Book Lines Quotes

Right now I'd like all my troubles to stand in front of me in a straight line, and one by one I'd give each a black eye.

Fléctere si néqueo súperos Acheronta movebo - If I cannot move heaven, I will raise hell.

This is what you shall do; Love the earth and sun and the animals, despise riches, give alms to every one that asks, stand up for the stupid and crazy, devote your income and labor to others, hate tyrants, argue not concerning God, have patience and indulgence toward the people, take off your hat to nothing known or unknown or to any man or number of men, go freely with powerful uneducated persons and with the young and with the mothers of families, read these leaves in the open air every season of every year of your life, re-examine all you have been told at school or church or in any book, dismiss whatever insults your own soul, and your very flesh shall be a great poem and have the richest fluency not only in its words but in the silent lines of its lips and face and between the lashes of your eyes and in every motion and joint of your body.

People observe the colors of a day only at its beginnings and ends, but to me it's quite clear that a day merges through a multitude of shades and intonations with each passing moment. A single hour can consist of thousands of different colors. Waxy yellows, cloud-spot blues. Murky darkness. In my line of work, I make it a point to notice them.

Luckily, I always travel with a book, just in case I have to wait on line for Santa, or some such inconvenience.

There are too many books in the world to read in a single lifetime; you have to draw the line somewhere.

By hook or by crook, I hope that you will possess yourselves of money enough to travel and to idle, to contemplate the future or the past of the world, to dream over books and loiter at street corners and let the line of thought dip deep into the stream

Pulvis et umbra sumus. It's a line from Horace. 'We are dust and shadows'. Appropriate, don't you think?" Will said. "It's not a long life, killing demons; one tends to die young, and then they burn your body - dust to dust, in the literal sense. And then we vanish into the shadows of history, nary a mark on the page of a mundane book to remind the world that once we existed at all.

I wanted to crawl in between those black lines of print, the way you crawl through a fence, and go to sleep under that beautiful big green fig-tree.

GIRL, write YOUR book dammit. Who cares what people think? If writers in the past cared what other people thought we'd still be glossing over 'inappropriate' kissing scenes. Break the fucking rules. Push yourself to the edge. Show the world what YOU can do. This is YOUR book. YOUR blood and guts. AND, don't you EVER, EVER, write one single line for SOMEONE ELSE.

A human doesn't have a heart like mine. The human heart is a line, whereas my own is a circle, and I have the endless ability to be in the right place at the right time. The consequence of this is that I'm always finding humans at their best and worst. I see their ugly and their beauty, and I wonder how the same thing can be both. Still, they have one thing I envy. Humans, if nothing else, have the good sense to die.

I’d much rather pretend I’m somewhere else, and any time I open the pages of a book, that happens.

Live long enough, and you learn how to read a person. To ease them open like a book, some passages underlined and others hidden between the lines.

You could write a book about things that you can't find on-line.

When she wanted to escape her life, she read books

Look. (Grown-ups skip this paragraph) I'm not about to tell you this book has a tragic ending. I already said in the very first line how it was my favorite in all the world. But there's a lot of bad stuff coming.

Therefore I would ask you to write all kinds of books, hesitating at no subject however trivial or however vast. By hook or by crook, I hope that you will possess yourselves of money enough to travel and to idle, to contemplate the future or the past of the world, to dream over books and loiter at street corners and let the line of thought dip deep into the stream.

It's the first line in your book. I always thought there was a lot of truth in that. Or maybe that's what my English teacher said. I can't really remember. I read it last semester." - Your parents must be so proud you can read." - They are. They bought me a pony and everything when I did a book report on Cat in the Hat.

There was a hand in the darkness, and it held a knife.

How do you know that you are not part of a book? That someone's not reading your story right now?

She remembered one of her boyfriends asking, offhandedly, how many books she read in a year. "A few hundred," she said. "How do you have the time?" he asked, gobsmacked. She narrowed her eyes and considered the array of potential answers in front of her. Because I don't spend hours flipping through cable complaining there's nothing on? Because my entire Sunday is not eaten up with pre-game, in-game, and post-game talking heads? Because I do not spend every night drinking overpriced beer and engaging in dick-swinging contests with the other financirati? Because when I am waiting in line, at the gym, on the train, eating lunch, I am not complaining about the wait/staring into space/admiring myself in reflective surfaces? I am reading! "I don't know," she said, shrugging.

I love book signings: kids waiting in line for you to scribble on their new books, haha!

re-examine all you have been told in school or church or in any book, and dismiss whatever insults your own soul; and your very flesh shall be a great poem, and have the richest fluency, not only in its words, but in the silent lines of its lips and face, and between the lashes of your eyes, and in every motion and joint of your body. [From the preface to Leaves Grass]

Books. They are lined up on shelves or stacked on a table. There they are wrapped up in their jackets, lines of neat print on nicely bound pages. They look like such orderly, static things. Then you, the reader come along. You open the book jacket, and it can be like opening the gates to an unknown city, or opening the lid of a treasure chest. You read the first word and you're off on a journey of exploration and discovery.

ubiquitous, adj. When it’s going well, the fact of it is everywhere. It’s there in the song that shuffles into your ears. It’s there in the book you’re reading. It’s there on the shelves of the store as you reach for a towel and forget about the towel. It’s there as you open the door. As you stare off into the subway, it’s what you’re looking at. You wear it on the inside of your hat. It lines your pockets. It’s the temperature. The hitch, of course, it that when it’s going badly, it’s in all the same places.

Love goes toward love as schoolboys from their books, But love from love, toward school with heavy looks.

Daemon snatched the yellow packages from my hands. “Oh! Books! You have books!” I laughed as several people waiting in line looked over their shoulders. “Hand them over.” He clutched them to his chest, making moony eyes. “My life is now complete.” “My life would be complete if I could actually post a review on something other than the school library computers.” I did that about twice a week since my latest laptop went to the big computer heaven in the sky.

Politeness is the first thing people lose once they get the power.

No single decision you ever made has led in a straight line to where you find yourself now. You peeked down some roads and took a few steps before turning back. You followed some roads that came to a dead end and others that got lost at too many intersections. Ultimately, all roads are connected to all other roads.

Don't be amazed if you see my eyes always wandering. In fact, this is my way of reading, and it is only in this way that reading proves fruitful to me. If a book truly interests me, I cannot follow it for more than a few lines before my mind, having seized on a thought that the text suggests to it, or a feeling, or a question, or an image, goes off on a tangent and springs from thought to thought, from image to image, in an itinerary of reasonings and fantasies that I feel the need to pursue to the end, moving away from the book until I have lost sight of it. The stimulus of reading is indispensable to me, and of meaty reading, even if, of every book, I manage to read no more than a few pages. But those few pages already enclose for me whole universes, which I can never exhaust.

But books were different. They had lots of blanks. Blanks between words and even between lines. I could squeeze myself in there and sit, or walk, or scribble down my thoughts. It didn’t matter if I had no idea what the words meant. Turning the pages was half the battle.

I will not be quoting Hemingway anytime soon, nor will I ever read another one of his books. And if he were still alive, I would write him a letter right now and threaten to strangle him dead with my bare hands just for being so glum. No wonder he put a gun to his head, like it says in the introductory essay.

I will write in words of fire. I will write them on your skin. I will write about desire. Write beginnings, write of sin. You’re the book I love the best, your skin only holds my truth, you will be a palimpsest lines of age rewriting youth. You will not burn upon the pyre. Or be buried on the shelf. You’re my letter to desire: And you’ll never read yourself. I will trace each word and comma As the final dusk descends, You’re my tale of dreams and drama, Let us find out how it ends.

I dreamt a limitless book, A book unbound, Its leaves scattered in fantastic abundance On every line there was a new horizon drawn, New heavens supposed; New states, new souls.

