge of its wings. "What is she called?" "Silver Shadow." "Does she have a story?" Libby's smile faded. "She's lost and can't seem to find her way home.

A MAP IN THE hands of a pilot is a testimony of a man’s faith in other men; it is a symbol of confidence and trust. It is not like a printed page that bears mere words, ambiguous and artful, and whose most believing reader — even whose author, perhaps — must allow in his mind a recess for doubt. A map says to you, ‘Read me carefully, follow me closely, doubt me not.’ It says, ‘I am the earth in the palm of your hand. Without me, you are alone and lost.’ And indeed you are. Were all the maps in this world destroyed and vanished under the direction of some malevolent hand, each man would be blind again, each city be made a stranger to the next, each landmark become a meaningless signpost pointing to nothing. Yet, looking at it, feeling it, running a finger along its lines, it is a cold thing, a map, humourless and dull, born of calipers and a draughtsman’s board. That coastline there, that ragged scrawl of scarlet ink, shows neither sand nor sea nor rock; it speaks of no mariner, blundering full sail in wakeless seas, to bequeath, on sheepskin or a slab of wood, a priceless scribble to posterity. This brown blot that marks a mountain has, for the casual eye, no other significance, though twenty men, or ten, or only one, may have squandered life to climb it. Here is a valley, there a swamp, and there a desert; and here is a river that some curious and courageous soul, like a pencil in the hand of God, first traced with bleeding feet. Here is your map. Unfold it, follow it, then throw it away, if you will. It is only paper. It is only paper and ink, but if you think a little, if you pause a moment, you will see that these two things have seldom joined to make a document so modest and yet so full with histories of hope or sagas of conquest.

set aside more preserves, extinguished fewer species, saved the ozone layer, and peaked in their consumption of oil, farmland, timber, paper, cars, coal, and perhaps even carbon. For all their differences, the world’s nations came to a historic agreement on climate change, as they did in previous years on nuclear testing, proliferation, security, and disarmament. Nuclear weapons, since the extraordinary circumstances of the closing days of World War II, have not been used in the seventy-two years they have existed. Nuclear terrorism, in defiance of forty years of expert predictions, has never happened. The world’s nuclear stockpiles have been reduced by 85 percent, with more reductions to come, and testing has ceased (except by the tiny rogue regime in Pyongyang) and proliferation has frozen. The world’s two most pressing problems, then, though not yet solved, are solvable: practicable long-term agendas have been laid out for eliminating nuclear weapons and for mitigating climate change. For all the bleeding headlines, for all the crises, collapses, scandals, plagues, epidemics, and existential threats, these are accomplishments to savor. The Enlightenment is working: for two and a half centuries, people have used knowledge to enhance human flourishing. Scientists have exposed the workings of matter, life, and mind. Inventors have harnessed the laws of nature to defy entropy, and entrepreneurs have made their innovations affordable. Lawmakers have made people better off by discouraging acts that are individually beneficial but collectively harmful. Diplomats have done the same with nations. Scholars have perpetuated the treasury of knowledge and augmented the power of reason. Artists have expanded the circle of sympathy. Activists have pressured the powerful to overturn repressive measures, and their fellow citizens to change repressive norms. All these efforts have been channeled into institutions that have allowed us to circumvent the flaws of human nature and empower our better angels. At the same time . . . Seven hundred million people in the world today live in extreme poverty. In the regions where they are concentrated, life expectancy is less than 60, and almost a quarter of the people are undernourished.

But every once in a great while, the pull of her heritage would hit her, and Grand-mere would cook something real. I could never figure out what it was that triggered her, but I would come home from school to a glorious aroma. An Apfel-strudel, with paper-thin pastry wrapped around chunks of apples and nuts and raisins. The thick smoked pork chops called Kasseler ribs, braised in apple cider and served with caraway-laced sauerkraut. A rich baked dish with sausages, duck, and white beans. And hoppel poppel. A traditional German recipe handed down from her mother. I haven't even thought of it in years. But when my mom left, it was the only thing I could think to do for Joe, who was confused and heartbroken, and it was my best way to try to get something in him that didn't come in a cardboard container. I never got to learn at her knee the way many granddaughters learn to cook; she never shared the few recipes that were part of my ancestry. But hoppel poppel is fly by the seat of your pants, it doesn't need a recipe; it's a mess, just like me. It's just what the soul needs. I grab an onion, and chop half of it. I cut up the cold cooked potatoes into chunks. I pull one of my giant hot dogs out, and cut it into thick coins. Grand-mere used ham, but Joe loved it with hot dogs, and I do too. Plus I don't have ham. I whisk six eggs in a bowl, and put some butter on to melt. The onions and potatoes go in, and while they are cooking, I grate a pile of Swiss cheese, nicking my knuckle, but catching myself before I bleed into my breakfast. By the time I get a Band-Aid on it, the onions have begun to burn a little, but I don't care. I dump in the hot dogs and hear them sizzle, turning down the heat so that I don't continue to char the onions. When the hot dogs are spitting and getting a little browned, I add the eggs and stir up the whole mess like a scramble. When the eggs are pretty much set, I sprinkle the cheese over the top and take it off the heat, letting the cheese melt while I pop three slices of bread in the toaster. When the toast is done, I butter it, and eat the whole mess on the counter, using the crispy buttered toast to scoop chunk of egg, potato, and hot dog into my mouth, strings of cheese hanging down my chin. Even with the burnt onions, and having overcooked the eggs to rubbery bits, it is exactly what I need.

