Both Sides Of The Story Quotes

In seeking truth you have to get both sides of a story.

As Hamlet said to Ophelia, ”God has given you one face, and you make yourself another." The battle between these two halves of identity...Who we are and who we pretend to be, is unwinnable. "Just as there are two sides to every story, there are two sides to every person. One that we reveal to the world and another we keep hidden inside. A duality governed by the balance of light and darkness, within each of us is the capacity for both good and evil. But those who are able to blur the moral dividing line hold the true power.

That's what war is," Cobb told me. "A bunch of sorry, desperate fools on both sides, just trying to stay alive. That's the part that those stories you love leave out, isn't it? It's always more convenient when you can fight a dragon. Something you don't have to worry you'll start caring about.

It hurts to care about someone more than they care about them-selves. I can tell that story from both sides

Things change when someone special comes into your life. Both sides have to give up things. The one thing you don't give up in a good relationship is you--whatever makes you most you. - Jim Olsten (Jane's Grandpa)

I simply cannot accept that there are, on every story, two equal and logical sides to an argument.

The cactus thrives in the desert while the fern thrives in the wetland. The fool will try to plant them in the same flowerbox. The florist will sigh and add a wall divider and proper soil to both sides. The grandparent will move the flowerbox halfway out of the sun. The child will turn it around properly so that the fern is in the shade, and not the cactus. The moral of the story? Kids are smart.

It takes both sides to build a bridge.

War is not just the shower of bullets and bombs from both sides, it is also the shower of blood and bones on both sides.

You don't notice the dead leaving when they really choose to leave you. You're not meant to. At most you feel them as a whisper or the wave of a whisper undulating down. I would compare it to a woman in the back of a lecture hall or theater whom no one notices until she slips out.Then only those near the door themselves, like Grandma Lynn, notice; to the rest it is like an unexplained breeze in a closed room. Grandma Lynn died several years later, but I have yet to see her here. I imagine her tying it on in her heaven, drinking mint juleps with Tennessee Williams and Dean Martin. She'll be here in her own sweet time, I'm sure. If I'm to be honest with you, I still sneak away to watch my family sometimes. I can't help it, and sometimes they still think of me. They can't help it.... It was a suprise to everyone when Lindsey found out she was pregnant...My father dreamed that one day he might teach another child to love ships in bottles. He knew there would be both sadness and joy in it; that it would always hold an echo of me. I would like to tell you that it is beautiful here, that I am, and you will one day be, forever safe. But this heaven is not about safety just as, in its graciousness, it isn't about gritty reality. We have fun. We do things that leave humans stumped and grateful, like Buckley's garden coming up one year, all of its crazy jumble of plants blooming all at once. I did that for my mother who, having stayed, found herself facing the yard again. Marvel was what she did at all the flowers and herbs and budding weeds. Marveling was what she mostly did after she came back- at the twists life took. And my parents gave my leftover possessions to the Goodwill, along with Grandma Lynn's things. They kept sharing when they felt me. Being together, thinking and talking about the dead, became a perfectly normal part of their life. And I listened to my brother, Buckley, as he beat the drums. Ray became Dr. Singh... And he had more and more moments that he chose not to disbelieve. Even if surrounding him were the serious surgeons and scientists who ruled over a world of black and white, he maintained this possibility: that the ushering strangers that sometimes appeared to the dying were not the results of strokes, that he had called Ruth by my name, and that he had, indeed, made love to me. If he ever doubted, he called Ruth. Ruth, who graduated from a closet to a closet-sized studio on the Lower East Side. Ruth, who was still trying to find a way to write down whom she saw and what she had experienced. Ruth, who wanted everyone to believe what she knew: that the dead truly talk to us, that in the air between the living, spirits bob and weave and laugh with us. They are the oxygen we breathe. Now I am in the place I call this wide wide Heaven because it includes all my simplest desires but also the most humble and grand. The word my grandfather uses is comfort. So there are cakes and pillows and colors galore, but underneath this more obvious patchwork quilt are places like a quiet room where you can go and hold someone's hand and not have to say anything. Give no story. Make no claim. Where you can live at the edge of your skin for as long as you wish. This wide wide Heaven is about flathead nails and the soft down of new leaves, wide roller coaster rides and escaped marbles that fall then hang then take you somewhere you could never have imagined in your small-heaven dreams.

No struggle can ever succeed without women participating side by side with men. There are two powers in the world; one is the sword and the other is the pen. There is a third power stronger than both, that of women.

Just as there are two sides to every story, there are two sides to every person. One that we reveal to the world and another we keep hidden inside. A duality governed by the balance of light and darkness. Within each of us is the capacity for both good and evil. But those of us who are able to blur the moral dividing line hold the true power.

I believe that things just happen in life, and pretty much after the fact, we make up a story to make it all seem rational. We all like simple stories that suggest a causal chain to life’s events. Yet randomness is ever present.

In distilled form, though, the explanations of both the right and the left have become mirror images of each other. They are stories of conspiracy, of America being hijacked by an evil cabal. Like all good conspiracy theories, both tales contain just enough truth to satisfy those predisposed to believe in them, without admitting any contradictions that might shake up those assumptions. Their purpose is not to persuade the other side but to keep their bases agitated and assured of the rightness of their respective causes - and lure just enough new adherents to beat the other side into submission.

Both tears and sweat are salty. but none of them are faulty. the tears can get you somewhere, the sweat will make you only wet.

What will become of a country...when a mother cannot trust her own children, and they, in turn, cannot trust their own families?

I’m on a side of a road somewhere, stuck in the middle of a very deep hole, with no way of getting out. Never mind how I got in there, it’s not relevant to the story. I’ll invent a back-story… I was walking to get pizza and a chasm opened up in the earth and I fell in, and now I’m at the bottom of this hole, screaming for help. And along comes you. Now, maybe you just keep walking. You know, there’s a strange guy screaming from the center of the Earth. It’s perhaps best to just ignore him. But let’s say that you don’t. Let’s say that you stop. The sensible thing to do in this situation is to call down to me and say “I’m going to look for a ladder. I will be right back.” But you don’t do that. Instead you sit down at the edge of this abyss, and then you push yourself forward, and jump. And when you land at the bottom of the hole and dust yourself off, I’m like “What the hell are you doing?! Now there are two of us in this hole!” And you look at me and say, “Well yeah, but now I’m highly motivated to get you out.” This is what I love about novels, both reading them and writing them. They jump into the abyss to be with you where you are

Always listen to both sides of the story before you come to a conclusion.

April was just beginning, and after the warm spring day it turned cooler, slightly frosty, and a breath of spring could be felt in the soft, cold air. The road from the convent to town was sandy, they had to go at a walking pace; and on both sides of the carriage, in the bright, still moonlight, pilgrims trudged over the sand. And everyone was silent, deep in thought, everything around was welcoming, young, so near— the trees, the sky, even the moon—and one wanted to think it would always be so.

Reclaiming ourselves usually means coming to recognize and accept that we have in us both sides of everything. We are capable of fear and courage, generosity and selfishness, vulnerability and strength. These things do not cancel each other out but offer us a full range of power and response to life. Life is as complex as we are. Sometimes our vulnerability is our strength, our fear develops our courage, and our woundedness is the road to our integrity. It is not an either/or world. It is a real world. In calling ourselves "heads" or "tails," we may never own and spend our human currency, the pure gold of which our coin is made. But judgment may heal over time. One of the blessings of growing older is the discovery that many of the things I once believed to be my shortcomings have turned out in the long run to be my strengths, and other things of which I was unduly proud have revealed themselves in the end to be among my shortcomings. Things that I have hidden from others for years turn out to be the anchor and enrichment of my middle age. What a blessing it is to outlive your self-judgments and harvest your failures.

Western journalists are also taught to report various interpretations of the facts. The adage that there are two sides to a story makes sense when those who represent each side accept the factuality of the world and interpret the same set of facts. Putin’s strategy of implausible deniability exploited this convention while destroying its basis. He positioned himself as a side of the story while mocking factuality. “I am lying to you openly and we both know it” is not a side of the story. It is a trap.

Ideas and statutes that live only in disembodied intellect are fragile, easily manipulated by both sides in a debate. This is as true of European "sustainability" regulations as it is for Amazonian súmac káusai removed from its forest home. Knowledge gained through extended bodily relationship with the forest, including the forest's human communities, is more robust. ... There is truth that cannot be accessed through intellect alone, especially intellect that is not aware of local ecological variations.

An English wood is like a good many other things in life-- very promising at a distance, but a hollow mockery when you get within. You see daylight on both sides, and the sun freckles the very bracken. Our woods need the night to make them seem what they ought to be--what they once were, before our ancestors' descendants demanded so much more money, in these so much more various days. ("The Striding Place")

These were both nothing more than a pair of minor incidents that happened in my trivial little life. Short side trips along the way. Even if they hadn’t happened, I doubt my life would have wound up much different from what it is now. But still, these memories return to me sometimes, traveling down a very long passageway to arrive. And when they do, their unexpected power shakes me to the core. Like an autumn wind that gusts at night, swirling fallen leaves in a forest, flattening the pampas grass in fields, and pounding hard on the doors to people’s homes, over and over again.

Bureaucrats do not, as a whole, like to make decisions. Decisions require a degree of courage and responsibility, qualities in short supply among public servants on both sides of the Great Divide.

[Author's Note:] When I was sixteen, two of my cousins were brutally raped by four strangers and thrown off a bridge in St. Louis, Missouri. My brother was beaten and also forced off the bridge. I wrote about that horrible crime in my first book, my memoir, A Rip in Heaven. Because that crime and the subsequent writing of the book were both formative experience in my life, I became a person who is always, automatically, more interested in stories about victims than perpetrators. I'm interested in characters who suffer inconceivable hardship, in people who manage to triumph over extraordinary trauma. Characters like Lydia and Soledad. I'm less interested in the violent, macho stories of gangsters and law enforcement. Or in any case, I think the world has enough stories like those. Some fiction set in the world of the cartels and narcotraficantes is compelling and important - I read much of it during my early research. Those novels provide readers with an understanding of the origins of the some of the violence to our south. But the depiction of that violence can feed into some of the worst stereotypes about Mexico. So I saw an opening for a novel that would press a little more intimately into those stories, to imagine people on the flip side of that prevailing narrative. Regular people like me. How would I manage if I lived in a place that began to collapse around me? If my children were in danger, how far would I go to save them? I wanted to write about women, whose stories are often overlooked.