I carried the books to my room and read through the night. I loved the fiery pages of Mary Wollstonecraft, but there was a single line written by John Stuart Mill that, when I read it, moved the world: “It is a subject on which nothing final can be known.” The subject Mill had in mind was the nature of women. Mill claimed that women have been coaxed, cajoled, shoved and squashed into a series of feminine contortions for so many centuries, that it is now quite impossible to define their natural abilities or aspirations.

What in me is dark Illumine, what is low raise and support, That to the height of this great argument I may assert eternal Providence, And justify the ways of God to men. 1 Paradise Lost. Book i. Line 22.

***A SMALL THEORY*** People observe the colors of a day only at its beginnings and its ends, but to me it's quite clear that a day merges through a multitude of shades and intonations, with each passing moment. A single hour can consist of thousands of different colors. Waxy yellows, cloud-spat blues. Murky darknesses. In my line of work, I make it a point to notice them.

We are the people of the book. We love our books. We fill our houses with books. We treasure books we inherit from our parents, and we cherish the idea of passing those books on to our children. Indeed, how many of us started reading with a beloved book that belonged to one of our parents? We force worthy books on our friends, and we insist that they read them. We even feel a weird kinship for the people we see on buses or airplanes reading our books, the books that we claim. If anyone tries to take away our books—some oppressive government, some censor gone off the rails—we would defend them with everything that we have. We know our tribespeople when we visit their homes because every wall is lined with books. There are teetering piles of books beside the bed and on the floor; there are masses of swollen paperbacks in the bathroom. Our books are us. They are our outboard memory banks and they contain the moral, intellectual, and imaginative influences that make us the people we are today.

When I start to feel emotional about something, I can't tell if I'm actually feeling that way. What if it's just something somebody wrote in a book? Or maybe a line or a performance from some movie... Either way, I get this feeling like I'm quoting somebody else's work.

I see all of us reading ourselves away from ourselves, straining in circles of light to find more light until the line of words becomes a trail of crumbs that we follow across a page of fresh snow

What I saw next stopped me dead in my tracks. Books. Not just one or two dozen, but hundreds of them. In crates. In piles on the floor. In bookcases that stretched from floor to ceiling and lined the entire room. I turned around and around in a slow circle, feeling as if I'd just stumbled into Ali Baba's cave. I was breathless, close to tears, and positively dizzy with greed.

There was a girl, and her uncle sold her. Put like that it seems so simple. No man, proclaimed Donne, is an island, and he was wrong. If we were not islands, we would be lost, drowned in each other's tragedies. We are insulated (a word that means, literally, remember, made into an island) from the tragedy of others, by our island nature and by the repetitive shape and form of the stories. The shape does not change: there was a human being who was born, lived and then by some means or other, died. There. You may fill in the details from your own experience. As unoriginal as any other tale, as unique as any other life. Lives are snowflakes- forming patterns we have seen before, as like one another as peas in a pod (and have you ever looked at peas in a pod? I mean, really looked at them? There's not a chance you'll mistake one for another, after a minute's close inspection) but still unique. Without individuals we see only numbers, a thousand dead, a hundred thousand dead, "casualties may rise to a million." With individual stories, the statistics become people- but even that is a lie, for the people continue to suffer in numbers that themselves are numbing and meaningless. Look, see the child's swollen, swollen belly and the flies that crawl at the corners of his eyes, this skeletal limbs: will it make it easier for you to know his name, his age, his dreams, his fears? To see him from the inside? And if it does, are we not doing a disservice to his sister, who lies in the searing dust beside him, a distorted distended caricature of a human child? And there, if we feel for them, are they now more important to us than a thousand other children touched by the same famine, a thousand other young lives who will soon be food for the flies' own myriad squirming children? We draw our lines around these moments of pain, remain upon our islands, and they cannot hurt us. They are covered with a smooth, safe, nacreous layer to let them slip, pearllike, from our souls without real pain. Fiction allows us to slide into these other heads, these other places, and look out through other eyes. And then in the tale we stop before we die, or we die vicariously and unharmed, and in the world beyond the tale we turn the page or close the book, and we resume our lives. A life that is, like any other, unlike any other. And the simple truth is this: There was a girl, and her uncle sold her.

I have read so many books. And yet, like most Autodidacts, I am never quite sure of what I have gained from them. There are days when I feel I have been able to grasp all there is to know in one single gaze, as if invisible branches suddenly spring out of no where, weaving together all the disparate strands of my reading. And then suddenly the meaning escapes, the essence evaporates and no matter how often I reread the same lines they seem to flee ever further with each subsequent reading and I see myself as some mad old fool who thinks her stomach is full because she's been reading the menu.

All worries are less with wine.

There is nothing we should be quite so grateful for as the last line of the poem that goes, 'When your own heart asks.

I hadn't had a book in my hands for four months, and the mere idea of a book where I could see words printed one after another, lines, pages, leaves, a book in which I could pursue new, different, fresh thoughts to divert me, could take them into my brain, had something both intoxicating and stupefying about it.

This must be what an addict feels like, I think, trying to fight the pull of one last, quick read. My fingers itch toward the binding, and finally, with a sigh of regret, I just grab the book and open it, hungrily reading the story.

In response to be asked about Boris Johnson becoming UK Prime Minister... "I'm delighted. As the UK continues to plunge ever faster into a future akin to a dystopian novel I'll never run out of material to write more books. Although now that reality is more bizarre than fiction maybe plot-lines will need to be more ambitious. Perhaps a book where Boris Johnson is really an accidental sentient snafu of Trump's scrotum lint. Kind of a sequel to the Bush-Blair story. I see musical rights being drawn up as we speak.

Elliot was trying to teach himself trollish via a two-hundred-year-old book by a man who’d had a traumatic break-up with a troll. This meant a lot of commentary along the lines of “This is how trolls say I love you. FOOTNOTE: BUT THEY DON’T MEAN IT!

On Writing: Aphorisms and Ten-Second Essays 1. A beginning ends what an end begins. 2. The despair of the blank page: it is so full. 3. In the head Art’s not democratic. I wait a long time to be a writer good enough even for myself. 4. The best time is stolen time. 5. All work is the avoidance of harder work. 6. When I am trying to write I turn on music so I can hear what is keeping me from hearing. 7. I envy music for being beyond words. But then, every word is beyond music. 8. Why would we write if we’d already heard what we wanted to hear? 9. The poem in the quarterly is sure to fail within two lines: flaccid, rhythmless, hopelessly dutiful. But I read poets from strange languages with freedom and pleasure because I can believe in all that has been lost in translation. Though all works, all acts, all languages are already translation. 10. Writer: how books read each other. 11. Idolaters of the great need to believe that what they love cannot fail them, adorers of camp, kitsch, trash that they cannot fail what they love. 12. If I didn’t spend so much time writing, I’d know a lot more. But I wouldn’t know anything. 13. If you’re Larkin or Bishop, one book a decade is enough. If you’re not? More than enough. 14. Writing is like washing windows in the sun. With every attempt to perfect clarity you make a new smear. 15. There are silences harder to take back than words. 16. Opacity gives way. Transparency is the mystery. 17. I need a much greater vocabulary to talk to you than to talk to myself. 18. Only half of writing is saying what you mean. The other half is preventing people from reading what they expected you to mean. 19. Believe stupid praise, deserve stupid criticism. 20. Writing a book is like doing a huge jigsaw puzzle, unendurably slow at first, almost self-propelled at the end. Actually, it’s more like doing a puzzle from a box in which several puzzles have been mixed. Starting out, you can’t tell whether a piece belongs to the puzzle at hand, or one you’ve already done, or will do in ten years, or will never do. 21. Minds go from intuition to articulation to self-defense, which is what they die of. 22. The dead are still writing. Every morning, somewhere, is a line, a passage, a whole book you are sure wasn’t there yesterday. 23. To feel an end is to discover that there had been a beginning. A parenthesis closes that we hadn’t realized was open). 24. There, all along, was what you wanted to say. But this is not what you wanted, is it, to have said it?