I NEVER HEAR THE EXPLOSION. WHAT I HEAR IS THE AFTERMATH OF AN EXPLOSION. THERE IS A RINGING IN MY EARS, AND THOSE HIGH-PITCHED POPPING AND TICKING SOUNDS THAT A HOT ENGINE MAKES AFTER YOU SHUT IT OFF; AND PIECES OF THE SKY ARE FALLING, AND BITS OF WHITE—MAYBE PAPER, MAYBE PLASTER—ARE FLOATING DOWN LIKE SNOW. THERE ARE SILVERY SPARKLES IN THE AIR, TOO—MAYBE IT’S SHATTERED GLASS. THERE’S SMOKE, AND THE STINK OF BURNING; THERE’S NO FLAME, BUT EVERYTHING IS SMOLDERING. “WE’RE ALL LYING ON THE FLOOR. I KNOW THE CHILDREN ARE ALL RIGHT BECAUSE—ONE BY ONE—THEY PICK THEMSELVES UP OFF THE FLOOR. IT MUST HAVE BEEN A LOUD EXPLOSION BECAUSE SOME OF THE CHILDREN ARE STILL HOLDING THEIR EARS; SOME OF THEIR EARS ARE BLEEDING. THE CHILDREN DON’T SPEAK ENGLISH, BUT THEIR VOICES ARE THE FIRST HUMAN SOUNDS TO FOLLOW THE EXPLOSION. THE YOUNGER ONES ARE CRYING; BUT THE OLDER ONES ARE DOING THEIR BEST TO BE COMFORTING—THEY’RE CHATTERING AWAY, THEY’RE REALLY BABBLING, BUT THIS IS REASSURING. “THE WAY THEY LOOK AT ME, I KNOW TWO THINGS. I KNOW THAT I SAVED THEM—I DON’T KNOW HOW. AND I KNOW THAT THEY’RE AFRAID FOR ME. BUT I DON’T SEE ME—I CAN’T TELL WHAT’S WRONG WITH ME. THE CHILDREN’S FACES TELL ME SOMETHING IS WRONG. “SUDDENLY, THE NUNS ARE THERE; PENGUINS ARE PEERING DOWN AT ME—ONE OF THEM BENDS OVER ME. I CAN’T HEAR WHAT I SAY TO HER, BUT SHE APPEARS TO UNDERSTAND ME—MAYBE SHE SPEAKS ENGLISH. IT’S NOT UNTIL SHE TAKES ME IN HER ARMS THAT I SEE ALL THE BLOOD—HER WIMPLE IS BLOOD-STAINED. WHILE I’M LOOKING AT THE NUN, HER WIMPLE CONTINUES TO BE SPLASHED WITH BLOOD—THE BLOOD SPATTERS HER FACE, TOO, BUT SHE’S NOT AFRAID. THE FACES OF THE CHILDREN—LOOKING DOWN AT ME—ARE FULL OF FEAR; BUT THE NUN WHO HOLDS ME IN HER ARMS IS VERY PEACEFUL. “OF COURSE, IT’S MY BLOOD—SHE’S COVERED WITH MY BLOOD—BUT SHE’S VERY CALM. WHEN I SEE SHE’S ABOUT TO MAKE THE SIGN OF THE CROSS OVER ME, I REACH OUT TO TRY TO STOP HER. BUT I CAN’T STOP HER—IT’S AS IF I DON’T HAVE ANY ARMS. THE NUN JUST SMILES AT ME. AFTER SHE’S MADE THE SIGN OF THE CROSS OVER ME, I LEAVE ALL OF THEM—I JUST LEAVE. THEY ARE STILL EXACTLY WHERE THEY WERE, LOOKING DOWN AT ME; BUT I’M NOT REALLY THERE. I’M LOOKING DOWN AT ME, TOO. I LOOK LIKE I DID WHEN I WAS THE BABY JESUS—YOU REMEMBER THOSE STUPID SWADDLING CLOTHES? THAT’S HOW I LOOK WHEN I LEAVE ME. “BUT NOW ALL THE PEOPLE ARE GROWING SMALLER—NOT JUST ME, BUT THE NUNS AND THE CHILDREN, TOO.