And the two women stood side by side looking at the slender, flowering tree. Although it was so still it seemed, like the flame of a candle, to stretch up, to point, to quiver in the bright air, to grow taller and taller as they gazed - almost to touch the rim of the round, silver moon. How long did they stand there? Both, as it were, caught in that circle of unearthly light, understanding each other perfectly, creatures of another world, and wondering what they were to do in this one with all this blissful treasure that burned in their bosoms and dropped, in silver flowers, from their hair and hands?

No one has ever told me that I'm beautiful before," Hazel said. She hadn't realized it was true until she said it out loud. Jack stood with his hands on either side of her face and stared at her for a few heartbeats. Then he leaned in and softly kissed both her eyelids. "Someone should tell you that you're beautiful every time the sun comes up. Someone should tell you you're beautiful on Wednesdays. And at teatime. Someone should tell you you're beautiful on Christmas Day and Christmas Eve and the evening before Christmas Eve, and on Easter. He should tell you on Guy Fawkes Night and on New Year's, and on the eighth of August, just because." He kissed her lips once more, gently, and then pulled away and gazed into her eyes. "Hazel Sinnett, you are the most miraculous creature I have ever come across, and I am going to be thinking about how beautiful you are until the day I die.

Cynicism creates a numbness toward life. Cynicism begins with a wry assurance that everyone has an angle. Behind every silver lining is a cloud. The cynic is always observing, critiquing, but never engaging, loving, and hoping. ... To be cynical is to be distant. While offering a false intimacy of being "in the know," cynicism actually destroys intimacy. It leads to bitterness that can deaden and even destroy the spirit. ... Cynicism begins, oddly enough, with too much of the wrong kind of faith, with naive optimism or foolish confidence. At first glance, genuine faith and naive optimism appear identical since both foster confidence and hope.But the similarity is only surface deep.Genuine faith comes from knowing my heavenly Father loves, enjoys, and cares for me. Naive optimism is groundless. It is childlike trust without the loving Father. ... Optimism in the goodness of people collapses when it confronts the dark side of life. ... Shattered optimism sets us up for the fall into defeated weariness and, eventually, cynicism. You'd think it would just leave us less optimistic, but we humans don't do neutral well. We go from seeing the bright side of everything to seeing the dark side of everything. We feel betrayed by life. ... The movement from naive optimism to cynicism is the new American journey. In naive optimism we don't need to pray because everything is under control. In cynicism we can't pray because everything out of control, little is possible. With the Good Shepherd no longer leading us through the valley of the shadow of death, we need something to maintain our sanity. Cynicism's ironic stance is a weak attempt to maintain a lighthearted equilibrium in a world gone mad. ... Without the Good Shepherd, we are alone in a meaningless story. Weariness and fear leave us feeling overwhelmed, unable to move. Cynicism leaves us doubting, unable to dream. The combination shuts down our hearts, and we just show up for life, going through the motions.

They said of him, about the city that night, that it was the peacefullest man's face ever beheld there. Many added that he looked sublime and prophetic. One of the most remarkable sufferers by the same axe---a woman---had asked at the foot of the same scaffold, not long before, to be allowed to write down the thoughts that were inspiring her. If he had given an utterance to his, and they were prophetic, they would have been these: "I see Barsad, and Cly, Defarge, The Vengeance, the Juryman, the Judge, long ranks of the new oppressors who have risen on the destruction of the old, perishing by this retributive instrument, before it shall cease out of its present use. I see a beautiful city and a brilliant people rising from this abyss, and, in their struggles to be truly free, in their triumphs and defeats, through long years to come, I see the evil of this time and of the previous time of which this is the natural birth, gradually making expiation for itself and wearing out. "I see the lives for which I lay down my life, peaceful, useful, prosperous and happy, in that England which I shall see no more. I see Her with a child upon her bosom, who bears my name. I see her father, aged and bent, but otherwise restored, and faithful to all men in his healing office, and at peace. I see the good old man, so long their friend, in ten years' time enriching them with all he has, and passing tranquilly to his reward. "I see that I hold a sanctuary in their hearts, and in the hearts of their descendants, generations hence. I see her, an old woman weeping for me on the anniversary of this day. I see her and her husband, their course done, lying side by side in their last earthly bed, and I know that each was not more honoured and held sacred in the other's soul, than I was in the souls of both. "I see that child who lay upon her bosom and who bore my name, a man winning his way up in that path of life which once was mine. I see him winning it so well, that my name is made illustrious there by the light of his. I see the blots I threw upon it, faded away. I see him, foremost of just judges and honoured men, brining a boy of my name, with a forehead that I know and golden hair, to this place---then fair to look upon, with not a trace of this day's disfigurement---and I hear him tell the child my story, with a tender and faltering voice. "It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to than I have ever known.

Yet surely that story she had imagined was a real thing? If you created a story with your mind surely it was just as much there as a piece of needlework that you created with your fingers? You could not see it with your bodily eyes, that was all....the invisible world must be saturated with the stories that men tell both in their minds and by their lives. They must be everywhere, these stories, twisting together, penetrating existence like air breathed into the lungs, and how terrible, how awful, thought Henrietta, if the air breathed should be foul. How dare men live, how dare they think or imagine, when every action and every thought is a tiny thread to ar or enrich that tremendous tapestried story that man weaves on the loom that God has set up, a loom that stretches from heaven above to hell below, and from side to side of the universe...

Jinnah said, ‘No struggle can ever succeed without women participating side by side with men. There are two powers in the world; one is the sword and the other is the pen. There is a third power stronger than both, that of women.

A trial relied heavily on oaths, but both sides would bring as many liars as they could muster, and judgment usually went to the better liars or, if both sides were equally convincing, to the side who had the sympathy of the onlookers.

An educated person will listen to a story before he reacts... But a well-educated person knows how to listen to both sides of a story before he reacts.

Wherever we both are, that is our home. Our bones and our skin, our muscles and our beating hearts, those have to serve as a sense of home [...]

In the end, both sides wanted what the Pilgrims had been looking for in 1620: a place unfettered by obligations to others. But from the moment Massasoit decided to become the Pilgrims’ ally, New England belonged to no single group. For peace and for survival, others must be accommodated. The moment any of them gave up on the difficult work of living with their neighbors—and all of the compromise, frustration, and delay that inevitably entailed—they risked losing everything. It was a lesson that Bradford and Massasoit had learned over the course of more than three long decades. That it could be so quickly forgotten by their children remains a lesson for us today.

That’s what war is,” Cobb told me. “A bunch of sorry, desperate fools on both sides, just trying to stay alive. That’s the part that those stories you love leave out, isn’t it? It’s always more convenient when you can fight a dragon. Something you don’t have to worry you’ll start caring about.

An apocryphal story recounts the dilhemma of a man during the Civil War who could not decide whether to join the Confederate or Union forces. Finally he put on a gray coat and blue pants, and both sides shot him.

No struggle can even succeed without women participating side by side with men. There are two powers in the world; one is the sword and the other is the pen. There is a third power stronger than both and that is women.

We can't see any object fully at once. When we see it from front side, the back side remains unseen and vice versa. One side always remains unseen to us at any given time. Every story also has two sides, be it your family drama or news stories served by media. Try to see both sides if you want the divine power of oneness on your side.

Love is wonderful, magical, and beautiful, but it can also be maddening, damaging, and dangerous,: she said. "It blinds us more than anything. It makes us selfish, it makes us feel like nothing else matters, and it tricks us into thinking the rest of the world doesn't exist - but it does exist. Whether you're on the high or low side of love, the world always moves on." "So you're saying love is a weakness?" Arthur asked. "That depends on you," Mother Goose said. "There's a reason we've got hearts and brains - we're supposed to listen to them both. A good man follows his heart, but a wise man follows his heart without ignoring his brain. Finding the right balance is one of the hardest parts of life.

Sometimes... Come on, how often exactly, Bert? Can you recall four, five, more such occasions? Or would no human heart have survived two or three? Sometimes (I have nothing to say in reply to your question), while Lolita would be haphazardly preparing her homework, sucking a pencil, lolling sideways in an easy chair with both legs over its arm, I would shed all my pedagogic restraint, dismiss all our quarrels, forget all my masculine pride - and literally crawl on my knees to your chair, my Lolita! You would give me one look - a gray furry question mark of a look: "Oh no, not again" (incredulity, exasperation); for you never deigned to believe that I could, without any specific designs, ever crave to bury my face in your plaid skirt, my darling! The fragility of those bare arms of yours - how I longed to enfold them, all your four limpid lovely limbs, a folded colt, and take your head between my unworthy hands, and pull the temple-skin back on both sides, and kiss your chinesed eyes, and - "Please, leave me alone, will you," you would say, "for Christ's sake leave me alone." And I would get up from the floor while you looked on, your face deliberately twitching in imitation of my tic nerveux. But never mind, never mind, I am only a brute, never mind, let us go on with my miserable story.

for every story about a black mother, sister, or wife crying over a man who was locked up for something he didn’t do, there was a black mother, sister, wife, husband, father, or brother crying over the murder of a loved one for which no one was locked up. For black folks, injustice came from both sides of the law, a double-edged sword of heartache and pain.

The antidote to feel-good history is not feel-bad history but honest and inclusive history. If textbook authors feel compelled to give good moral instruction, the way origin myths have always done, they could accomplish this aim by allowing students to learn both the "good" and the "bad" sides of the Pilgrim tale. Conflict would then become part of the story, and students might discover that the knowledge they gain has implication for their lives today. Correctly taught, the issues of the era of the first Thanksgiving could help Americans grow more thoughtful and more tolerant, rather than more ethnocentric.

Horror stories and loves stories are two sides of the same coin. Both can involve obsession, being overtaken by feelings you can't control, being driven to doing crazy out-of-character stuff, being at someone else's mercy. Both involve death. [...] Horror involves actual death. But love stories threaten emotional death if the person doesn't end up with the one they love, or that's the theory they're selling us.