She threw the door open. The room seemed to be a sort of library, the walls lined with books. It was brightly lit, light streaming through a tall picture window. In the middle of the room stood Jace. He wasn't alone, though-not by a long shot. There was a dark-haired girl with him, a girl Clary had never seen before, and the two of them were locked together in a passionate embrace

Daemon was sprawled on his back, one arm stretched across the space beside him and the other rested across his bare stomach. Sheets were twisted around his narrow hips. His face was almost angelic in sleep, chiselled lines softened and lips relaxed. Thick lashes fanned the top of his cheeks. He looked so much younger at rest but, in a weird way, he was even more out of my league. His kind of masculine beauty was otherworldly and intimidating. Something that existed in between the pages of the books I read. Sometimes I had a hard time convincing myself he was real.

If we keep going in a straight line we'll get out of here. Walking one foot in front of the other, in the same direction, will always get you further than running around in circles. It's about the determination to keep walking forward.

I had lines inside me, a string of guiding lights. I had language. Fiction and poetry are doses, medicines. What they heal is the rupture reality makes on the imagination. I had been damaged, and a very important part of me had been destroyed - that was my reality, the facts of my life. But on the other side of the facts was who I could be, how I could feel. And as long as I had words for that, images for that, stories for that, then I wasn't lost.

It surprised him that his grief was sharper than in the past few days. He had forgotten that grief does not decline in a straight line or along a slow curve like a graph in a child's math book. Instead, it was almost as if his body contained a big pile of garden rubbish full both of heavy lumps of dirt and of sharp thorny brush that would stab him when he least expected it.

When I read the actual story-how Gatsby loves Daisy so much but can't ever be with her no matter how hard he tries-I feel like ripping the book in half and calling up Fitzgerald and telling him his book is all wrong, even though I know Fitzgerald is probably deceased. Especially when Gatsby is shot dead in his swimming pool the first time he goes for a swim all summer, Daisy doesn't even go to his funeral, Nick and Jordan part ways, and Daisy ends up sticking with racist Tom, whose need for sex basically murders an innocent woman, you can tell Fitzgerald never took the time to look up at clouds during sunset, because there's no silver lining at the end of that book, let me tell you.

All beauty comes from beautiful blood and a beautiful brain. If the greatnesses are in conjunction in a man or woman it is enough...the fact will prevail through the universe...but the gaggery and gilt of a million years will not prevail. Who troubles himself about his ornaments or fluency is lost. This is what you shall so: Love the earth and sun and the animals, despise riches, give alms to every one that asks, stand up for the stupid and crazy, devote your income and labor to others, hate tyrants, argue not concerning God, have patience and indulgence toward the people, take off your hat to nothing known or unknown or to any man or number of men, go freely with powerful uneducated persons and with the young and with the mothers of families, read these leaves in the open air every season of every year of your life, re-examine all you have been told at school or church or in any book, dismiss whatever insults your own soul, and your very flesh shall be a great poem and have the richest fluency not only in its words but in the silent lines of its lips and face and between the lashes of your eyes and in every motion and joint of your body...

For this quiet, unprepossessing, passive man who has no garden in front of his subsidised flat, books are like flowers. He loves to line them up on the shelf in multicoloured rows: he watches over each of them with an old-fashioned gardener's delight, holds them like fragile objects in his thin, bloodless hands.

A story is alive, as you and I are. It is rounded by muscle and sinew. Rushed with blood. Layered with skin, both rough and smooth. At its core lies soft marrow of hard, white bone. A story beats with the heart of every person who has ever strained ears to listen. On the breath of the storyteller, it soars. Until its images and deeds become so real you can see them in the air, shimmering like oases on the horizon line. A story can fly like a bee, so straight and swift you catch only the hum of its passing. Or move so slowly it seems motionless, curled in upon itself like a snake in the sun. It can vanish like smoke before the wind. Linger like perfume in the nose. Change with every telling, yet always remain the same.

Like flies in amber, like corpses frozen in ice, that which according to the laws of nature should pass away is, by the miracle of ink on paper, preserved. It is a kind of magic. As one tends the graves of the dead, so I tend the books. And every day I open a volume or two, read a few lines or pages, allow the voices of the forgotten dead to resonate inside my head.

Some believe it is only great power that can hold evil in check, but that is not what I have found. It is the small everyday deeds of ordinary folk that keep the darkness at bay. Small acts of kindness and love. [Incorrectly attributed to Tolkien. It is a line from the Hobbit movie that did not appear in the books.]

Snake Street is an area I should avoid. Yet that night I was drawn there as surely as if I had an appointment.  The Snake House is shabby on the outside to hide the wealth within. Everyone knows of the wealth, but facades, like the park’s wall, must be maintained. A lantern hung from the porch eaves. A sign, written in Utte, read ‘Kinship of the Serpent’. I stared at that sign, at that porch, at the door with its twisted handle, and wondered what the people inside would do if I entered. Would they remember me? Greet me as Kin? Or drive me out and curse me for faking my death?  Worse, would they expect me to redon the life I’ve shed? Staring at that sign, I pissed in the street like the Mearan savage I’ve become. As I started to leave, I saw a woman sitting in the gutter. Her lamp attracted me. A memsa’s lamp, three tiny flames to signify the Holy Trinity of Faith, Purity, and Knowledge.  The woman wasn’t a memsa. Her young face was bruised and a gash on her throat had bloodied her clothing. Had she not been calmly assessing me, I would have believed the wound to be mortal. I offered her a copper.  She refused, “I take naught for naught,” and began to remove trinkets from a cloth bag, displaying them for sale. Her Utte accent had been enough to earn my coin. But to assuage her pride I commented on each of her worthless treasures, fighting the urge to speak Utte. (I spoke Universal with the accent of an upper class Mearan though I wondered if she had seen me wetting the cobblestones like a shameless commoner.) After she had arranged her wares, she looked up at me. “What do you desire, O Noble Born?” I laughed, certain now that she had seen my act in front of the Snake House and, letting my accent match the coarseness of my dress, I again offered the copper.  “Nay, Noble One. You must choose.” She lifted a strand of red beads. “These to adorn your lady’s bosom?”             I shook my head. I wanted her lamp. But to steal the light from this woman ... I couldn’t ask for it. She reached into her bag once more and withdrew a book, leather-bound, the pages gilded on the edges. “Be this worthy of desire, Noble Born?”  I stood stunned a moment, then touched the crescent stamped into the leather and asked if she’d stolen the book. She denied it. I’ve had the Training; she spoke truth. Yet how could she have come by a book bearing the Royal Seal of the Haesyl Line? I opened it. The pages were blank. “Take it,” she urged. “Record your deeds for study. Lo, the steps of your life mark the journey of your soul.”   I told her I couldn’t afford the book, but she smiled as if poverty were a blessing and said, “The price be one copper. Tis a wee price for salvation, Noble One.”   So I bought this journal. I hide it under my mattress. When I lie awake at night, I feel the journal beneath my back and think of the woman who sold it to me. Damn her. She plagues my soul. I promised to return the next night, but I didn’t. I promised to record my deeds. But I can’t. The price is too high.

Sought we the Scrivani word-work of Surthur Long-lost in ledger all hope forgotten. Yet fast-found for friendship fair the book-bringer Hot comes the huntress Fela, flushed with finding Breathless her breast her high blood rising To ripen the red-cheek rouge-bloom of beauty. “That sort of thing,” Simmon said absently, his eyes still scanning the pages in front of him. I saw Fela turn her head to look at Simmon, almost as if she were surprised to see him sitting there. No, it was almost as if up until that point, he’d just been occupying space around her, like a piece of furniture. But this time when she looked at him, she took all of him in. His sandy hair, the line of his jaw, the span of his shoulders beneath his shirt. This time when she looked, she actually saw him. Let me say this. It was worth the whole awful, irritating time spent searching the Archives just to watch that moment happen. It was worth blood and the fear of death to see her fall in love with him. Just a little. Just the first faint breath of love, so light she probably didn’t notice it herself. It wasn’t dramatic, like some bolt of lightning with a crack of thunder following. It was more like when flint strikes steel and the spark fades almost too fast for you to see. But still, you know it’s there, down where you can’t see, kindling.