Excerpt from Storm’s Eye by Dean Gray With a final drag and drop, Jordan Rayne sent his latest creation winging its way toward the publisher. He looked up, squinted at that little clock in the right hand corner of his monitor, and removed his glasses to rub the bridge of his nose. His cover art was finished and shipped, just in time for lunch. He sighed and stood, rolling his shoulders and bending side to side, his back cracking in protest as the muscles loosened after having been hunched over the screen for so long. Sam raised his head, tilting it enquiringly at him, and Jordan laughed. “Yeah, I know what you want, some lunch and a nice long walk along the beach, hmm?” Jordan smiled fondly at the furry ball of energy he’d saved from certain death. With his mom’s recent death it was just Sam and him in the house. Sometimes he wondered what kept him here, now that the last thread tethering him to the island was severed. Sam limped over and nuzzled at his hand. When Jordan had first found him out on the main road, hurt and bleeding, he hadn’t been sure the pooch would make it. Taylor, his best friend and the local vet, had done what she could. At the time, Jordan simply didn’t have the deep pockets for the fancy surgery needed to mend Sam’s leg perfectly, he could barely afford the drugs to keep his mom in treatment. So they’d patched him up as well as they could, Taylor extending herself further than he could ever repay, and hoped for the best. The dog had made a startling recovery, urged on by plenty of rest and good food and lots of love, and had flourished, the slight limp now barely noticeable. Jordan’s conscience still twinged as he watched Sam limp over to his dish, but he had barely been keeping things together at the time. He had done the best he could. He’d done his best to find Sam’s real owners as well, papering downtown Bar Harbor with a hand-drawn sketch of the dog, but to no avail. The only thing it had prompted was one kind soul wanting to buy the illustration. But no one had ever come forward to claim the “goldendoodle,” which Taylor had told him was a golden retriever/standard poodle cross. Who had a dog breed like that anyway? Summer people! Jordan shook his head, grinning at the dog’s foolish antics, weaving in and around his legs like he was still a little pup instead of the fifty-pound fuzzball he actually was now. So without meaning to at all, Sam had drifted into Jordan’s life and stayed, a loyal, faithful companion.

I once loved a guy who fashioned himself as some sort of gothic paradox. He liked to slice his arms in small cuts and spent hours sewing them shut. He liked to bleed, but only a little bit at a time. He tripped out on girls who spun fire, and those who would lay down with his papers in their hands, while they pretended to read and never had a critical word. The real escaped him even when he dressed normal for work, breaking ink pens in the wash.

Whatever your struggles and triumphs, however we may suffer them, all too soon they bleed into a wash, just like watery ink on paper.

In fact I define myself by my limitations, my station or my status or my silly faith in papers. The type that I read or the type that say i¹ve read, the type for which they bleed or the type that say you bled and now the ego¹s fed but never had its fill, so until we shed, let¹s accept the deal, we will steal and will kill just for the thrill, that¹s my dose of truth, give me the blue pill and let me swallow, wallow now in my sorrow, don¹t want to find my own truth it¹s easier to borrow.

THE PAPER-CUT THEORY This theory holds that the tiny cuts made by bad bosses, broken romances, and the like sting more than real grief. It’s the difference between a deep throbbing wound and a paper cut. Our fingers have more nerves near the surface because that’s how we explore the world. So it hurts like hell when paper slices us. At the same time, scientists believe that our bodies know it’s not really life-threatening, so all the natural protective mechanisms, such as endorphins and bleeding, don’t kick into gear. And since paper is microscopically ragged, it leaves a jagged cut. Unlike the clean slice of a razor, which can kill us.

An Ant in the Mouth of the Furnace Sorrow likes itself most when it’s At its best being A barrier Impenetrable. An obstacle. A veil that can’t be torn. When beyond its deckled edges sorrow won’t let you see. As if you were a blue blur on paper intended to be a child’s image of heaven. And it takes more bearing because more of it is always coming. And it takes up space where space has never been. Where there is no space. Where no space has ever been. And it will not move. And brings all else to a standstill. To no longer be in a state of grief is also a state. To encounter the respite it is Is to judge Sometimes one’s self Other times others. There must be a name somewhere For what’s not there For what doesn’t By its aggravating presence Begin to replicate what’s gone. Goat in the snow. My life’s work. Man overboard. Black & blue overcoat. Orange eyes. Bleeding wall. Ring-tailed neck riverbed blanket. It’s not As though After all Suits every blue circumstance As if — what’s that — — what comes after — After which is Is no other After afterall No after other All as if at Last all that That grieving It is over — So as to make room for another You are doing something With someone who isn’t here How many conversations With who isn’t Able to talk back Is one human allotted? Things were only Like they were Because we were Having them together. Having them without you Is another thing altogether Before when You once were Here we was A something never failing We could Be counted on We would Have always been What we were No wonder

In 1929, Einstein, who had once lived in Switzerland, wrote: When I came to Germany fifteen years ago I discovered for the first time that I was a Jew; and I owe this discovery more to Gentiles than to Jews…. I saw worthy Jews basely caricatured, and the sight made my heart bleed. I saw how schools, comic papers, and innumerable other forces of the Gentile majority undermined the confidence of even the best of my fellow Jews, and felt that this could not be allowed to continue.4

All words are written in the same ink, ‘flower’ and ‘power’, say, are much the same, and though I might write ‘blood, blood, blood’ all over the page the paper would not be stained nor would I bleed. Philippe Jacottet, ‘Chant d’en bas

People don’t understand,” he said, his face softening. “Those of us who live to create, who throw ourselves upon the altar of art and bleed and bleed for it… how could we ever really inhabit the same world as those who simply dress for the day and read the paper and never dream that they could be the god of something new?