Bill Hutchinson went over to his wife and forced the slip of paper out of her hand. It had a black spot on it, the black spot Mr. Summers had made the night before with the heavy pencil in the coal company office. Bill Hutchinson held it up, and there was a stir in the crowd. "All right, folks," Mr. Summers said. "Let's finish quickly." Although the villagers had forgotten the ritual and lost the original black box, they still remembered to use stones. The pile of stones the boys had made earlier was ready; there were stones on the ground with the blowing scraps of paper that had come out of the box. Mrs. Delacroix selected a stone so large she had to pick it up with both hands and turned to Mrs. Dunbar. "Come on," she said. "Hurry up." Mrs. Dunbar had small stones in both hands, and she said, gasping for breath, "I can't run at all. You'll have to go ahead and I'll catch up with you." The children had stones already, and someone gave little Davy Hutchinson a few pebbles. Tessie Hutchinson was in the center of a cleared space by now, and she held her hands out desperately as the villagers moved in on her. "It isn't fair," she said. A stone hit her on the side of the head. Old Man Warner was saying, "Come on, come on, everyone." Steve Adams was in the front of the crowd of villagers, with Mrs. Graves beside him. "It isn't fair, it isn't right," Mrs. Hutchinson screamed, and then they were upon her.

This is our meditation practice as women, calling back the dead and dismembered aspects of ourselves, calling back the dead and dismembered aspects of life itself. The one who re-creates from that which has died is always a double-sided archetype. The Creation Mother is always also the Death Mother and vice versa. Because of this dual nature, or double-tasking, the great work before us is to learn to understand what around and about us and what within us must live, and what must die. Our work is to apprehend the timing of both; to allow what must die to die, and what must live to live.

He wanted to live life so intensely that he could die at any moment without regrets. But still, out of deference to his adoptive parents and his aunt, he kept himself in check. This created both light and dark sides to his life. Seeing a comic puppet in a Western tailor’s shop made him wonder how close he himself was to such a figure. His self beyond consciousness, however – his ‘second self’ – had long since put such feelings into a story.

She was simultaneously repelled by the woods and drawn to it. If the trees had a voice, they would have been chanting a dark lullaby, calling her closer, promising to envelop her and keep her. She hesitated, gathering her courage, feeling the tendrils of old magic reaching out to touch her, before vanishing in the gray light of day. The woods were both living and dead. Hero and villain. The dark and the light. There are two sides to every story.

Throughout our story, the people involved demanded the right to be heard, insisting that we—the public—had the right to hear both sides and that the media had an obligation to present it. They insisted that this was only fair and democratic. But were they attempting to preserve democracy? No. The issue was not free speech; it was free markets.

My fingers combed through my dark hair, short and straight, landing in choppy, uneven ends nearly level with my chin. The color reminded me of every evil character in any fairy tale. It seemed all were characteristically black; black hair, black eyes, black clothing, black demeanor, and black intent. I never thought I was truly a villainous character, not like I knew my father to be, but I was his offspring and devoid of any princess-like characteristics, so that left only the wicked side of the story to play. In my dreams, though, I imagined myself more like Snow White―wavy, raven hair, a perfectly fair complexion, bathed in rose scents, and exhibiting a natural feminine grace that would dance musical circles around both Ginger and Elizabeth. No, I never hoped for such a thing to be real, but I dared to pretend it with perfect clarity in my dreams.

I would give you a crown if I could,” he said. “I would show you the world from the prow of a ship. I would choose you, Zoya. As my general, as my friend, as my bride. I would give you a sapphire the size of an acorn.” He reached into his pocket. “And all I would ask in return is that you wear this damnable ribbon in your hair on our wedding day.” She reached out, her fingers hovering over the coil of blue velvet ribbon resting in his palm. Then she pulled back her hand, cradling her fingers as if they’d been singed. “You will wed a Taban sister who craves a crown,” she said. “Or a wealthy Kerch girl, or maybe a Fjerdan royal. You will have heirs and a future. I’m not the queen Ravka needs.” “And if you’re the queen I want?” She shut her eyes. “There’s a story my aunt told me a very long time ago. I can’t remember all of it, but I remember the way she described the hero: ‘He had a golden spirit.’ I loved those words. I made her read them again and again. When I was a little girl, I thought I had a golden spirit too, that it would light everything it touched, that it would make me beloved like a hero in a story.” She sat up, drew her knees in, wrapped her arms around them as if she could make a shelter of her own body. He wanted to pull her back down beside him and press his mouth to hers. He wanted her to look at him again with possibility in her eyes. “But that’s not who I am. Whatever is inside me is sharp and gray as the thorn wood.” She rose and dusted off her kefta. “I wasn’t born to be a bride. I was made to be a weapon.” Nikolai forced himself to smile. It wasn’t as if he’d offered her a real proposal. They both knew such a thing was impossible. And yet her refusal smarted just as badly as if he’d gotten on his knee and offered her his hand like some kind of besotted fool. It stung. All Saints, it stung. “Well,” he said cheerfully, pushing up onto his elbows and looking up at her with all the wry humor he could muster. “Weapons are good to have around too. Far more useful than brides and less likely to mope about the palace. But if you won’t rule Ravka by my side, what does the future hold, General?” Zoya opened the door to the cargo hold. Light flooded in, gilding her features when she looked back at him. “I’ll fight on beside you. As your general. As your friend. Because whatever my failings, I know this: You are the king Ravka needs.

Back out of all this now too much for us, Back in a time made simple by the loss Of detail, burned, dissolved, and broken off Like graveyard marble sculpture in the weather, There is a house that is no more a house Upon a farm that is no more a farm And in a town that is no more a town. The road there, if you’ll let a guide direct you Who only has at heart your getting lost, May seem as if it should have been a quarry— Great monolithic knees the former town Long since gave up pretense of keeping covered. And there’s a story in a book about it: Besides the wear of iron wagon wheels The ledges show lines ruled southeast-northwest, The chisel work of an enormous Glacier That braced his feet against the Arctic Pole. You must not mind a certain coolness from him Still said to haunt this side of Panther Mountain. Nor need you mind the serial ordeal Of being watched from forty cellar holes As if by eye pairs out of forty firkins. As for the woods’ excitement over you That sends light rustle rushes to their leaves, Charge that to upstart inexperience. Where were they all not twenty years ago? They think too much of having shaded out A few old pecker-fretted apple trees. Make yourself up a cheering song of how Someone’s road home from work this once was, Who may be just ahead of you on foot Or creaking with a buggy load of grain. The height of the adventure is the height Of country where two village cultures faded Into each other. Both of them are lost. And if you’re lost enough to find yourself By now, pull in your ladder road behind you And put a sign up CLOSED to all but me. Then make yourself at home. The only field Now left’s no bigger than a harness gall. First there’s the children’s house of make-believe, Some shattered dishes underneath a pine, The playthings in the playhouse of the children. Weep for what little things could make them glad. Then for the house that is no more a house, But only a belilaced cellar hole, Now slowly closing like a dent in dough. This was no playhouse but a house in earnest. Your destination and your destiny’s A brook that was the water of the house, Cold as a spring as yet so near its source, Too lofty and original to rage. (We know the valley streams that when aroused Will leave their tatters hung on barb and thorn.) I have kept hidden in the instep arch Of an old cedar at the waterside A broken drinking goblet like the Grail Under a spell so the wrong ones can’t find it, So can’t get saved, as Saint Mark says they mustn’t. (I stole the goblet from the children’s playhouse.) Here are your waters and your watering place. Drink and be whole again beyond confusion.

The law dictates how much politicians can collect in campaign contributions, limits their ability to make money on the side, and requires the disclosure of those contributors. Hopefully, politicians are also limited to some extent by their conscience. A sense of decency and good judgment ought to prevent politicians on both sides of the aisle from engaging in certain transactions—even if they think they can get away with it.

A study of fifty women conducted in 1887 revealed that the corset forcibly contracted their waists by anywhere between two and a half and six bodies. The pressure it applied to women's bodies averaged twenty-one pounds but could reach as high as eighty-eight pounds. Tight-lacing was thus akin to crushing oneself slowly from all sides. As a harsh critic of the corset noted, 'It is evident, physiologically, that air is the pabulum of life, and that the effects of a tight cord round the neck and of tight-lacing only differ in degree.... for the strangulations are both fatal. To wear tight stays is in many cases to wither, to waste and to die.

I see Barsad, and Cly, Defarge, The Vengeance, the Juryman, the Judge, long ranks of the new oppressors who have risen on the destruction of the old, perishing by this retributive instrument, before it shall cease out of its present use. I see a beautiful city and a brilliant people rising from this abyss, and, in their struggles to be truly free, in their triumphs and defeats, through long years to come, I see the evils of this time and of the previous time of which this is the natural birth, gradually making expiation for itself and wearing out. I see the lives for which I lay down my life, peaceful, useful, prosperous and happy, in that England which I shall see no more. I see Her with a child upon her bosom, who bears my name. I see her father, aged and bent, but otherwise restored, and faithful to all men in his healing office, and at peace. I see the good old man, so long their friend, in ten years’ time enriching them with all he has, and passing tranquilly to his reward. I see that I hold sanctuary in their hearts, and in the hearts of their descendants, generations hence. I see her, an old woman, weeping for me on the anniversary of this day. I see her and her husband, their course done, lying side by side in their last earthly bed, and I know that each was not more honoured and held sacred in the other’s soul, than I was in the souls of both. I see that child who lay upon her bosom and who bore my name, a man winning his way up in that path of life which once was mine. I see him winning it so well, that my name is made illustrious there by light of his. I see the blots I threw upon it, faded away. I see him, foremost of just judges and honoured men, bringing a boy of my name, with a forehead that I know and golden hair, to this place – then fair to look upon, with not a trace of this day’s disfigurement – and I hear him tell the child my story, with a tender and faltering voice. It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to than I have ever known.

[Author's note:] When I decided to write this book, I worried that my privilege would make me blind to certain truths, that I would get things wrong, as I may well have. I worried that, as a non-immigrant and non-Mexican, I had no business writing a book set almost entirely in Mexico, set entirely among migrants. I wished someone slightly browner than me would write it. But then I thought, 'If you're a person who has the capacity to be a bridge, why not be a bridge?' So I began. In the early days of my research, before I'd fully convinced myself that I should undertake the telling of this story, I was interviewing a very generous scholar, a remarkable woman who was chair of the Chicana and Chicano studies Department at San Diego State University. Her name is Norma Iglesias Prieto, and I mentioned my doubts to her. I told her I felt compelled, but unqualified, to write this book. She said, "Jeanine. We need as many voices as we can get, telling this story." Her encouragement sustained me for the next four years. I was careful and deliberate in my research. I traveled extensively on both sides of the border and learned as much as I could about Mexico and migrants, about people living throughout the borderlands. The statistics in this book are all true, and though I changed some names, most of the places are real, too. But the characters, while representative of the folks I met during my travels, are fictional.