The rest, with very little exaggeration, was books. Meant-to-be-picked-up books. Permanently-left-behind books. Uncertain-what-to-do-with books. But books, books. Tall cases lined three walls of the room, filled to and beyond capacity. The overflow had been piled in stacks on the floor. There was little space left for walking, and none whatever for pacing.

Papa sat with me tonight. He brought the accordion down and sat close to where Max used to sit. I often look at his fingers and face when he plays. the accordion breathes. There are lines on his cheeks. They look drawn on, and for some reason, when I see them, I want to cry. It is not for any sadness or pride. I just like the way they move and change. Sometimes I think my papa is an accordion. When he looks at me and smiles and breathes, I hear the notes.

I carried the books to my room and read through the night. I loved the fiery pages of Mary Wollstonecraft, but there was a single line written by John Stuart Mill that, when I read it, moved the world: "It is a subject on which nothing final can be known." The subject Mill had in mind was the nature of women. Mill claimed that women have been coaxed, cajoled, shoved and squashed into a series of feminine contortions for so many centuries, that it is now quite impossible to define their natural abilities or aspirations. Blood rushed to my brain; I felt an animating surge of adrenaline, of possibility, of a frontier being pushed outward. Of the nature of women, nothing final can be known. Never had I found such comfort in a void, in the black absence of knowledge. It seemed to say: whatever you are, you are woman.

One night a friend lent me a book of short stories by Franz Kafka. I went back to the pension where I was staying and began to read The Metamorphosis. The first line almost knocked me off the bed. I was so surprised. The first line reads, “As Gregor Samsa awoke that morning from uneasy dreams, he found himself transformed in his bed into a gigantic insect. . . .” When I read the line I thought to myself that I didn’t know anyone was allowed to write things like that. If I had known, I would have started writing a long time ago. So I immediately started writing short stories.

May I ask you something?" I say. "Why do you read books, when you could be outside, living a million different adventures every day?" "Because you can always count on a book to stay the same. EVerything else changes when you least expect it," she replies, bitter. "Families split apart, and nothing's forever. In books, you always know what's coming next. There are no surprises.

Here’s what I believe: 1. If you are offended or hurt when you hear Hillary Clinton or Maxine Waters called bitch, whore, or the c-word, you should be equally offended and hurt when you hear those same words used to describe Ivanka Trump, Kellyanne Conway, or Theresa May. 2. If you felt belittled when Hillary Clinton called Trump supporters “a basket of deplorables” then you should have felt equally concerned when Eric Trump said “Democrats aren’t even human.” 3. When the president of the United States calls women dogs or talks about grabbing pussy, we should get chills down our spine and resistance flowing through our veins. When people call the president of the United States a pig, we should reject that language regardless of our politics and demand discourse that doesn’t make people subhuman. 4. When we hear people referred to as animals or aliens, we should immediately wonder, “Is this an attempt to reduce someone’s humanity so we can get away with hurting them or denying them basic human rights?” 5. If you’re offended by a meme of Trump Photoshopped to look like Hitler, then you shouldn’t have Obama Photoshopped to look like the Joker on your Facebook feed. There is a line. It’s etched from dignity. And raging, fearful people from the right and left are crossing it at unprecedented rates every single day. We must never tolerate dehumanization—the primary instrument of violence that has been used in every genocide recorded throughout history.

The majority of people have successfully alienated themselves from change; they tediously arrange their lives into a familiar pattern, they give themselves to normalcy, they are proud if they are able to follow in auspicious footsteps set before them, they take pride in always coloring inside the lines and they feel secure if they belong to a batch of others who are like them. Now, if familiar patterns bore you, if normalcy passes before you unnoticed, if you want to create your own footsteps in the earth and leave your own handprints on the skies, if you are the one who doesn't mind the lines in the coloring book as much as others do, and perchance you do not cling to a flock for you to identify with, then you must be ready for adversity. If you are something extraordinary, you are going to always shock others and while they go about existing in their mundaneness which they call success, you're going to be flying around crazy in their skies and that scares them. People are afraid of change, afraid of being different, afraid of doing things and thinking things that aren't a part of their checkerboard game of a life. They only know the pieces and the moves in their games, and that's it. You're always going to find them in the place that you think you're going to find them in, and every time they think about you, you're going to give them a heart attack.

Capitalist realism insists on treating mental health as if it were a natural fact, like weather (but, then again, weather is no longer a natural fact so much as a political-economic effect). In the 1960s and 1970s, radical theory and politics (Laing, Foucault, Deleuze and Guattari, etc.) coalesced around extreme mental conditions such as schizophrenia, arguing, for instance, that madness was not a natural, but a political, category. But what is needed now is a politicization of much more common disorders. Indeed, it is their very commonness which is the issue: in Britain, depression is now the condition that is most treated by the NHS. In his book The Selfish Capitalist, Oliver James has convincingly posited a correlation between rising rates of mental distress and the neoliberal mode of capitalism practiced in countries like Britain, the USA and Australia. In line with James’s claims, I want to argue that it is necessary to reframe the growing problem of stress (and distress) in capitalist societies. Instead of treating it as incumbent on individuals to resolve their own psychological distress, instead, that is, of accepting the vast privatization of stress that has taken place over the last thirty years, we need to ask: how has it become acceptable that so many people, and especially so many young people, are ill?

Tom said to himself that it was not such a hollow world, after all. He had discovered a great law of human action, without knowing it -- namely, that in order to make a man or a boy covet a thing, it is only necessary to make the thing difficult to attain. If he had been a great and wise philosopher, like the writer of this book, he would now have comprehended that Work consists of whatever a body is obliged to do, and that Play consists of whatever a body is not obliged to do. And this would help him to understand why constructing artificial flowers or performing on a tread-mill is work, while rolling ten-pins or climbing Mont Blanc is only amusement. There are wealthy gentlemen in England who drive four-horse passenger-coaches twenty or thirty miles on a daily line, in the summer, because the privilege costs them considerable money; but if they were offered wages for the service, that would turn it into work and then they would resign.

The book was in her lap; she had read no further. The power to change one’s life comes from a paragraph, a lone remark. The lines that penetrate us are slender, like the flukes that live in river water and enter the bodies of swimmers. She was excited, filled with strength. The polished sentences had arrived, it seemed, like so many other things, at just the right time. How can we imagine what our lives should be without the illumination of the lives of others?

The books I liked became a Bible from which I drew advice and support; I copied out long passages from them; I memorized new canticles and new litanies, psalms, proverbs, and prophecies, and I sanctified every incident in my life by the recital of these sacred texts. My emotions, my tears, and my hopes were no less sincere on account of that; the words and the cadences, the lines and the verses were not aids to make believe: but they rescued from silent oblivion all those intimate adventures of the spirit that I couldn’t speak to anyone about; they created a kind of communion between myself and those twin souls which existed somewhere out of reach; instead of living out my small private existence, I was participating in a great spiritual epic.

Censorship and the suppression of reading materials are rarely about family values and almost always about control; About who is snapping the whip, who is saying no, and who is saying go. Censorship's bottom line is this: if the novel Christine offends me, I don't want just to make sure it's kept from my kid; I want to make sure it's kept from your kid, as well, and all the kids. This bit of intellectual arrogance, undemocratic and as old as time, is best expressed this way: "If it's bad for me and my family, it's bad for everyone's family." Yet when books are run out of school classrooms and even out of school libraries as a result of this idea, I'm never much disturbed not as a citizen, not as a writer, not even as a schoolteacher . . . which I used to be. What I tell kids is, Don't get mad, get even. Don't spend time waving signs or carrying petitions around the neighborhood. Instead, run, don't walk, to the nearest nonschool library or to the local bookstore and get whatever it was that they banned. Read whatever they're trying to keep out of your eyes and your brain, because that's exactly what you need to know.