If you are a writer Whether it be professional, amateur, poems, novels, or even just interesting social media posts, let those words, that ink, bleed from your heart through the pen to the paper like the words of forgiveness did upon a cross of Calvary! Whenever you write because you “have to,” you are just putting ink in a pattern of words unable to change hearts around you. But when that pen near your heart begins to bleed the words for you to share with others, you have created art. You have put a part of your soul on display. No matter how much it may be criticized or acclaimed, that is your work, your blood, and it should be a sacrifice given for God's glory.

Creation Myth I'm the great-grandson of a sheep farmer, child of sumacs, trash trees shedding their ancient scales. I'm drawn from fair grass on the north end, my molecules spat from coal and cattle, the Indiana dusk. I'm notes scrawled on freezer paper, the one looped oven mitt Aunt Bev crocheted while the baby lay feverish in its crib. I rise from a day gone thin as Cousin Ceily, who wore her cancer wigs to church. I come from boys unfastening in the 4-H bathroom, the stink of urinal cakes, dirty hands that scratched an itch. I breathe in arc welders and air compressors. I breathe out milk leaking from nurse cows, Uncle Jake's spoiled old bitches. I'm run through with moths and meth labs, a child of the KKK, men who lynched Tom Shipp from a split oak in Marion, August 1930. My cells carry his shadow swaying over uncut grass. They carry my second third cousin cheering in the back. I rise from aphids in honeysuckle, egg yolks flecked with blood. Born one humid summer night, my body hums like a black cricket, transmitting August across the fields. I sing till my throat bleeds. I smoke like a pan of scorched sugar. I'll never forget the miracle of firecrackers, freezer meat, murky gray lemonade. I'm born to thunder in the veins, a child of form, a rusted gasket ring, some disenchanted thing, the promise of a worm.

(Errour's Den) This is the wandring wood, this Errours den, A monster vile, whom God and man does hate: Therefore I read beware. Fly fly (quoth then The fearefull Dwarfe:) this is no place for liuing men. But full of fire and greedy hardiment, The youthfull knight could not for ought be staide, But forth vnto the darksome hole he went, And looked in: his glistring armor made “A litle glooming light, much like a shade, By which he saw the vgly monster plaine, Halfe like a serpent horribly displaide, But th’other halfe did womans shape retaine, Most lothsom, filthie, foule, and full of vile disdaine. And as she lay vpon the durtie ground, Her huge long taile her den all ouerspred, Yet was in knots and many boughtes vpwound, Pointed with mortall sting. Of her there bred A thousand yong ones, which she dayly fed, Sucking vpon her poisonous dugs, eachone Of sundry shapes, yet all ill fauored: Soone as that vncouth light vpon them shone, Into her mouth they crept, and suddain all were gone. [The monster] Lept fierce vpon his shield, and her huge traine All suddenly about his body wound, That hand or foot to stirre he stroue in vaine: God helpe the man so wrapt in Errours endlesse traine. His Lady sad to see his sore constraint, Cride out, Now now Sir knight, shew what ye bee, Add faith vnto your force, and be not faint: Strangle her, else she sure will strangle thee. That when he heard, in great perplexitie, His gall did grate for griefe and high disdaine, And knitting all his force got one hand free, Wherewith he grypt her gorge with so great paine, That soone to loose her wicked bands did her constraine. Therewith she spewd out of her filthy maw A floud of poyson horrible and blacke, Full of great lumpes of flesh and gobbets raw, Which stunck so vildly, that it forst him slacke His grasping hold, and from her turne him backe: Her vomit full of bookes and papers was, With loathly frogs and toades, which eyes did lacke, And creeping sought way in the weedy gras: Her filthy parbreake all the place defiled has. ... Her fruitfull cursed spawne of serpents small, Deformed monsters, fowle, and blacke as inke, Which swarming all about his legs did crall, And him encombred sore, but could not hurt at all. ... Resolv’d in minde all suddenly to win, Or soone to lose, before he once would lin; And strooke at her with more then manly force, That from her body full of filthie sin He raft her hatefull head without remorse; A streame of cole black bloud forth gushed from her corse. Her scattred brood, soone as their Parent deare They saw so rudely falling to the ground, Groning full deadly, all with troublous feare, Gathred themselues about her body round, Weening their wonted entrance to haue found At her wide mouth: but being there withstood They flocked all about her bleeding wound, And sucked vp their dying mothers blood, Making her death their life, and eke her hurt their good.