She thought of the revelations she held cradled against her chest, of how they could potentially serve up more discord, more upset and controversy. Would she be doing this society any good by revealing her new knowledge? “I . . .” She swallowed hard. “I’m sorry. I didn’t mean to disturb you. Really, it’s nothing that can’t wait. Actually”—she stood up and extracted the scrolls from Noah’s hold—“all I wanted was, uh . . . help with some interpretation. But you are busy . . .” She rounded the peculiar triangular table as casually as she could while she spoke, even turning to back out of the room while giving them a bright smile that she hoped did not look as fake as it felt. “You know, there are lots of books down there, and I bet there’s a translation.” She reached up to smack her palm into her forehead, chiding herself for not thinking properly. Isabella reached for the door and closed it even faster than she had originally opened it. Noah looked over at Jacob, one dark brow lifting toward his thick hairline. “Does . . .?” He raised a hand to point to the door, looking utterly perplexed. “Does she have any idea what a lousy liar she is?” “Apparently not,” Jacob said with a long, low sigh. “I think that was my fault,” he speculated wryly. “Your fault?” “Yeah . . . it is . . . a long story. We better get her.” “Relax,” Noah chuckled. “She’s leaning against the other side of the door, trying to catch her breath. “I know. I just thought it would be funny if we opened it behind her.” “I never knew you actually enjoyed being cruel,” the King remarked, humor sparkling in his eyes as they both stepped up to the exit. Noah opened the door, and Jacob reached out to catch her, scrolls and all.

Pessimism is a towering skyscraper eighty stories high in the suburbs of the soul at the end of a long avenue with waste ground on either side and a few poorly-stocked little shops. Several ultra-fast staircases give access to the building, running up from the cellars to the roof-gardens. The comfort of this place leaves nothing to be desired and only the greatest luxury is acceptable, but every Friday the residents gather on the ground floor to read from a bible bound in the skin of a blind man. The psalmic words they intone rise up through the pipes, sigh in the stoves and sweep the chimneys coated inside with black grease which leaves dirt on the skin. Water runs constantly in the bathrooms and the showers beat down on the numbered bodies, peppering them with sand. On Sundays the bed linen unrolls by itself and nobody makes love. For this tower block, like an obscure phallus scraping the vulva of the sky, is usually a hive of sexual activity. The most beautiful woman lives there, but no-one has ever known her. It is said, that dressed in furs and feathers, she keeps herself shut away in a first-floor apartment as if in a white safe. Her windows are scissors which cut short both shadow and breath. Her name is AURORA.

On a collective level, the mind-set “We are right and they are wrong” is particularly deeply entrenched in those parts of the world where conflict between two nations, races, tribes, religions, or ideologies is long-standing, extreme, and endemic. Both sides of the conflict are equally identified with their own perspective, their own “story,” that is to say, identified with thought. Both are equally incapable of seeing that another perspective, another story, may exist and also be valid. Israeli writer Y. Halevi speaks of the possibility of “accommodating a competing narrative,”3 but in many parts of the world, people are not yet able or willing to do that. Both sides believe themselves to be in possession of the truth. Both regard themselves as victims and the “other” as evil, and because they have conceptualized and thereby dehumanized the other as the enemy, they can kill and inflict all kinds of violence on the other, even on children, without feeling their humanity and suffering.

Is that what we’re doing when we write sad stories? Are we squelching hope, beauty, and wonder? Or are we perhaps exploring the opposite side of the same coin? Life is just as full of sadness as it is of happiness. To ignore that fact is to limit both our personal experience of the human existence and our ability to write about it truthfully. To cap every story with a happy ending is dishonesty to both ourselves and our readers. The moment fiction becomes dishonest is the moment it ceases to matter.

Martin thought of the iron El trestles winding and stretching across the city, of department store windows and hotel lobbies, of electric elevators and street-car ads, of the city pressing its way north on both sides of the great park, of dynamos and electric lights, of ten-story hotels, of the old iron tower near the depot at West Brighton with its two steam-driven elevators rising and falling in the sky--and in his blood he felt a surge of restlessness, as if he were a steam train spewing fiery coal smoke into the black night sky as he roared along a trembling El track, high above the dark storefronts, the gaslit saloons, the red-lit doorways, the cheap beer dives, the dance halls, the gambling joints, the face in the doorway, the sudden cry in the night.

There's folly in her stride that's the rumor justified by lies I've seen her up close beneath the sheets and sometime during the summer she was mine for a few sweet months in the fall and parts of December ((( To get to the heart of this unsolvable equation, one must first become familiar with the physical, emotional, and immaterial makeup as to what constitutes both war and peace. ))) I found her looking through a window the same window I'd been looking through She smiled and her eyes never faltered this folly was a crime ((( The very essence of war is destructive, though throughout the years utilized as a means of creating peace, such an equation might seem paradoxical to the untrained eye. Some might say using evil to defeat evil is counterproductive, and gives more meaning to the word “futile”. Others, like Edmund Burke, would argue that “the only thing necessary for the triumph of evil is for good men and women to do nothing.” ))) She had an identity I could identify with something my fingertips could caress in the night ((( There is such a limitless landscape within the mind, no two minds are alike. And this is why as a race we will forever be at war with each other. What constitutes peace is in the mind of the beholder. ))) Have you heard the argument? This displacement of men and women and women and men the minds we all have the beliefs we all share Slipping inside of us thoughts and religions and bodies all bare ((( “Without darkness, there can be no light,” he once said. To demonstrate this theory, during one of his seminars he held a piece of white chalk and drew a line down the center of a blackboard. Explaining that without the blackness of the board, the white line would be invisible. ))) When she left she kissed with eyes open I knew this because I'd done the same Sometimes we saw eye to eye like that Very briefly, she considered an apotheosis a synthesis a rendering of her folly into solidarity ((( To believe that a world-wide lay down of arms is possible, however, is the delusion of the pacifist; the dream of the optimist; and the joke of the realist. Diplomacy only goes so far, and in spite of our efforts to fight with words- there are times when drawing swords of a very different nature are surely called for. ))) Experiencing the subsequent sunrise inhaling and drinking breaking mirrors and regurgitating just to start again all in all I was just another gash in the bark ((( Plato once said: “Only the dead have seen the end of war.” Perhaps the death of us all is called for in this time of emotional desperation. War is a product of the mind; only with the death of such will come the end of the bloodshed. Though this may be a fairly realistic view of such an issue, perhaps there is an optimistic outlook on the horizon. Not every sword is double edged, but every coin is double sided. ))) Leaving town and throwing shit out the window drinking boroughs and borrowing spare change I glimpsed the rear view mirror stole a glimpse really I've believed in looking back for a while it helps to have one last view a reminder in case one ever decides to rebel in the event the self regresses and makes the declaration of devastation once more ((( Thus, if we wish to eliminate the threat of war today- complete human annihilation may be called for. )))

New Rule: You don't have to teach both sides of a debate if one side is a load of crap. President Bush recently suggested that public schools should teach "intelligent design" alongside the theory of evolution, because after all, evolution is "just a theory." Then the president renewed his vow to "drive the terrorists straight over the edge of the earth." Here's what I don't get: President Bush is a brilliant scientist. He's the man who proved you could mix two parts booze with one part cocaine and still fly a jet fighter. And yet he just can't seem to accept that we descended from apes. It seems pathetic to be so insecure about your biological superiority to a group of feces-flinging, rouge-buttocked monkeys that you have to make up fairy tales like "We came from Adam and Eve," and then cover stories for Adam and Eve, like intelligent design! Yeah, leaving the earth in the hands of two naked teenagers, that's a real intelligent design. I'm sorry, folks, but it may very well be that life is just a series of random events, and that there is no master plan--but enough about Iraq. There aren't necessarily two sides to every issue. If there were, the Republicans would have an opposition party. And an opposition party would point out that even though there's a debate in schools and government about this, there is no debate among scientists. Evolution is supported by the entire scientific community. Intelligent design is supported by the guys on line to see The Dukes of Hazzard. And the reason there is no real debate is that intelligent design isn't real science. It's the equivalent of saying that the Thermos keeps hot things hot and cold things cold because it's a god. It's so willfully ignorant you might as well worship the U.S. mail. "It came again! Praise Jesus!" Stupidity isn't a form of knowing things. Thunder is high-pressure air meeting low-pressure air--it's not God bowling. "Babies come from storks" is not a competing school of throught in medical school. We shouldn't teach both. The media shouldn't equate both. If Thomas Jefferson knew we were blurring the line this much between Church and State, he would turn over in his slave. As for me, I believe in evolution and intelligent design. I think God designed us in his image, but I also think God is a monkey.

As the thing came closer, what was left of Nick’s body became revealed and I could see how the dead boy’s eyes had bled from the trauma inflicted upon him; they dripped with steady succession onto the floor between his splayed legs. He looked like a rejected marionette tossed haphazardly in the corner by a frustrated puppeteer, his head drooping so low that his chin rested against his chest. His motionless arms lay at his sides, both of them squeezed into tight fists, as if he’d died futilely trying to defend himself.