The worst thing is not that the world is unfree, but that people have unlearned their liberty. The more indifferent people are to politics, to the interests of others, the more obsessed they become with their own faces. The individualism of our time. Not being able to fall asleep and not allowing oneself to move: the marital bed. If high culture is coming to an end, it is also the end of you and your paradoxical ideas, because paradox as such belongs to high culture and not to childish prattle. You remind me of the young men who supported the Nazis or communists not out of cowardice or out of opportunism but out of an excess of intelligence. For nothing requires a greater effort of thought than arguments to justify the rule of nonthought… You are the brilliant ally of your own gravediggers. In the world of highways, a beautiful landscape means: an island of beauty connected by a long line with other islands of beauty. How to live in a world with which you disagree? How to live with people when you neither share their suffering nor their joys? When you know that you don’t belong among them?... our century refuses to acknowledge anyone’s right to disagree with the world…All that remains of such a place is the memory, the ideal of a cloister, the dream of a cloister… Humor can only exist when people are still capable of recognizing some border between the important and the unimportant. And nowadays this border has become unrecognizable. The majority of people lead their existence within a small idyllic circle bounded by their family, their home, and their work... They live in a secure realm somewhere between good and evil. They are sincerely horrified by the sight of a killer. And yet all you have to do is remove them from this peaceful circle and they, too, turn into murderers, without quite knowing how it happened. The longing for order is at the same time a longing for death, because life is an incessant disruption of order. Or to put it the other way around: the desire for order is a virtuous pretext, an excuse for virulent misanthropy. A long time a go a certain Cynic philosopher proudly paraded around Athens in a moth-eaten coat, hoping that everyone would admire his contempt for convention. When Socrates met him, he said: Through the hole in your coat I see your vanity. Your dirt, too, dear sir, is self-indulgent and your self-indulgence is dirty. You are always living below the level of true existence, you bitter weed, you anthropomorphized vat of vinegar! You’re full of acid, which bubbles inside you like an alchemist’s brew. Your highest wish is to be able to see all around you the same ugliness as you carry inside yourself. That’s the only way you can feel for a few moments some kind of peace between yourself and the world. That’s because the world, which is beautiful, seems horrible to you, torments you and excludes you. If the novel is successful, it must necessarily be wiser than its author. This is why many excellent French intellectuals write mediocre novels. They are always more intelligent than their books. By a certain age, coincidences lose their magic, no longer surprise, become run-of-the-mill. Any new possibility that existence acquires, even the least likely, transforms everything about existence.

I need a book that says 'Here's how to defeat Spring and restore power to your king, and while you're at it, here's how to prove you matter when no one else thinks you do—” I stop. I'm staring at the bookshelves and not at Theron, and I don't think I'll ever be able to look at him again without shriveling up from embarrassment. I can still hear what I said hanging around me, my weak, weak admission, and I can't bring myself to breathe, let alone face him. Theron doesn't give me a choice. He crawls up onto his knees and moves into my line of sight, his forehead wrinkled and his eyes darting over mine like he's trying to figure me out the same way he figured out that passage. After a moment of silence, he grimaces. “You matter,” is all he says.

People encounter God under shady oak trees, on riverbanks, at the tops of mountains, and in long stretches of barren wilderness. God shows up in whirlwinds, starry skies, burning bushes, and perfect strangers. When people want to know more about God, the son of God tells them to pay attention to the lilies of the field and the birds of the air, to women kneading bread and workers lining up for their pay. Whoever wrote this stuff believed that people could learn as much about the ways of God from paying attention to the world as they could from paying attention to scripture. What is true is what happens, even if what happens is not always right. People can learn as much about the ways of God from business deals gone bad or sparrows falling to the ground as they can from reciting the books of the Bible in order. They can learn as much from a love affair or a wildflower as they can from knowing the Ten Commandments by heart.

Enjoy making decisions. You must know that in any moment a decision you make can change the course of your life forever: the very next person you stand behind in line or sit next to on an airplane, the very next phone call you make or receive, the very next movie you see or book you read or page you turn could be the one single thing that causes the floodgates to open, and all of the things that you’ve been waiting for to fall into place. If you really want your life to be passionate, you need to live with this attitude of expectancy.

I'll tell you how the sun rose A ribbon at a time... It's a living book, this life; it folds out in a million settings, cast with a billion beautiful characters, and it is almost over for you. It doesn't matter how old you are; it is coming to a close quickly, and soon the credits will roll and all your friends will fold out of your funeral and drive back to their homes in cold and still and silence. And they will make a fire and pour some wine and think about how you once were . . . and feel a kind of sickness at the idea you never again will be. So soon you will be in that part of the book where you are holding the bulk of the pages in your left hand, and only a thin wisp of the story in your right. You will know by the page count, not by the narrative, that the Author is wrapping things up. You begin to mourn its ending, and want to pace yourself slowly toward its closure, knowing the last lines will speak of something beautiful, of the end of something long and earned, and you hope the thing closes out like last breaths, like whispers about how much and who the characters have come to love, and how authentic the sentiments feel when they have earned a hundred pages of qualification. And so my prayer is that your story will have involved some leaving and some coming home, some summer and some winter, some roses blooming out like children in a play. My hope is your story will be about changing, about getting something beautiful born inside of you, about learning to love a woman or a man, about learning to love a child, about moving yourself around water, around mountains, around friends, about learning to love others more than we love ourselves, about learning oneness as a way of understanding God. We get one story, you and I, and one story alone. God has established the elements, the setting and the climax and the resolution. It would be a crime not to venture out, wouldn't it?

I believe that this corporate machinery of scripted programs, comprehension worksheets (reproducibles, handouts, printables, whatever you want to call them), computer-based incentive packages, and test practice curriculum facilitates a solid bottom-line for the companies that sell them, and give schools proof they can point to that they are using every available resource to teach reading, but these efforts are doomed to fail a large number of students because they leave out the most important factor. When you take a forklift and shovel off the programs, underneath it all is a child reading a book.

The man who has not the habit of reading is imprisoned in his immediate world, in respect to time and space. His life falls into a set routine; he is limited to contact and conversation with a few friends and acquaintances, and he sees only what happens in his immediate neighbourhood. From this prison there is no escape. But the moment he takes up a book, he immediately enters a different world, and if it is a good book, he is immediately put in touch with one of the best talkers of the world. This talker leads him on and carries him into a different country or a different age, or unburdens to him some of his personal regrets, or discusses with him some special line or aspect of life that the reader knows nothing about. An ancient author puts him in communion with a dead spirit of long ago, and as he reads along, he begins to imagine what the ancient author looked like and what type of person he was.

A Book “Now” - said a good book unto me - “Open my pages and you shall see Jewels of wisdom and treasures fine, Gold and silver in every line, And you may claim them if you but will Open my pages and take your fill. “Open my pages and run them o’er, Take what you choose of my golden store. Be you greedy, I shall not care - All that you seize I shall gladly spare; There is never a lock on my treasure doors, Come - here are my jewels, make them yours! “I am just a book on your mantel shelf, But I can be part of your living self; If only you’ll travel my pages through, Then I will travel the world with you. As two wines blended make better wine, Blend your mind with these truths of mine. “I’ll make you fitter to talk with men, I’ll touch with silver the lines you pen, I’ll lead you nearer the truth you seek, I’ll strengthen you when your faith grows weak - This place on your shelf is a prison cell, Let me come into your mind to dwell!