His hatred of modern lawlessness had been crowned also by an accident. It happened that he was walking in a side street at the instant of a dynamite outrage. He had been blind and deaf for a moment, and then seen, the smoke clearing, the broken windows and the bleeding faces. After that he went about as usual—quiet, courteous, rather gentle; but there was a spot on his mind that was not sane. He did not regard anarchists, as most of us do, as a handful of morbid men, combining ignorance with intellectualism. He regarded them as a huge and pitiless peril, like a Chinese invasion. He poured perpetually into newspapers and their waste-paper baskets a torrent of tales, verses and violent articles, warning men of this deluge of barbaric denial. But he seemed to be getting no nearer his enemy, and, what was worse, no nearer a living.

He was a kid with a paper route when the 1976 outbreak hit the news. Every day when he folded his papers prior to delivering them on his bike, he read the headlines. He saw frightening stories of bleeding, suffering, and of whole African villages wiped out. And an American media, in the infancy of its sensationalist tendencies, taught him a new phrase for fear—hemorrhagic fever.

Higher salaries were not the only way the government strove to staunch the bleeding. In the past, before admin salaries were raised, government leaders intervened when officers they considered key were targeted. Dr Goh Keng Swee, then still in the Cabinet, once told me: "We only let you take those we were prepared to release." In one celebrated case, in the early 1960s, he personally stepped in to stop one important hire. The paper's British management had recruited Herman Hochstadt, a rising young officer who later became permanent secretary. The morning he was to start work, even before he could settle in his chair at Times House, he found that Dr Goh had demanded his return to the civil service.

It all started with that damn fall. My mother pressed a full roll of paper towels against her head to stop the bleeding and drove to church. Her fall and bloody eye would have been a poor excuse to the Gods who appreciated the sacrifices of a good martyr.

An odourless poison leaked out of him. His dearest childhood memories were of the practical jokes he had played on the servants. Stringing ropes to trip them up, setting off firecrackers under their beds, unscrewing the seat on the long drop. You could imagine that he had found his vocation in the process. His work, which involved jailing people for petty offences, was a malevolent prank. The way he spoke about it, forced removals, detention without trial, the troops in the townships were simply larger examples of the same mischief. I was struck by the intimacy of his racial obsession. His prejudice was a passion. It caused him an exquisite sort of pain, like worrying a loose tooth with your tongue or scratching a mosquito bite until it bleeds. In the mirror of his stories, however, the perspective was reversed. While he was always hurting someone, doing harm and causing trouble, he saw himself as the victim. All these people he didn’t like, these inferior creatures among whom he was forced to live, made him miserable. It was he who suffered. I understand this better now than I did then. At the time, I was trying to grasp my own part in the machinery of power and more often than not I misjudged the mechanism. Seid Sand, nicht das Öl im Getriebe der Welt, my friend Sabine had told me. Seid unbequem. Be troublesome. Be sand, not oil in the workings of the world. Sand? Must I be ground down to nothing? Should I let myself be milled? It was abject. Surely one could be a spanner in the works rather than a handful of dust? I’d rather be a hammer than a nail. These thoughts were driven from my mind by Louis’s suffering face, the downturned lips, the wincing eyes. Even his crispy hair looked hurt. You could see it squirming as he combed it in the mornings, gazing mournfully at his face in the shaving mirror. I could have shouted at him. ‘Look around you! See how privileged we are. We’ve all eaten ourselves sick, just look at the debris, paper plates full of bones and peels, crumpled serviettes and balls of foil, bloody juices. And yet we haven’t made a dent in the supply.’ The dish on the edge of the fire was full of meat, thick chops and coils of wors soldered to the stainless steel with grease. The fat of the land was still sizzling on the blackened bars of the grill. You would think the feast was about to begin." (from "Double Negative" by Ivan Vladislavic, Teju Cole)

To Frances Turnbull Nov. 9, 1938 p. 368 I've read the story carefully and, Frances, I'm afraid the price for doing professional work is a good deal higher than you are prepared to pay at present. You've got to sell your heart, your strongest reactions, not the little minor things that only touch you lightly, the little experiences that you might tell at dinner. This is especially true when you begin to write, when you have not yet developed the tricks of interesting people on paper, when you have none of the technique which it takes time to learn. When, in short, you have only your emotionsto sell. This is the experience of all writers. It was necessary for Dickens to put into Oliver Twist the child's passionate resentment at being abused and starved that had haunted his whole childhood. Ernest Hemingway's first stories "In Our Time" went right down to the bottom of all that he had ever felt ajd known. In "This Side of Paradise" I wrote about a love affair that was still bleeding as fresh as the skin wound on a haemophile.