In The Garret Four little chests all in a row, Dim with dust, and worn by time, All fashioned and filled, long ago, By children now in their prime. Four little keys hung side by side, With faded ribbons, brave and gay When fastened there, with childish pride, Long ago, on a rainy day. Four little names, one on each lid, Carved out by a boyish hand, And underneath there lieth hid Histories of the happy band Once playing here, and pausing oft To hear the sweet refrain, That came and went on the roof aloft, In the falling summer rain. 'Meg' on the first lid, smooth and fair. I look in with loving eyes, For folded here, with well-known care, A goodly gathering lies, The record of a peaceful life-- Gifts to gentle child and girl, A bridal gown, lines to a wife, A tiny shoe, a baby curl. No toys in this first chest remain, For all are carried away, In their old age, to join again In another small Meg's play. Ah, happy mother! Well I know You hear, like a sweet refrain, Lullabies ever soft and low In the falling summer rain. 'Jo' on the next lid, scratched and worn, And within a motley store Of headless dolls, of schoolbooks torn, Birds and beasts that speak no more, Spoils brought home from the fairy ground Only trod by youthful feet, Dreams of a future never found, Memories of a past still sweet, Half-writ poems, stories wild, April letters, warm and cold, Diaries of a wilful child, Hints of a woman early old, A woman in a lonely home, Hearing, like a sad refrain-- 'Be worthy, love, and love will come,' In the falling summer rain. My Beth! the dust is always swept From the lid that bears your name, As if by loving eyes that wept, By careful hands that often came. Death canonized for us one saint, Ever less human than divine, And still we lay, with tender plaint, Relics in this household shrine-- The silver bell, so seldom rung, The little cap which last she wore, The fair, dead Catherine that hung By angels borne above her door. The songs she sang, without lament, In her prison-house of pain, Forever are they sweetly blent With the falling summer rain. Upon the last lid's polished field-- Legend now both fair and true A gallant knight bears on his shield, 'Amy' in letters gold and blue. Within lie snoods that bound her hair, Slippers that have danced their last, Faded flowers laid by with care, Fans whose airy toils are past, Gay valentines, all ardent flames, Trifles that have borne their part In girlish hopes and fears and shames, The record of a maiden heart Now learning fairer, truer spells, Hearing, like a blithe refrain, The silver sound of bridal bells In the falling summer rain. Four little chests all in a row, Dim with dust, and worn by time, Four women, taught by weal and woe To love and labor in their prime. Four sisters, parted for an hour, None lost, one only gone before, Made by love's immortal power, Nearest and dearest evermore. Oh, when these hidden stores of ours Lie open to the Father's sight, May they be rich in golden hours, Deeds that show fairer for the light, Lives whose brave music long shall ring, Like a spirit-stirring strain, Souls that shall gladly soar and sing In the long sunshine after rain

For a moment, disconnected by the stitch in his side, he listened not to the sense but to the interplay of the two flexible voices, one masculine and light, one mellow and feminine, unreeling their story, faintly affronted amid mounting hysteria. He opened his eyes. He knew, because his memories of Francis Crawford went back further than those of anyone there, that Lymond was rather drunk, although he could still disguise it. The quick-wittedness, the invention, the faultless comedy timing were present at the price of a little concentration which had closed his outer consciousness for the moment. Jerott, no longer laughing, sat in the shadows and watched the dazzling performance and both the players, blond and brown, artist and acolyte. Acolyte. But Philippa was a child no longer: he had known that since that single evening in Lyon. The severe, clear-skinned profile turned towards Francis might have belonged to any great lady. The brown and brilliant gaze only quizzed him at intervals: she seemed able, Jerott saw, to sense by instinct the course of his fantasy; and as with Lymond, what she was doing at present occupied all her awareness. Then Francis surged to his feet, leaving his robe, and launched into Jason’s querulous tour de force, fractured by interruptions and a mounting fury of incoherent resentment, and finally disintegrating in chaos.

We live in the era of the “bottom line” mentality, with TED talks, sound bites, and news summaries. There is so much information to digest, we can only hope to grasp the world with compact and seemingly complete stories. We don’t want to be left dangling. We are all suckers for this information diet, and we all have come to depend on it, just like we have all succumbed to the instant gratification of texting and cell phones. And yet what separates the dilettante from the sophisticate is the appreciation that everything is not simple. The trick seems to be able to talk clearly while remaining fully aware of the underlying complexity of any story. For me it is the overwhelming realization that when trying to figure out how the brain does its masterful trick of enabling minds, we are barely at the starting line. Dig as deep as you want into human history: As long as there is a written record of thought, there is a record of humans wondering about the nature of life. It becomes obvious that all of us are just hopping into an ongoing conversation, not structuring one with a beginning, a middle, and an end. Humans may have discovered some of the constraints on the thought processes, but we have not yet been able to tell the full story.

Soon you shall be landing In the battleground, ensure you have the right weapons to fight the enemy; ensure you know your enemy and what he is capable of; take them unprepared to gain the victory and stand with your head held high; show it to the world the cause you have been fighting for, deception is the key, challenge your enemy when it is least expected; break them mentally before breaking them physically. You are a soldier; your enemy is a soldier and you are facing the best, both sides have a lot of similarities only variation lies in the cause. Cause is driver for the battle; cause is binding comrades together and even if the victory is gained the cause stays undefeated. You stand defeated for your strategy, tactics and leaders but never for the cause, it’s still alive, it shall always be alive with the men who have sacrificed their lives, with the men who are still alive. They stand defeated with the physical strength but not for the cause they have believed in and you can never take it away from them. Fight for a cause and you shall stay invincible. A war story is always biased towards one side and it’s hard to narrate a true war story. We choose and make our heroes from what we have read, heard and believed in. If we know the cause both sides are standing for, it will become difficult to take sides. Always respect your enemy, respect for the fact they are standing neck to neck with you, respect them for the courage they have shown to defend the other side, their land, respect them for whatever you have earned the respect for from your men, from your country and from your people. Powerful strategies, tactics, weapons, leaders are allies to the war, they support but never claims victory all my themselves Greatest wars won always had the greater cause. Rebel without a cause is never a rebel just an aimless person whose fate lies in the defeat.

Shelton pushed Ben lightly. “Remember when you couldn’t flare without losing your temper? So Hi kicked you from behind to get you mad, and you threw him in the ocean?” Ben snorted. “He deserved it.” “I was providing a service,” Hi protested. “I recall Tory once trying to eat a mouse.” I pinched my nose. “Ugh, don’t remind me.” Ella giggled. “One time Cole lost his flare while carrying a boulder. It pinned his leg for an hour.” Then everyone had a story. Our funeral became a wake. The mood lifted as we swapped flare stories. It was cathartic. A way to say good-bye. I caught Ben smiling at me. “I remember when Tory sniffed that mound of bird crap in the old lighthouse. I thought she’d vomit on the spot.” Chance laughed. “I knew she was too clever. Always with a trick up her sleeve.” The boys glanced at each other. Their smiles faded. Something passed between them. Abruptly, both looked at me. I could see a question in their eyes. A resolve to see something through. They talked. Oh God, they talked about me. They’re going to make me choose. In a flash of dread, I realized I could delay this no longer. With another jolt, I realized I didn’t need to. There was no point putting it off. There was also no decision to make. My eyes met a dark, intense pair staring back earnestly. Longingly. Fearfully. I smiled. Even as my heart pounded. Before anyone spoke, I stepped forward, legs shaking so badly I worried I might fall. But my second foot successfully followed the first. I walked over to Ben’s side. Slipped my hand inside his. Squeezed for dear life. Ben’s eyes widened. He gasped quietly, his chest rising and falling. I met his startled gaze. Smiled through my blushes. A goofy smile split Ben’s face, one I’d never seen before. His fingers crushed mine. No decision to make. Tearing my eyes from Ben, I looked at Chance, found him watching me with a glum expression. Then he sighed, a wry smile twisting his lips. Chance nodded slightly. Not one word spoken. Volumes exchanged. The silence stretched, like a living breathing force. Finally, Hi cleared his throat. “Um.” My face burned scarlet as I remembered our audience. Ella was gaping at me, a delighted grin on her face. Shelton looked like he might turn and run. Hi was rubbing the back of his neck, his face twisted in an uncomfortable grimace. Still no one said a word. This was the most painful moment of my life. “So . . .” Hi drummed his thighs, eyes fixed to the pavement. “Right. A lot just happened there. Weirdly without anyone talking, but, um, yeah.

Ieronym took hold of the cable with both hands, curved himself into a question mark, and grunted. The ferry creaked and lurched. The silhouette of the peasant in the tall hat slowly began to recede from me--which meant that the ferry was moving. Soon Ieronym straightened up and began working with one hand. We were silent and looked at the bank towards which we were now moving. There the "lumination" which the peasant had been waiting for was already beginning. At the water's edge, barrels of pitch blazed like huge bonfires. Their reflection, crimson as the rising moon, crept to meet us in long, wide stripes. The burning barrels threw light on their own smoke and on the long human shadows that flitted about the fire; but further to the sides and behind them, where the velvet ringing rushed from, was the same impenetrable darkness. Suddenly slashing it open, the golden ribbon of a rocket soared skywards; it described an arc and, as if shattering against the sky, burst and came sifting down in sparks. On the bank a noise was heard resembling a distant "hoorah." "How beautiful," I said. "It's even impossible to say how beautiful!" sighed Ieronym. "It's that kind of night, sir! At other times you don't pay attention to rockets, but now any vain thing makes you glad. Where are you from?

I suspect that self-deception is similar to its cousins, overconfidence and optimism, and as with these other biases, it has both benefits and disadvantages. On the positive side, an unjustifiably elevated belief in ourselves can increase our general well-being by helping us cope with stress; it can increase our persistence while doing difficult or tedious tasks; and it can get us to try new and different experiences. We persist in deceiving ourselves in part to maintain a positive self-image. We gloss over our failures, highlight our successes (even when they’re not entirely our own), and love to blame other people and outside circumstances when our failures are undeniable. Like our friend the crab, we can use self-deception to boost our confidence when we might not otherwise feel bold. Positioning ourselves on the basis of our finer points can help us snag a date, finish a big project, or land a job. (I am not suggesting that you puff up your résumé, of course, but a little extra confidence can often work in our favor.) On the negative side, to the extent that an overly optimistic view of ourselves can form the basis of our actions, we may wrongly assume that things will turn out for the best and as a consequence not actively make the best decisions. Self-deception can also cause us to “enhance” our life stories with, say, a degree from a prestigious university, which can lead us to suffer a great deal when the truth is ultimately revealed. And, of course, there is the general cost of deception. When we and those around us are dishonest, we start suspecting everyone, and without trust our lives become more difficult in almost every way.