Great. He was a hottie, a good kisser, and a literature buff. God really must have had a sense of humor, because if I had to name my biggest turn-on, it was literature. And he had just recommended a book that I didn’t know, that wasn’t taught in school. If I were single, there would be no better pick-up line. Suddenly, I found myself thinking back to Atonement—you know, the scene in the book where the two main characters have sex in the library? Even though Chloe said doing it against bookshelves would be really uncomfortable (and she’d probably know), it was still a fantasy of mine. Like, what’s more romantic than a quiet place full of books? But I shouldn’t have been thinking about my library fantasies. Especially while I was staring at Cash. In the middle of a library.

I still remember the day I got my first calculator Teacher: All right, children, welcome to fourth grade math. Everyone take a calculator out of the bin. Me: What are these? Teacher: From now on we'll be using calculators. Me: What do these things do? Teacher: Simple operations, like multiplication and division. Me: You mean this device just...does them? By itself? Teacher: Yes. You enter in the problem and press equal. Me: You...you knew about this machine all along, didn't you? This whole time, while we were going through this...this charade with the pencils and the line paper and the stupid multiplication tables!...I'm sorry for shouting...It's just...I'm a little blown away. Teacher: Okay, everyone, today we're going to go over some word problems. Me: What the hell else do you have back there? A magical pen that writes book reports by itself? Some kind of automatic social studies worksheet that...that fills itself out? What the hell is going on? Teacher: If a farmer farms five acres of land a day-- Me: So that's it, then. The past three years have been a total farce. All this time I've been thinking, "Well, this is pretty hard and frustrating but I guess these are useful skills to have." Meanwhile, there was a whole bin of these things in your desk. We could have jumped straight to graphing. Unless, of course, there's some kind of graphing calculator! Teacher: There is. You get one in ninth grade. Me: Is this...Am I on TV? Is this a prank show? Teacher: No.

Let me tell you the truth about the world to which you so desperately want to return. It is a place of pain and suffering and grief. When you left it, cities were being attacked. Women and children were being blasted to pieces or burned alive by bombs dropped from planes flown by men with wives and children of their own. People were being dragged from their homes and shot in the street. Your world is tearing itself apart, and the most amusing thing of all is that it was little better before the war started. War merely gives people an excuse to indulge themselves further, to murder with impunity. There were wars before it, and there will be wars after it, and in between people will fight one another and hurt one another and maim one another and betray one another, because that is what they have always done. And even if you avoid warfare and violent death, little boy, what else do you think life has in store for you? You have already seen what it is capable of doing. It took your mother from you, drained her of health and beauty, and then cast her aside like the withered, rotten husk of a fruit. It will take others from you too, mark me. Those whom you care about--lovers, children--will fall by the wayside, and your love will not be enough to save them. Your health will fail you. You will become old and sick. Your limbs will ache, your eyesight will fade, and your skin will grow lined and aged. There will be pains deep within that no doctor will be able to cure. Diseases will find a warm, moist place inside you and there they will breed, spreading through your system, corrupting it cell by cell until you pray for the doctors to let you die, to put you out of your misery, but they will not. Instead you will linger on, with no one to hold your hand or soothe your brow, as Death comes and beckons you into his darkness. The life you left behind you is no life at all. Here, you can be king, and I will allow you to age with dignity and without pain, and when the time comes for you to die, I will send you gently to sleep and you will awaken in the paradise of your choosing, for each man dreams his own heaven.

Stephen Covey, in his book The 8th Habit, decribes a poll of 23,000 employees drawn from a number of companies and industries. He reports the poll's findings: * Only 37 percent said they have a clear understanding of what their organization is trying to achieve and why * Only one in five was enthusiastic about their team's and their organization's goals * Only one in five said they had a clear "line of sight" between their tasks and their team's and organization's goals * Only 15 percent felt that their organization fully enables them to execute key goals * Only 20 percent fully trusted the organization they work for Then, Covey superimposes a very human metaphor over the statistics. He says, "If, say, a soccer team had these same scores, only 4 of the 11 players on the field would know which goal is theirs. Only 2 of the 11 would care. Only 2 of the 11 would know what position they play and know exactly what they are supposed to do. And all but 2 players would, in some way, be competing against their own team members rather than the opponent.

When I am high I couldn’t worry about money if I tried. So I don’t. The money will come from somewhere; I am entitled; God will provide. Credit cards are disastrous, personal checks worse. Unfortunately, for manics anyway, mania is a natural extension of the economy. What with credit cards and bank accounts there is little beyond reach. So I bought twelve snakebite kits, with a sense of urgency and importance. I bought precious stones, elegant and unnecessary furniture, three watches within an hour of one another (in the Rolex rather than Timex class: champagne tastes bubble to the surface, are the surface, in mania), and totally inappropriate sirenlike clothes. During one spree in London I spent several hundred pounds on books having titles or covers that somehow caught my fancy: books on the natural history of the mole, twenty sundry Penguin books because I thought it could be nice if the penguins could form a colony. Once I think I shoplifted a blouse because I could not wait a minute longer for the woman-with-molasses feet in front of me in line. Or maybe I just thought about shoplifting, I don’t remember, I was totally confused. I imagine I must have spent far more than thirty thousand dollars during my two major manic episodes, and God only knows how much more during my frequent milder manias. But then back on lithium and rotating on the planet at the same pace as everyone else, you find your credit is decimated, your mortification complete: mania is not a luxury one can easily afford. It is devastating to have the illness and aggravating to have to pay for medications, blood tests, and psychotherapy. They, at least, are partially deductible. But money spent while manic doesn’t fit into the Internal Revenue Service concept of medical expense or business loss. So after mania, when most depressed, you’re given excellent reason to be even more so.

In the great cities we see so little of the world, we drift into our minority. In the little towns and villages there are no minorities; people are not numerous enough. You must see the world there, perforce. Every man is himself a class; every hour carries its new challenge. When you pass the inn at the end of the village you leave your favourite whimsy behind you; for you will meet no one who can share it. We listen to eloquent speaking, read books and write them, settle all the affairs of the universe. The dumb village multitudes pass on unchanging; the feel of the spade in the hand is no different for all our talk: good seasons and bad follow each other as of old. The dumb multitudes are no more concerned with us than is the old horse peering through the rusty gate of the village pound. The ancient map-makers wrote across unexplored regions, 'Here are lions.' Across the villages of fishermen and turners of the earth, so different are these from us, we can write but one line that is certain, 'Here are ghosts.' ("Village Ghosts")

Advice to friends. Advice to fellow mothers in the same boat. "How do you do it all?" Crack a joke. Make it seem easy. Make everything seem easy. Make life seem easy and parenthood and marriage and freelancing for pennies, writing a novel and smiling after a rejection, keeping the faith after two, reminding oneself that four years of work counted for a lot, counted for everything. Make the bed. Make it nice. Make the people laugh when you sit down to write and if you can't make them laugh make them cry. Make them want to hug you or hold you or punch you in the face. Make them want to kill you or fuck you or be your friend. Make them change. Make them happy. Make the baby smile. Make him laugh. Make him dinner. Make him proud. Hold the phone, someone is on the other line. She says its important. People are dying. Children. Friends. Press mute because there is nothing you can say. Press off because you're running out of minutes. Running out of time. Soon he'll be grown up and you'll regret the time you spent pushing him away for one more paragraph in the manuscript no one will ever read. Put down the book, the computer, the ideas. Remember who you are now. Wait. Remember who you were. Wait. Remember what's important. Make a list. Ten things, no twenty. Twenty thousand things you want to do before you die but what if tomorrow never comes? No one will remember. No one will know. No one will laugh or cry or make the bed. No one will have a clue which songs to sing to the baby. No one will be there for the children. No one will finish the first draft of the novel. No one will publish the one that's been finished for months. No one will remember the thought you had last night, that great idea you forgot to write down.