He didn’t know what to do with his hands as he looked down at the sleeping general. Arin thrust them into his pockets before they went for the throat. He reminded himself why he had come. He ripped open the man’s jacket. Arin reached for the inside breast pocket, located exactly where the man had tried to touch his chest as he had lain bleeding on the road. Arin’s fingers met paper. He pulled it out, its texture suede-soft from having been handled so much. It had been unfolded and folded many times. It was sheet music. At first, Arin didn’t understand what he looked at. Kestrel’s handwriting. Herrani script. Musical notation in crisp black. His own name leaped off the page. Dear Arin. Then he recognized the music as the sonata Kestrel had been studying when he’d entered her music room at the imperial palace in late spring. It had been the last time he’d seen her before the tundra. He had thought it would be the last time he would ever see her. Arin hastened from the tent. He couldn’t read the letter here. But he didn’t know if he could read it anywhere, if any place would be private enough, because being alone meant he’d still be with himself, and he hated to remember how he’d left Kestrel that day, and what had befallen her after. He was desperate to read it. He couldn’t bear to read it. He resented that her father had kept it. He wondered what it meant that her father had kept it. Arin was only vaguely aware of having stumbled through the noisy camp and into the woods. The thought of reading the letter felt like a violation, like he’d be reading a letter meant for someone else. Yet it had been addressed to him. Dear Arin. Arin read.

When Ruthie pressed her face against the window of her closet-sized room, she could see Trapper Peak, the tallest in the Bitterroots, hooked like a finger beckoning her above the tree line. Circled by bald eagles and white with snow eleven months of the year, it reassured her that men were small scrabbling things, crawling across the ice unaware of the depths below. The boys in her class made each other bleed with straightened paper clips. Her father’s friends—Kent Willis, Raymond Pompey, and the Salish brothers Terry and Billy French—drank themselves into stupors of displaced rage and stumbled outside to shoot bottles off a busted washing machine. The glass shards glinted kaleidoscopically in the morning sunlight while the men snored in the living room, their arms sprawled tenderly over each other’s chests, showing affection in sleep in a way that would be impossible awake. Tiptoeing around them to the bathroom, Ruthie wanted to fly away. She climbed on top of the toilet and wedged her head through the small window. Her gray eyes had a yellow ring in the irises like the beginning of an explosion, noticed by strangers, that she hoped would allow her to see farther. She tasted a storm approaching in the air. Saw herself zooming over the spent shotgun shells, the glittering pattern of glass, the cannibalized dump truck her father used as a kind of fort—full of discarded whiskey pints and Bowhunter magazines—to perch atop Trapper Peak and look back down on her life, free from its bonds and humiliations.

Peter King paused just inside taking in the scene with a few critical sweeps of eyes so dark they didn’t catch any light from the sunlight or the chandelier. His irises seemed to bleed pigment into the whites, warming them with swirls of ivory. In his black suit, his skin tanned almost to match, he might have been a heroically sized construction paper cutout against white walls, white carpet, the white-and-gold marble-topped table that looked both antique and French.

You don’t notice a paper cut when you’re already bleeding out.

Almost like a waterfall gushing in-between my legs at this moment at this time. Kissing, loving, and creasing me like, as my mud-covered toes, as I sink them in the dirt. My legs are so weakly holding me upright, after standing so long.' 'Ultimately, the pounding rains get more powerful. Making me fall to the ground with a soft thud, now covered by the clay. Where I will remain until I feel that I can get up and over what has transpired from the day of hell I had and what has happened to me. That's if I can, like if I can accept this all, as I look down at me. I feel the dropping rain is weeping for me, like 'God’s tears, even after this I still believe in.' 'The pain triples within me also like the thoughts all at the same time, I start rolling around, like a pig in mud. I have the sensation like I have been ripped in two parts in my centered hips and vagina.' 'However, it is like it is all pounding down on me at once. I look, up to the sky, lying on my backside. It jostles me, the thought of what it is that I want to do… with myself to escape.' 'Even with all this rain. I feel that my vagina will surely never feel the same, or like it's clean again. It's all because of them!' 'No!' I scream. 'The rainwater can only wash away somewhat of what they have done to me. Never all of it… never- ever! It cannot wash away all my fears that I have. They have sucked my bean above the hole! Tugged on the hood, until I thought they would bite it off me completely. That is why I'm bleeding! Nevertheless, the school would not do anything about this, over I was the one that started it all; as the instigator.' 'They rubbed and touched me in all the places, yet this one the most. They ripped my black hole wide open, with their hateful fingernails and slashing teeth.' 'I cannot run away from them. They always find me! Always, I have nowhere to run or to hide!' 'I cannot stop them from fingering, stabbing, and sucking on me! My nipples are raw! They beat me up for enjoyment. Pledging with 'God' saying this has to stop. Yet it goes on every school day.' 'I must get away from them. I need to getaway! ('I just need to okay!') It is like these visions of what my life's existence about comes and goes away from me.' I see my life before I live it out in its entirety.' 'Sometimes, it's like I am black, I am not biased, bigoted, discriminatory, prejudiced, antiblack, and racialist, let's get that clear; yet this is the category, I was placed in, as a girl owned by man, that think I should never do anything more than be something like a worker in a field, as a slave to pay back my debts to be who I am to them in their hate.' 'The air that is around me now, is making my slit labia skin hurt with burn and sting. Burning hotter than a flame, before snuffed out! I know how a candle feels, struggling not to be blown out by the rushing air, or being snuffed out.' 'It's like they have a new addiction and that is the hole in my body that makes me a lady.' 'Just if you are wondering, I put my teddy in my backpack right after getting off the bus, after getting hazed by having him. after all, he is very significant to me.' 'I walk over to my bookbag, and see him down in their look at me, and find my one pink notebook. I open it to that one page I penned, the one that I have dogeared. 'There it is!' I say as I rip it out, it recollects the day.' 'The paper is jagged and wet, but I have an adieu note in my hand. I made it earlier in school, at lunch, when I was sitting alone; on this wrinkled up pink notebook paper. The black ink is running like a watercolor all over all my trembling, quivering, shivering, and childlike penmanship handwriting. All it has on it are all words that need to be said, about my existence in life, not living! Decidedly not.