When she opened her eyes they were confronted by a musical box against the opposite wall - one of those early Bavarian toys where mechanical figures perform to the tune. 'How odd,' she thought. The little stage showed a group of fiddlers, two couples in costumes like those of the ball she had just quitted, and in a doorway at the side, a gypsy or beggar man. Very faintly the distant waltz came to her ears, but no footsteps ringing in the abandoned halls. With her hand pressed to her unsteady heart, acting under a sudden compulsion, she pushed down the lever. Delicate plucked music started up; the fiddlers sawed with their clumsy arms in time to an ethereal waltz. The couples moved jerkily out and each raised an arm to clasp its partner. To various clicks and rumbles from under the floor they began to revolve with each other and to orbit round the room. Their movements were sinister because of being both reluctant and predestined. Here they were and this is was what they must do. ("Many Coloured Glass")

The current media environment both encourages and perpetuates these reactions because, after all, it’s good for business. The writer and media commentator Ryan Holiday refers to this as “outrage porn”: rather than report on real stories and real issues, the media find it much easier (and more profitable) to find something mildly offensive, broadcast it to a wide audience, generate outrage, and then broadcast that outrage back across the population in a way that outrages yet another part of the population. This triggers a kind of echo of bullshit pinging back and forth between two imaginary sides, meanwhile distracting everyone from real societal problems. It’s no wonder we’re more politically polarized than ever before.

The word power has two different meanings. There is power to: strength, gift, skill, art, the mastery of a craft, the authority of knowledge. And there is power over: rule, dominion, supremacy, might, mastery of slaves, authority over others. Ged was offered both kinds of power. Tenar was offered only one. Heroic fantasy descends to us from an archaic world. I hadn’t yet thought much about that archaism. My story took place in the old hierarchy of society, the pyramidal power structure, probably military in origin, in which orders are given from above, with a single figure at the top. This is the world of power over, in which women have always been ranked low. In such a world, I could put a girl at the heart of my story, but I couldn’t give her a man’s freedom, or chances equal to a man’s chances. She couldn’t be a hero in the hero-tale sense. Not even in a fantasy? No. Because to me, fantasy isn’t wishful thinking, but a way of reflecting, and reflecting on reality. After all, even in a democracy, in the second decade of the twenty-first century, after forty years of feminist striving, the reality is that we live in a top-down power structure that was shaped by, and is still dominated by, men. Back in 1969, that reality seemed almost unshakable. So I gave Tenar power over—dominion, even godhead—but it was a gift of which little good could come. The dark side of the world was what she had to learn, as Ged had to learn the darkness in his own heart.

Belle blinked at the vision before her and inhaled sharply. Books! Books everywhere. The enormous room was two stories tall, with a spiraling stairway on each side leading up to the upper level. Leather-bound volumes filled the shelves from floor to ceiling on both floors, and the upper level looked down upon them with an open loft area surrounded by an ornate wrought-iron railing. Several rolling ladders were in front of the bookcases to allow easy access to even the highest-placed books. And best of all were the chairs and couches around the floor, and the pillows piled high by the windows, perfect for getting comfortable with a story. The library was filled with sunlight during the day, as well as having numerous lamps available for cozy nighttime reading.

Strange, the impact of History, the grip it had on us, yet it was nothing but words. Accidental accretions for the most part, leaving most of the story out. We have not yet begun to explore the true power of the Word, I thought. What if we broke all the rules, played games with the evidence, manipulated language itself, made History a partisan ally? Of course, the Phantom was already onto this, wasn't he? Ahead of us again. What were his dialectical machinations if not the dissolution of the natural limits of language, the conscious invention of a space, a spooky artificial no-man's land, between logical alternatives. I loved to debate both sides of any issue, but thinking about that strange space in between made me sweat. Paradox was one thing I hated more than psychiatrists and lady journalists.

The earliest storytellers were magi, seers, bards, griots, shamans. They were, it would seem, as old as time, and as terrifying to gaze upon as the mysteries with which they wrestled. They wrestled with mysteries and transformed them into myths which coded the world and helped the community to live through one more darkness, with eyes wide open and hearts set alight. "I can see them now, the old masters. I can see them standing on the other side of the flames, speaking in the voices of lions, or thunder, or monsters, or heroes, heroines, or the earth, or fire itself -- for they had to contain all voices within them, had to be all things and nothing. They had to have the ability to become lightning, to become a future homeland, to be the dreaded guide to the fabled land where the community will settle and fructify. They had to be able to fight in advance all the demons they would encounter, and summon up all the courage needed on the way, to prophesy about all the requisite qualities that would ensure their arrival at the dreamt-of land. "The old masters had to be able to tell stories that would make sleep possible on those inhuman nights, stories that would counter terror with enchantment, or with a greater terror. I can see them, beyond the flames, telling of a hero's battle with a fabulous beast -- the beast that is in the hero." "The storyteller's art changed through the ages. From battling dread in word and incantations before their people did in reality, they became the repositories of the people's wisdom and follies. Often, conscripted by kings, they became the memory of a people's origins, and carried with them the long line of ancestries and lineages. Most important of all, they were the living libraries, the keepers of legends and lore. They knew the causes and mutations of things, the herbs, trees, plants, cures for diseases, causes for wars, causes of victory, the ways in which victory often precipitates defeat, or defeat victory, the lineages of gods, the rites humans have to perform to the gods. They knew of follies and restitutions, were advocates of new and old ways of being, were custodians of culture, recorders of change." "These old storytellers were the true magicians. They were humanity's truest friends and most reliable guides. Their role was both simple and demanding. They had to go down deep into the seeds of time, into the dreams of their people, into the unconscious, into the uncharted fears, and bring shapes and moods back up into the light. They had to battle with monsters before they told us about them. They had to see clearly." "They risked their sanity and their consciousness in the service of dreaming better futures. They risked madness, or being unmoored in the wild realms of the interspaces, or being devoured by the unexpected demons of the communal imagination." "And I think that now, in our age, in the mid-ocean of our days, with certainties collapsing around us, and with no beliefs by which to steer our way through the dark descending nights ahead -- I think that now we need those fictional old bards and fearless storytellers, those seers. We need their magic, their courage, their love, and their fire more than ever before. It is precisely in a fractured, broken age that we need mystery and a reawoken sense of wonder. We need them to be whole again.

Journalists usually treat anything as true if someone in a position of ostensible authority is willing to say it, even anonymously (and if no one is going to sue over it). The accuracy of anyone’s statement, particularly if that person is a public official, is often deemed irrelevant. If no evidence is available for an argument a journalist wishes to include in a story, then up pop weasel words such as “it seems” or “some claim” to enable inclusion of the argument, no matter how shaky its foundation in reality. What’s more, too many journalists believe that their job description does not require them to adjudicate between competing claims of truth. Sure, there are “two sides”—and only two sides—to every story, according to the rules of objectivity. But if both sides wish to deploy lies and other forms of deliberate deception for their own purposes, well, that’s somebody else’s problem.

Roger left the cricket stumps and they went into the drawing room. Grandpapa, at the first suggestion of reading aloud, had disappeared, taking Patch with him. Grandmama had cleared away the tea. She found her spectacles and the book. It was Black Beauty. Grandmama kept no modern children's books, and this made common ground for the three of them. She read the terrible chapter where the stable lad lets Beauty get overheated and gives him a cold drink and does not put on his blanket. The story was suited to the day. Even Roger listened entranced. And Deborah, watching her grandmother's calm face and hearing her careful voice reading the sentences, thought how strange it was that Grandmama could turn herself into Beauty with such ease. She was a horse, suffering there with pneumonia in the stable, being saved by the wise coachman. After the reading, cricket was anticlimax, but Deborah must keep her bargain. She kept thinking of Black Beauty writing the book. It showed how good the story was, Grandmama said, because no child had ever yet questioned the practical side of it, or posed the picture of a horse with a pen in its hoof. "A modern horse would have a typewriter," thought Deborah, and she began to bowl to Roger, smiling to herself as she did so because of the twentieth-century Beauty clacking with both hoofs at a machine. ("The Pool")

After high school, he’d passed two relatively laid-back years as a student at Occidental College in Los Angeles before transferring to Columbia, where by his own account he’d behaved nothing like a college boy set loose in 1980s Manhattan and instead lived like a sixteenth-century mountain hermit, reading lofty works of literature and philosophy in a grimy apartment on 109th Street, writing bad poetry, and fasting on Sundays. We laughed about all of it, swapping stories about our backgrounds and what led us to the law. Barack was serious without being self-serious. He was breezy in his manner but powerful in his mind. It was a strange, stirring combination. Surprising to me, too, was how well he knew Chicago. Barack was the first person I’d met at Sidley who had spent time in the barbershops, barbecue joints, and Bible-thumping black parishes of the Far South Side. Before going to law school, he’d worked in Chicago for three years as a community organizer, earning $12,000 a year from a nonprofit that bound together a coalition of churches. His task was to help rebuild neighborhoods and bring back jobs. As he described it, it had been two parts frustration to one part reward: He’d spend weeks planning a community meeting, only to have a dozen people show up. His efforts were scoffed at by union leaders and picked apart by black folks and white folks alike. Yet over time, he’d won a few incremental victories, and this seemed to encourage him. He was in law school, he explained, because grassroots organizing had shown him that meaningful societal change required not just the work of the people on the ground but stronger policies and governmental action as well. Despite my resistance to the hype that had preceded him, I found myself admiring Barack for both his self-assuredness and his earnest demeanor. He was refreshing, unconventional, and weirdly elegant.

I used to think one day we'd tell the story of us ; How we met, and the sparks flew instantly. People would say have said they're the lucky ones. I used to know my place was a spot next to you and then it went to me searching the room for an empty seat 'Cause lately I don't even know what page you're on Oh, a simple complication, Miscommunications lead to fall out. So many things that I wish you knew oh and So many walls up, I can't break through Now I'm back again on this website after five years And I'm dying to know does it still hurt you like it hurts me? I don't know what to say since a twist of fate, when it all broke down and the story of us looks a lot like a tragedy now How'd we end up this way? With both of us deleting our accounts and going our separate ways So, today I'm telling the story of us of how I was losing my mind when I saw you had deleted the account and gone away without a goodbye and no I miss yous leaving me with just your quotes on Goodreads How you held your pride like you should've held me Why did we pretend this is nothing? I'd tell you I miss you, but I don't know how I never heard silence quite this loud Now I'm standing alone in a crowded room in a UK library reminiscing about the days when I was 15 and you were a 16 California boy; how we fell for each and how we fought both too immature to realize what we were setting up in flames How I still recall your replies and my singing heart and shining eyes. Didn't tell you back then and now I'm saying I liked it better when you were on my side So many things that you wish I knew ; So many that I wish I had told you But the story of us has broken, burned and ended Now I'm standing alone in a crowded room And we're not speaking : And I'm dying to know Is it killing you like it's killing me? But I don't know what to say Since a twist of fate, when it all broke down And the story of us looks a lot like a tragedy now.