I just make the best book that I can and try to not worry about audience or if it will sell. The odds are against you, so why abuse your talent for the sake of a chimera? The only real pleasure for me in writing comes from pleasing myself. What readers think is interesting and illuminating (and it may even be correct), but that is nothing compared to the excitement of seeing a world develop. Besides, even though I like most individuals I meet, I have a pretty low opinion of people in general. So if I were to write for people in general, I would have to drastically lower my estimation of the intelligence of my reader. Rather than doing that, I write the way it seems the book has to appear. I don’t think that’s egotistic. There are often things I would like to include in my books—things about me personally and other materials—that I feel I have to leave out because they aren’t relevant to the book. I’m fairly ruthless along those lines, because I try to let nothing come in the way of what’s best for the book. If that means that the book won’t sell or that a publisher won’t buy it, then that’s my problem. I’ll suffer for that, but I won’t let the book suffer for it.

You go through life thinking there's so much you need. Your favorite jeans and sweater. The jacket with the faux-fur lining to keep you warm. Your phone and your music and your favorite books. Mascara. Irish breakfast tea and cappuccinos from Trouble Coffee. You need your yearbooks, every stiffly posed school-dance photo, the notes your friends slipped into your locker. You need the camera you got for your sixteenth birthday and the flowers you dried. You need your notebooks full of the things you learned and don't want to forget. You need your bedspread, white with black diamonds. You need your pillow - it fits the way you sleep. You need magazines promising self-improvement. You need your running shoes and your sandals and your boots. Your grade report from the semester you got straight As. Your prom dress, your shiny earrings, your pendants on delicate chains. You need your underwear, your light-colored bras and your black ones. The dream catcher hanging above your bed. The dozens and dozens of shells in glass jars... You think you need all of it. Until you leave with only your phone, your wallet, and a picture of your mother.

... one cannot read a book: one can only reread it. A good reader, a major reader, an active and creative reader is a rereader. And I shall tell you why. When we read a book for the first time the very process of laboriously moving our eyes from left to right, line after line, page after page, this complicated physical work upon the book, the very process of learning in terms of space and time what the book is about, this stands between us and artistic appreciation. When we look at a painting we do no have to move our eyes in a special way even if, as in a book, the picture contains elements of depth and development. The element of time does not really enter in a first contact with a painting. In reading a book, we must have time to acquaint ourselves with it. We have no physical organ (as we have the eye in regard to a painting) that takes in the whole picture and can enjoy its details. But at a second, or third, or fourth reading we do, in a sense, behave towards a book as we do towards a painting. However, let us not confuse the physical eye, that monstrous achievement of evolution, with the mind, an even more monstrous achievement. A book, no matter what it is - a work of fiction or a work of science (the boundary line between the two is not as clear as is generally believed) - a book of fiction appeals first of all to the mind. The mind, the brain, the top of the tingling spine, is, or should be, the only instrument used upon a book.

Anna turned the pages slowly for effect, and like some demonic schoolmarm, held the book at an angle to provide maximum exposure to the assembled crowd. Everyone needed to have the opportunity to catch a long, languorous glimpse of my disgrace. "This looks so much like you," she said to Noah, pressing her body against his. "My girl is talented," Noah said. My heart stopped beating. Anna's heart stopped beating. Everyone's heart stopped beating. The buzzing of a solitary gnat would have sounded obscene in the stillness. "Bullshit," Anna whispered finally, but it was loud enough for everyone to hear. She hadn't moved an inch. Noah shrugged. "I'm a vain bastard, and Mara indulges me." After a pause, he added, "I'm just glad you didn't get your greedy little claws on the other sketchbook. That would have been embarrassing." His lips curved into a sly smile as he slid from the picnic table he'd been sitting on. "Now, get the fuck off me," he said calmly to a dumbfounded, speechless Anna as he pushed past her plucking the sketchbook roughly from her hands. And walked over to me. "Let's go," Noah ordered gently, once he was at my side. His body brushed the line of my shoulder and arm protectively. And then he held out his hand. I wanted to take it and I wanted to spit in Anna's face and I wanted to kiss him and I wanted to knee Aiden Davis in the groin. Civilization won out, and I willed each individual nerve to respond to the signal I sent with my brain and placed my fingers in his. A current traveled from my fingertips through to the hollow where my stomach used to be. And just like that, I was completely, utterly and entirely, His.

Not long ago, I advertised for perverse rules of grammar, along the lines of "Remember to never split an infinitive" and "The passive voice should never be used." The notion of making a mistake while laying down rules ("Thimk," "We Never Make Misteaks") is highly unoriginal, and it turns out that English teachers have been circulating lists of fumblerules for years. As owner of the world's largest collection, and with thanks to scores of readers, let me pass along a bunch of these never-say-neverisms: * Avoid run-on sentences they are hard to read. * Don't use no double negatives. * Use the semicolon properly, always use it where it is appropriate; and never where it isn't. * Reserve the apostrophe for it's proper use and omit it when its not needed. * Do not put statements in the negative form. * Verbs has to agree with their subjects. * No sentence fragments. * Proofread carefully to see if you any words out. * Avoid commas, that are not necessary. * If you reread your work, you will find on rereading that a great deal of repetition can be avoided by rereading and editing. * A writer must not shift your point of view. * Eschew dialect, irregardless. * And don't start a sentence with a conjunction. * Don't overuse exclamation marks!!! * Place pronouns as close as possible, especially in long sentences, as of 10 or more words, to their antecedents. * Writers should always hyphenate between syllables and avoid un-necessary hyph-ens. * Write all adverbial forms correct. * Don't use contractions in formal writing. * Writing carefully, dangling participles must be avoided. * It is incumbent on us to avoid archaisms. * If any word is improper at the end of a sentence, a linking verb is. * Steer clear of incorrect forms of verbs that have snuck in the language. * Take the bull by the hand and avoid mixed metaphors. * Avoid trendy locutions that sound flaky. * Never, ever use repetitive redundancies. * Everyone should be careful to use a singular pronoun with singular nouns in their writing. * If I've told you once, I've told you a thousand times, resist hyperbole. * Also, avoid awkward or affected alliteration. * Don't string too many prepositional phrases together unless you are walking through the valley of the shadow of death. * Always pick on the correct idiom. * "Avoid overuse of 'quotation "marks."'" * The adverb always follows the verb. * Last but not least, avoid cliches like the plague; seek viable alternatives." (New York Times, November 4, 1979; later also published in book form)

Do you ever feel lost?” The question hangs between us, intimate, awkward only on my end. He doesn’t scoff as Tactus and Fitchner would, or scratch his balls like Sevro, or chuckle like Cassius might have, or purr as Victra would. I’m not sure what Mustang might have done. But Roque, despite his Color and all the things that make him different, slowly slides a marker into the book and sets it on the nightstand beside the four-poster, taking his time and allowing an answer to evolve between us. Movements thoughtful and organic, like Dancer’s were before he died. There’s a stillness in him, vast and majestic, the same stillness I remember in my father. “Quinn once told me a story.” He waits for me to moan a grievance at the mention of a story, and when I don’t, his tone sinks into deeper gravity. “Once, in the days of Old Earth, there were two pigeons who were greatly in love. In those days, they raised such animals to carry messages across great distances. These two were born in the same cage, raised by the same man, and sold on the same day to different men on the eve of a great war. “The pigeons suffered apart from each other, each incomplete without their lover. Far and wide their masters took them, and the pigeons feared they would never again find each other, for they began to see how vast the world was, and how terrible the things in it. For months and months, they carried messages for their masters, flying over battle lines, through the air over men who killed one another for land. When the war ended, the pigeons were set free by their masters. But neither knew where to go, neither knew what to do, so each flew home. And there they found each other again, as they were always destined to return home and find, instead of the past, their future.