But now I know that our world is no more permanent than a wave rising on the ocean. Whatever our struggles and triumphs, however we may suffer them, all too soon they bleed into a wash, just like watery ink on paper. Arthur

You know the limited edition ramp. If you write very obscure verse (and why shouldn't you, pray?) for which there is little or no market, you pretend there is an enormous demand, and that the stuff has to be rationed. Only 300 copies will be printed, you say, and then the type will be broken up forever. Let the connoisseurs and bibliophiles savage each other for the honor of snatching a copy. Positively no reprint. Reproduction in whole or in part forbidden. 300 copes of which this is Number 4,312. Hand-monkeyed oklamon paper, indigo boards in inter-pulped squirrel-toe, not to mention twelve point Campile Perpetua cast specially for the occasion. Complete, unabridged, and positively unexpurgated. Thirty-five bob a knock and a gory livid bleeding bargain at the price. Well, I have decided to carry this thing a bit further. I beg to announce respectfully my coming volume of verse entitled 'Scorn for Taurus.' We have decided to do it in eight point Caslon on turkey-shutter paper with covers in purple corduroy. But look out for the catch. When the type has been set up, it will instantly be destroyed, and NO COPY WHATSOEVER WILL BE PRINTED. In no circumstances will the company's servants be permitted to carry away even a rough printer's proof. The edition will be so utterly limited that a thousand pounds will not even buy one copy. This is my idea of being exclusive. The charge will be 5 shillings. Please do not make an exhibition of yourself by asking me what you get for your money. You get nothing you can see or feel, not even a receipt. But you do yourself the honor of participating in one of the most far-reaching literary experiments ever carried out in my literary workshop.

All I had to do was open a book—to see the stories bleeding from page to page. To see the memories etched onto paper.

Many copies of the Lungs EP had unique inserts, including dollar bills, locks of hair, Bruce Lee photos, used condoms, old photographs, rubber animals, and blood-spattered pieces of paper courtesy of a friend of Albini’s who suffered from chronic nose-bleeds.

I know that our world is no more permanent than a wave rising on the ocean. Whatever our struggles and triumphs, however we may suffer them, all too soon they bleed into a wash, just like watery ink on paper.

Culture, she mused, is like a drop of ink on a wet page. It splatters and bleeds, but never far. What does spread isn’t the original black but rather some form of gray, as the native paper absorbs the ink but never fully surrenders to it. The ink despises the loss of true color, and the paper hates the change forced upon it.

Moon-inked I bleed on paper, Poems deeper than scars- Flaming out like dead stars, Pouring down through rain- To heal away my pain.

If you throw low-due-diligence Hail Marys everywhere and justify it with “they could be the next Uber!”, you will almost certainly be killed by 1,000 slow-bleeding $25K paper cuts.

Dr Saurabh Patel-Best Piles Doctor in Ahmedabad Piles are the swollen and enlarged viens that form inside and outside of the anus and rectum. This can make person uncomfortable and cause lot’s of pain and also cause rectum bleeding. They are common and affect people of all the age. Piles can be of different sizes. If you have any problem related to the piles then you can consult the doctor Dr. Saurabh Patel who is the Best Piles Doctor in Ahmedabad. Causes of Piles: People who are at risk of getting piles: 1. Who are more overweight/obese. 2. Pregnant Women 3. People don’t eat fiber rich diet. 4. Have chronic constipation or diarrhea. 5. People lift objects which are very heavy. 6. Strain while having bowel movements. Symptoms of Piles: 1) When you poo there is right red blood. 2) An itchy anus. 3) You still feel like going to the Poo after going to the toilet. 4) When you wipe the bottom portion then there is mucus in your underwear or toilet paper. 5) Pain and Lumps around your anus. Prevention: 1) Eat fiber rich food and keep yourself hydrated to make it easier for the stool to pass. 2) Avoid Straining when you pass the stool. 3) You should avoid lifting the heavy objects as it can cause the risk of developing the piles. 4) You should maintain the proper weight. 5) You should exercise regularly which can help you to keep yourself active and helps you to reduce the risk of developing the piles. Piles Diagnosis: First the doctor will examine you and ask the symptoms if you have of Piles. They insert the fingers with gloves into the anus to feel the rectum and if there is any lumps present there. The Physician may also recommend patient to get the blood test done if you are suffering from anaemia. Piles Treatment: At Home: 1) Eat fiber rich foods like fruit, vegetables, and grains. 2) Drink more water and don’t strain the bowl movement. 3) Apply ice packs which can help to ease the pain and the swelling. Surgical Treatment: If you have larger piles or if the treatment have not helped then then you have to go for the surgery. Your doctor will: 1) Inject chemicals into the piles which will shrink it. 2) Use a laser to seal off the vessels that provide blood to the hemorrhoid. 3) Place a tiny rubber band around it to block its blood supply. 4) Use a staple to cut off its blood flow.