I understand, intellectually, that the death of a parent is a natural, acceptable part of life. Nobody would call the death of a very sick eighty-year-old woman a tragedy. There was soft weeping at her funeral and red watery eyes. No wrenching sobs. Now I think that I should have let myself sob. I should have wailed and beaten my chest and thrown myself over her coffin. I read a poem. A pretty, touching poem I thought she would have liked. I should have used my own words. I should have said: No one will ever love me as fiercely as my mother did. I should have said: You all think you’re at the funeral of a sweet little old lady, but you’re at the funeral of a girl called Clara, who had long blond hair in a heavy thick plait down to her waist, who fell in love with a shy man who worked on the railways, and they spent years and years trying to have a baby, and when Clara finally got pregnant, they danced around the living room but very slowly, so as not to hurt the baby, and the first two years of her little girl’s life were the happiest of Clara’s life, except then her husband died, and she had to bring up the little girl on her own, before there was a single mother’s pension, before the words “single mother” even existed. I should have told them about how when I was at school, if the day became unexpectedly cold, Mum would turn up in the school yard with a jacket for me. I should have told them that she hated broccoli with such a passion she couldn’t even look at it, and that she was in love with the main character on the English television series Judge John Deed. I should have told them that she loved to read and she was a terrible cook, because she’d try to cook and read her latest library book at the same time, and the dinner always got burned and the library book always got food spatters on it, and then she’d spend ages trying to dab them away with the wet corner of a tea towel. I should have told them that my mum thought of Jack as her own grandchild, and how she made him a special racing car quilt he adored. I should have talked and talked and grabbed both sides of the lectern and said: She was not just a little old lady. She was Clara. She was my mother. She was wonderful.

The responsibility/fault fallacy allows people to pass off the responsibility for solving their problems to others. This ability to alleviate responsibility through blame gives people a temporary high and a feeling of moral righteousness. Unfortunately, one side effect of the Internet and social media is that it’s become easier than ever to push responsibility—for even the tiniest of infractions—onto some other group or person. In fact, this kind of public blame/shame game has become popular; in certain crowds it’s even seen as “cool.” The public sharing of “injustices” garners far more attention and emotional outpouring than most other events on social media, rewarding people who are able to perpetually feel victimized with ever-growing amounts of attention and sympathy. “Victimhood chic” is in style on both the right and the left today, among both the rich and the poor. In fact, this may be the first time in human history that every single demographic group has felt unfairly victimized simultaneously. And they’re all riding the highs of the moral indignation that comes along with it. Right now, anyone who is offended about anything—whether it’s the fact that a book about racism was assigned in a university class, or that Christmas trees were banned at the local mall, or the fact that taxes were raised half a percent on investment funds—feels as though they’re being oppressed in some way and therefore deserve to be outraged and to have a certain amount of attention. The current media environment both encourages and perpetuates these reactions because, after all, it’s good for business. The writer and media commentator Ryan Holiday refers to this as “outrage porn”: rather than report on real stories and real issues, the media find it much easier (and more profitable) to find something mildly offensive, broadcast it to a wide audience, generate outrage, and then broadcast that outrage back across the population in a way that outrages yet another part of the population. This triggers a kind of echo of bullshit pinging back and forth between two imaginary sides, meanwhile distracting everyone from real societal problems. It’s no wonder we’re more politically polarized than ever before. The biggest problem with victimhood chic is that it sucks attention away from actual victims. It’s like the boy who cried wolf. The more people there are who proclaim themselves victims over tiny infractions, the harder it becomes to see who the real victims actually are. People get addicted to feeling offended all the time because it gives them a high; being self-righteous and morally superior feels good. As political cartoonist Tim Kreider put it in a New York Times op-ed: “Outrage is like a lot of other things that feel good but over time devour us from the inside out. And it’s even more insidious than most vices because we don’t even consciously acknowledge that it’s a pleasure.” But

We've all heard the stories. It's just that some people don't want to believe them. 'He shall rise from the green' doesn't have to mean coming from the Blood Forest or Ruthgar. It could mean he starts out drafting green. One of the first glimmers of Breaker's magical genius showed whyen he went green golem in the Battle of Garriston - he'd never even heard of going green golem. He intuited it on the spot. His will was so strong, he drafted a green that stopped musket balls, Teia. 'He shall kill gods and kings'? He already done both. 'He'll be an outsider'? How much more outsider can you be than a mixed-blood bastard from Tyrea? Each of those things offend the luxiats, and all of them together make their blood boil - as it makes them furious that a Lightbringer would be necessary to put their worship right - but hasn't Orholam's work always offended those in power? I won't put myself on the wrong side of Orholam. 'In the darkest hour, when the abominations come the sores of Big Jasper, when Hope himself has died, then shall he bring the holy light and banish darkness.' 'Hope himself,' Teia. That's Gavin Guile. He's dead. our darkest hour is coming. We have to pick a side.

He looked sharply towards the pollarded trees. 'Yes, just there,' he said. 'I saw it plainly, and equally plainly I saw it not. And then there's that telephone of yours.' I told him now about the ladder I had seen below the tree where he saw the dangling rope. 'Interesting,' he said, 'because it's so silly and unexpected. It is really tragic that I should be called away just now, for it looks as if the - well, the matter were coming out of the darkness into a shaft of light. But I'll be back, I hope, in thirty-six hours. Meantime, do observe very carefully, and whatever you do, don't make a theory. Darwin says somewhere that you can't observe without theory, but to make a theory is a great danger to an observer. It can't help influencing your imagination; you tend to see or hear what falls in with your hypothesis. So just observe; be as mechanical as a phonograph and a photographic lens.' Presently the dog-cart arrived and I went down to the gate with him. 'Whatever it is that is coming through, is coming through in bits,' he said. 'You heard a telephone; I saw a rope. We both saw a figure, but not simultaneously nor in the same place. I wish I didn't have to go.' I found myself sympathizing strongly with this wish, when after dinner I found myself with a solitary evening in front of me, and the pledge to 'observe' binding me. It was not mainly a scientific ardour that prompted this sympathy and the desire for independent combination, but, quite emphatically, fear of what might be coming out of the huge darkness which lies on all sides of human experience. I could no longer fail to connect together the fancied telephone bell, the rope, and the ladder, for what made the chain between them was the figure that both Philip and I had seen. Already my mind was seething with conjectural theory, but I would not let the ferment of it ascend to my surface consciousness; my business was not to aid but rather stifle my imagination. ("Expiation")

The Sun burned down in a warm contrasting world of white and black, of white Sun against black sky and white rolling ground mottled with black shadow. The bright sweet smell of the Sun on every exposed square centimeter of metal contrasting with the creeping death-of-aroma on the other side. He lifted his hand and stared at it, counting the fingers. Hot-hot-hot-turning, putting each finger, one by one, into the shadow of the others and the hot slowly dying in a change in tactility that made him feel the clean, comfortable vacuum. Yet not entirely vacuum. He straightened and lifted both arms over his head, stretching them out, and the sensitive spots on either wrist felt the vapors- the thin, faint touch of tin and lead rolling through the cloy of mercury. The thicker taste rose from his feet; the silicates of each variety, marked by the clear separate-and-together touch and tang of each metal ion. He moved one foot slowly through the crunchy, caked dust, and felt the changes like a soft, not quite random symphony. And over all the Sun. He looked up at it, large and fat and bright and hot, and heard its joy. He watched the slow rise of prominences around its rim and listened to the crackling sound of each; and to the other happy noises over the broad face. When he dimmed the background light, the red of the rising wisps of hydrogen showed in bursts of mellow contralto, and the deep bass of the spots amid the muted whistling of the wispy, moving faculae, and the occasional thin keening of a flare, the ping-pong ticking of gamma rays and cosmic particles, and over all in every direction the soft, fainting, and ever-renewed sigh of the Sun's substance rising and retreating forever in a cosmic wind which reached out and bathed him in glory. He jumped, and rose slowly in the air with a freedom he had never felt, and jumped again when he landed, and ran, and jumped, and ran again, with a body that responded perfectly to this glorious world, this paradise in which he found himself.

Stories of the Street" The stories of the street are mine, the Spanish voices laugh. The Cadillacs go creeping now through the night and the poison gas, And I lean from my window sill in this old hotel I chose, Yes one hand on my suicide, one hand on the rose. I know you've heard it's over now and war must surely come, The cities they are broke in half and the middle men are gone. But let me ask you one more time, O children of the dusk, All these hunters who are shrieking now oh do they speak for us? And where do all these highways go, now that we are free? Why are the armies marching still that were coming home to me? O lady with your legs so fine O stranger at your wheel, You are locked into your suffering and your pleasures are the seal. The age of lust is giving birth, and both the parents ask The nurse to tell them fairy tales on both sides of the glass. And now the infant with his cord is hauled in like a kite, And one eye filled with blueprints, one eye filled with night. O come with me my little one, we will find that farm And grow us grass and apples there and keep all the animals warm. And if by chance I wake at night and I ask you who I am, O take me to the slaughterhouse, I will wait there with the lamb. With one hand on the hexagram and one hand on the girl I balance on a wishing well that all men call the world. We are so small between the stars, so large against the sky, And lost among the subway crowds I try to catch your eye.