The night before brain surgery, I thought about death. I searched out my larger values, and I asked myself, if I was going to die, did I want to do it fighting and clawing or in peaceful surrender? What sort of character did I hope to show? Was I content with myself and what I had done with my life so far? I decided that I was essentially a good person, although I could have been better--but at the same time I understood that the cancer didn't care. I asked myself what I believed. I had never prayed a lot. I hoped hard, I wished hard, but I didn't pray. I had developed a certain distrust of organized religion growing up, but I felt I had the capacity to be a spiritual person, and to hold some fervent beliefs. Quite simply, I believed I had a responsibility to be a good person, and that meant fair, honest, hardworking, and honorable. If I did that, if I was good to my family, true to my friends, if I gave back to my community or to some cause, if I wasn't a liar, a cheat, or a thief, then I believed that should be enough. At the end of the day, if there was indeed some Body or presence standing there to judge me, I hoped I would be judged on whether I had lived a true life, not on whether I believed in a certain book, or whether I'd been baptized. If there was indeed a God at the end of my days, I hoped he didn't say, 'But you were never a Christian, so you're going the other way from heaven.' If so, I was going to reply, 'You know what? You're right. Fine.' I believed, too, in the doctors and the medicine and the surgeries--I believed in that. I believed in them. A person like Dr. Einhorn [his oncologist], that's someone to believe in, I thought, a person with the mind to develop an experimental treatment 20 years ago that now could save my life. I believed in the hard currency of his intelligence and his research. Beyond that, I had no idea where to draw the line between spiritual belief and science. But I knew this much: I believed in belief, for its own shining sake. To believe in the face of utter hopelessness, every article of evidence to the contrary, to ignore apparent catastrophe--what other choice was there? We do it every day, I realized. We are so much stronger than we imagine, and belief is one of the most valiant and long-lived human characteristics. To believe, when all along we humans know that nothing can cure the briefness of this life, that there is no remedy for our basic mortality, that is a form of bravery. To continue believing in yourself, believing in the doctors, believing in the treatment, believing in whatever I chose to believe in, that was the most important thing, I decided. It had to be. Without belief, we would be left with nothing but an overwhelming doom, every single day. And it will beat you. I didn't fully see, until the cancer, how we fight every day against the creeping negatives of the world, how we struggle daily against the slow lapping of cynicism. Dispiritedness and disappointment, these were the real perils of life, not some sudden illness or cataclysmic millennium doomsday. I knew now why people fear cancer: because it is a slow and inevitable death, it is the very definition of cynicism and loss of spirit. So, I believed.

I would like [my readers] to better understand human beings and human life as a result of having read [my] stories. I'd like them to feel that this was an experience that made things better for them and an experience that gave them hope. I think that the kind of things that we talk about at this conference -- fantasy very much so, science fiction, and even horror -- the message that we're sending is the reverse of the message sent by what is called "realistic fiction." (I happen to think that realistic fiction is not, in fact, realistic, but that's a side issue.) And what we are saying is that it doesn't have to be like this: things can be different. Our society can be changed. Maybe it's worse, maybe it's better. Maybe it's a higher civilization, maybe it's a barbaric civilization. But it doesn't have to be the way it is now. Things can change. And we're also saying things can change for you in your life. Look at the difference between Severian the apprentice and Severian the Autarch [in The Book of the New Sun], for example. The difference beteween Silk as an augur and Silk as calde [in The Book of the Long Sun]. You see? We don't always have to be this. There can be something else. We can stop doing the thing that we're doing. Moms Mabley had a great line in some movie or other -- she said, "You keep on doing what you been doing and you're gonna keep on gettin' what you been gettin'." And we don't have to keep on doing what we've been doing. We can do something else if we don't like what we're gettin'. I think a lot of the purpose of fiction ought to be to tell people that.

I have always been interested in this man. My father had a set of Tom Paine's books on the shelf at home. I must have opened the covers about the time I was 13. And I can still remember the flash of enlightenment which shone from his pages. It was a revelation, indeed, to encounter his views on political and religious matters, so different from the views of many people around us. Of course I did not understand him very well, but his sincerity and ardor made an impression upon me that nothing has ever served to lessen. I have heard it said that Paine borrowed from Montesquieu and Rousseau. Maybe he had read them both and learned something from each. I do not know. But I doubt that Paine ever borrowed a line from any man... Many a person who could not comprehend Rousseau, and would be puzzled by Montesquieu, could understand Paine as an open book. He wrote with a clarity, a sharpness of outline and exactness of speech that even a schoolboy should be able to grasp. There is nothing false, little that is subtle, and an impressive lack of the negative in Paine. He literally cried to his reader for a comprehending hour, and then filled that hour with such sagacious reasoning as we find surpassed nowhere else in American letters - seldom in any school of writing. Paine would have been the last to look upon himself as a man of letters. Liberty was the dear companion of his heart; truth in all things his object. ...we, perhaps, remember him best for his declaration: 'The world is my country; to do good my religion.' Again we see the spontaneous genius at work in 'The Rights of Man', and that genius busy at his favorite task - liberty. Written hurriedly and in the heat of controversy, 'The Rights of Man' yet compares favorably with classical models, and in some places rises to vaulting heights. Its appearance outmatched events attending Burke's effort in his 'Reflections'. Instantly the English public caught hold of this new contribution. It was more than a defense of liberty; it was a world declaration of what Paine had declared before in the Colonies. His reasoning was so cogent, his command of the subject so broad, that his legion of enemies found it hard to answer him. 'Tom Paine is quite right,' said Pitt, the Prime Minister, 'but if I were to encourage his views we should have a bloody revolution.' Here we see the progressive quality of Paine's genius at its best. 'The Rights of Man' amplified and reasserted what already had been said in 'Common Sense', with now a greater force and the power of a maturing mind. Just when Paine was at the height of his renown, an indictment for treason confronted him. About the same time he was elected a member of the Revolutionary Assembly and escaped to France. So little did he know of the French tongue that addresses to his constituents had to be translated by an interpreter. But he sat in the assembly. Shrinking from the guillotine, he encountered Robespierre's enmity, and presently found himself in prison, facing that dread instrument. But his imprisonment was fertile. Already he had written the first part of 'The Age of Reason' and now turned his time to the latter part. Presently his second escape cheated Robespierre of vengeance, and in the course of events 'The Age of Reason' appeared. Instantly it became a source of contention which still endures. Paine returned to the United States a little broken, and went to live at his home in New Rochelle - a public gift. Many of his old companions in the struggle for liberty avoided him, and he was publicly condemned by the unthinking. {The Philosophy of Paine, June 7, 1925}

Perhaps the body has its own memory system, like the invisible meridian lines those Chinese acupuncturists always talk about. Perhaps the body is unforgiving, perhaps every cell, every muscle and fragment of bone remembers each and every assault and attack. Maybe the pain of memory is encoded into our bone marrow and each remembered grievance swims in our bloodstream like a hard, black pebble. After all, the body, like God, moves in mysterious ways. From the time she was in her teens, Sera has been fascinated by this paradox - how a body that we occupy, that we have worn like a coat from the moment of our birth - from before birth, even - is still a stranger to us. After all, almost everything we do in our lives is for the well-being of the body: we bathe daily, polish our teeth, groom our hair and fingernails; we work miserable jobs in order to feed and clothe it; we go to great lengths to protect it from pain and violence and harm. And yet the body remains a mystery, a book that we have never read. Sera plays with this irony, toys with it as if it were a puzzle: How, despite our lifelong preoccupation with our bodies, we have never met face-to-face with our kidneys, how we wouldn't recognize our own liver in a row of livers, how we have never seen our own heart or brain. We know more about the depths of the ocean, are more acquainted with the far corners of outer space than with our own organs and muscles and bones. So perhaps there are no phantom pains after all; perhaps all pain is real; perhaps each long ago blow lives on into eternity in some different permutation and shape; perhaps the body is this hypersensitive, revengeful entity, a ledger book, a warehouse of remembered slights and cruelties. But if this is true, surely the body also remembers each kindness, each kiss, each act of compassion? Surely this is our salvation, our only hope - that joy and love are also woven into the fabric of the body, into each sinewy muscle, into the core of each pulsating cell?