Gary’s made a bit of a name for himself. He’s always in the papers going on about climate change being a hoax. That’s why I was surprised ….’ ‘Surprised by what,’ prompts Harbinder because the singer seems to have dried again. ‘All the diners, the members of this club, were men,’ says Chris. ‘And they were all really rich and successful. … Then, after dinner, there was a speaker. She talked about climate change and – my God – she laid it on thick. Rising sea levels, shrinking glaciers, thawing permafrost, temperatures only likely to rise, it’s a hundred seconds to midnight on the doomsday clock. I know a lot of this stuff and I was still depressed. But I expected Gary to argue, to shout her down. I mean, that’s been his schtick for the last few years, right? Global warming is cyclical, it’s all a ruse by lefties to shut down the coal business. That sort of thing. But he agreed with every word. They all did. Then I realised. They believed in climate change. They knew it was happening. They knew better than anyone, with all those directorships of oil companies and the like. They knew but they wanted to stop anyone else understanding the full extent of it. Because it was bad for business.’ – Chris Foster in Bleeding Heart Yard (2022) by Elly Griffiths

They formed it almost as soon as they had a political existence; nay, at a time when their habitations were in flames, when many of their citizens were bleeding, and when the progress of hostility and desolation left little room for those calm and mature inquiries and reflections which must ever precede the formation of a wise and well-balanced government for a free people.

The questions why, and why not, are both the burden and significance of human thought, the banana peel strategically placed in front of the rabbit hole. But why does destruction have such a seductive pull? I think that is the soul’s instinctive knowledge that the biggest advances, epiphanies and paradigm shifts are preceded by a cleansing period of destruction as the old building is demolished to build the new one, the field of weeds torched to sow new seeds. That’s why destruction is so thrilling, because of the subconscious expectation of the mysterious, "what’s next?" I think we should do that, “culturally speaking.” Tear into the flesh of the old-world ideas of religion, politics and philosophy with the sharpened teeth of destruction, drinking in their dying plasma until it bubbles up in our brains and bleeds out our fingertips as blasphemies, at first, before becoming the profound truths of the next step of human evolution. Let us reject the conditioned belief that memorizing the words and ideas of predecessors is attainment of enlightenment, let us sin, let us commit the true original sin, the sin of independent thought which frightens the politicians, the kings, the business tycoons, the priests and preachers as well as the paper gods they created to keep us in line.

I covered her with her blanket and got her a coffee. I plugged in her phone, made her eat half of a tuna sandwich. Family began to show up and they huddled around the waiting room, whispering and crying. Brandon’s mom prayed in Spanish over a rosary. I sat next to Sloan, feigning emotion, doing all the motions. Looking somber and rubbing her back but feeling empty and removed because my crisis response was still in effect. Now that the rush was gone, the velociraptor paced. I couldn’t shut off my brain and the need to be doing something. But the only thing to do was wait. I bounced my knee and picked at my cuticles until they bled. I texted Josh and kept him posted. They’d found a replacement for him at work, but he couldn’t leave until 8:00 p.m. Then, ten hours after the accident, the doctor came out. Sloan bolted from her chair and I followed, ready to absorb what he said with an accuracy that I would be able to transpose onto paper, word for word, two days later. Brandon’s mom wrapped her sweater tighter around herself and stood shoulder to shoulder with Sloan. Brandon’s dad put an arm around his wife. I tried to figure out the outcome from the doctor’s lined, angular face, but he was unreadable. “I’m Dr. Campbell, the resident neurosurgeon. Brandon is out of surgery. He’s stable. We were able to stop the internal bleeding. I had to remove a large piece of his skull to alleviate the pressure on his brain.” Sloan gasped and started sobbing again. I put an arm around her, sandwiching her between Brandon’s mom and me as she breathed into her hands. The doctor went on. “The good news is there’s brain activity. Now, I can’t say what his recovery is going to look like at this juncture, but the tests we ran were promising. He’s going to have a long road ahead of him, but I’m feeling optimistic.” The room took a collective deep breath.