My, my,” Chloe murmured, studying the chocolate she held. “I do believe this one’s gone off. It stinks like a cesspit.” Her eyes lifted. “Oh, wait. It’s only the guttersnipe.” “Or perhaps it’s your perfume,” I said cordially. “You always smell like a whore.” “It’s French,” retorted Runny-Nose, before Chloe could speak. “Then she smells like a French whore.” “Aren’t you the eloquent young miss.” Chloe’s gaze cut to Sophia, standing close behind me. “Slumming, little sister? I can’t confess I’m surprised.” “I’m merely here for the show,” Sophia said breezily. “Something tells me it’s going to be good.” I took the brooch from my pocket and let it slide down my index finger, giving it a playful twirl. “A fine try. But, alas, no winner’s prize for you, Chloe. I’m sure you’ve been waiting here for Westcliffe to raise the alarm about her missing ring, ready with some well-rehearsed story about how you saw me sneaking into her office and sneaking out again, and oh, look isn’t that Eleanore’s brooch there on the floor? But I’ve news for you, dearie. You’re sloppy. You’re stupid. And the next time you go into my room and steal from me, I’ll make certain you regret it for the rest of your days.” “How dare you threaten me, you little tart!” “I’m not threatening. You have no idea how easy it would be to, say, pour glue on your hair while you sleep. Cut up all your pretty dresses into ribbons.” Chloe dropped her half-eaten chocolate back into its box, turning to her toadies. “You heard her! You all head her! When Westcliffe finds out about this-“ “I didn’t hear a thing,” piped up Sophia. “In fact, I do believe that Eleanore and I aren’t even here right now. We’re both off in my room, diligently studying.” She sauntered to my side, smiling. “And I’ll swear to that, sister. Without hesitation. I have no misgivings about calling you all liars right to Westcliffe’s face.” “What fun,” I said softly, into the hush. “Shall we give it a go? What d’you say, girls? Up for a bit of blood sport?” Chloe pushed to her feet, kicking the chocolates out of her way. All the toadies cringed. “You,” she sneered, her gaze scouring me. “You with your ridiculous clothing and that preposterous bracelet, acting as if you actually belong here! Really, Eleanore, I wonder that you’ve learned nothing of real use yet. Allow me to explain matters to you. You may have duped Sophia into vouching for you, but your word means nothing. You’re no one. No matter what you do here or who you may somehow manage to impress, you’ll always be no one. How perfectly sad that you’re allowed to pretend otherwise.” “I’m the one he wants,” I said evenly. “No one’s pretending that.” I didn’t have to say who. She stared at me, silent, her color high. I saw with interest that real tears began to well in her eyes. “That’s right.” I gave the barest smile. “Me, not you. Think about that tomorrow, when I’m with him on the yacht. Think about how he watches me. How he listens to me. Another stunt like this”-I held up the circlet-“and you’ll be shocked at what I’m able to convince him about you.” “As if you could,” she scoffed, but there was apprehension behind those tears. “Try me.” I brought my foot down on one of the chocolates, grinding it into a deep, greasy smear along the rug. “Cheerio,” I said to them all, and turned around and left.

In Dream Street there are many theatrical hotels, and rooming houses, and restaurants, and speaks, including Good Time Charley's Gingham Shoppe, and in the summer time the characters I mention sit on the stoops or lean against the railings along Dream Street, and the gab you hear sometimes sounds very dreamy indeed. In fact, it sometimes sounds very pipe-dreamy. Many actors, male and female, and especially vaudeville actors, live in the hotels and rooming houses, and vaudeville actors, both male and female, are great hands for sitting around dreaming out loud about how they will practically assassinate the public in the Palace if ever they get a chance. Furthermore, in Dream Street are always many hand-bookies and horse players, who sit on the church steps on the cool side of Dream Street in the summer and dream about big killings on the races, and there are also nearly always many fight managers, and sometimes fighters, hanging out in front of the restaurants, picking their teeth and dreaming about winning championships of the world, although up to this time no champion of the world has yet come out of Dream Street. In this street you see burlesque dolls, and hoofers, and guys who write songs, and saxophone players, and newsboys, and newspaper scribes, and taxi drivers, and blind guys, and midgets, and blondes with Pomeranian pooches, or maybe French poodles, and guys with whiskers, and night-club entertainers, and I do not know what all else. And all of these characters are interesting to look at, and some of them are very interesting to talk to, although if you listen to several I know long enough, you may get the idea that they are somewhat daffy, especially the horse players.

After four or five months of reading Hemingway, I decided to write a story. I had in the past written stories for English classes. These had all been about white people, because white people’s stories seemed to matter more. Also, I hadn’t known how to write about Indians. How would I translate the various family relations, the difference between an uncle who is a father’s brother and an uncle who is a mother’s brother? Having read Hemingway, I knew that I should just push all the exotic things to the side as if they didn’t matter, that this was how one used exoticism—by not bothering to explain. The first story I wrote was about my brother coughing. I woke one night to the sound of Birju coughing downstairs and then could not go back to sleep. To be woken this way and not be able to return to sleep struck me as sad enough to merit a reader’s attention. Also, Hemingway had written a story about a man being woken because somebody is dying nearby, and the man is forced to witness the death. I got up from my bed and turned on the light. I then returned to bed with a spiral-bound notebook and placed it against my knees. I began my story in the middle of the action the way Hemingway did. I wrote: The coughing wakes me. My wife coughs and coughs, and then when her throat is clear, she moans. The nurse’s aide moves back and forth downstairs. The hospital bed jingles. I wrote that it was a spouse coughing because that seemed something a reader could identify with, while a brother would be too specific to me. I lie here, listening to my wife cough, and it is hard to believe that she is dying. It was strange to write something down and for that thing to come into existence. The fact that the sentence existed made Birju’s coughing somehow less awful. As I sat on my bed, I thought about how I could end my story. I held my pencil above the sheet of paper. According to the essays I had read on Hemingway, all I needed to do was attach something to the end of the story that was both unexpected and natural. I imagined Birju dying; this had to be what would eventually happen. As soon as I imagined this, I did not want him gone. I felt a surge of love for Birju. Even though he was sick and swollen, I did not want him gone. I wrote: I lie in my bed and listen to her cough and am glad she is coughing because this means she is alive. Soon she will die, and I will no longer be among the lucky people whose wives are sick. Fortunate are the men whose wives cough. Fortunate are the men who cannot sleep through the night because their wives’ coughing wakes them.

No direct evidence yet documents Earth’s tidal cycles more than a billion years ago, but we can be confident that 4.5 billion years ago things were a lot wilder. Not only did Earth have five-hour days, but the nearby Moon was much, much faster in its close orbit, as well. The Moon took only eighty-four hours—three and a half modern days—to go around Earth. With Earth spinning so fast and the Moon orbiting so fast, the familiar cycle of new Moon, waxing Moon, full Moon, and waning Moon played out in frenetic fast-forward: every few five-hour days saw a new lunar phase. Lots of consequences follow from this truth, some less benign than others. With such a big lunar obstruction in the sky and such rapid orbital motions, eclipses would have been frequent events. A total solar eclipse would have occurred every eighty-four hours at virtually every new Moon, when the Moon was positioned between Earth and the Sun. For some few minutes, sunlight would have been completely blocked, while the stars and planets suddenly popped out against a black sky, and the Moon’s fiery volcanoes and magma oceans stood out starkly red against the black lunar disk. Total lunar eclipses occurred regularly as well, almost every forty-two hours later, like clockwork. During every full Moon, when Earth lies right between the Sun and the Moon, Earth’s big shadow would have completely obscured the giant face of the bright shining Moon. Once again the stars and planets would have suddenly popped out against a black sky, as the Moon’s volcanoes put on their ruddy show. Monster tides were a far more violent consequence of the Moon’s initial proximity. Had both Earth and the Moon been perfectly rigid solid bodies, they would appear today much as they did 4.5 billion years ago: 15,000 miles apart with rapid rotational and orbital motions and frequent eclipses. But Earth and the Moon are not rigid. Their rocks can flex and bend; especially when molten, they swell and recede with the tides. The young Moon, at a distance of 15,000 miles, exerted tremendous tidal forces on Earth’s rocks, even as Earth exerted an equal and opposite gravitational force on the largely molten lunar landscape. It’s difficult to imagine the immense magma tides that resulted. Every few hours Earth’s largely molten rocky surface may have bulged a mile or more outward toward the Moon, generating tremendous internal friction, adding more heat and thus keeping the surface molten far longer than on an isolated planet. And Earth’s gravity returned the favor, bulging the Earth-facing side of the Moon outward, deforming our satellite out of perfect roundness.

And . . . I owe you.” Selene didn’t explain because she knew he’d think she was referring to when Meghan saved her life. That was fine with her. Telling him exactly how she owed him would strip her open too bare and she wasn’t willing to let anyone see that vulnerable side of her. “Telling the truth again.” He frowned now, true confusion in his gaze. Whether from her words or the fact that she was letting him in on this op. “You plan to try to bring me in after the op?” “No.” That was actually the truth. Wesley, however, was a different story. But she refused to let her mind go there, knowing Levi would pick up on it. Levi started to respond when a burst of gunfire from the pool area made them both turn at the noise. Selene automatically moved off the bench, crouching down behind it and to her surprise Levi moved in front of her, blocking her even though they were too far away to be in any danger from what she could hear. “This is what happens when you get a bunch of criminals under the same roof,” he muttered. She snorted in agreement. “I’m leaving using the beach. You’re free to join me.” There hadn’t been any more gunfire so likely the guards had the situation under control but she wasn’t heading back up there. She’d already had her meeting so she had no reason to return. Now he snorted as he turned to face her, still crouching low. He slid his long, callused hands down her bare arms. This time she couldn’t hide the shiver. “Oh, I’m joining you,” he murmured, a seductive note in his voice. But the timing was all wrong. For once she wished she understood the opposite sex more. What was he doing? She’d already told him he could come on the op with her. Her nipples tightened and her body hummed with a strange anticipation as he lightly held her wrists in both hands, his thumbs rubbing her inner wrist in small circles. She started to pull back and he let go of one of her wrists. As she pushed out a sigh of relief, the feel of cold steel skimmed her skin just as the soft snick of handcuffs clicked into place.

I see Barsad, and Cly, Defarge, The Vengeance, the Juryman, the Judge, long ranks of the new oppressors who have risen on the destruction of the old, perishing by this retributive instrument, before it shall cease out of its present use. I see a beautiful city and a brilliant people rising from this abyss, and, in their struggles to be truly free, in their triumphs and defeats, through long years to come, I see the evil of this time and of the previous time of which this is the natural birth, gradually making expiation for itself and wearing out. "I see the lives for which I lay down my life, peaceful, useful, prosperous and happy, in that England which I shall see no more. I see Her with a child upon her bosom, who bears my name. I see her father, aged and bent, but otherwise restored, and faithful to all men in his healing office, and at peace. I see the good old man, so long their friend, in ten years' time enriching them with all he has, and passing tranquilly to his reward. "I see that I hold a sanctuary in their hearts, and in the hearts of their descendants, generations hence. I see her, an old woman weeping for me on the anniversary of this day. I see her and her husband, their course done, lying side by side in their last earthly bed, and I know that each was not more honoured and held sacred in the other's soul, than I was in the souls of both. "I see that child who lay upon her bosom and who bore my name, a man winning his way up in that path of life which once was mine. I see him winning it so well, that my name is made illustrious there by the light of his. I see the blots I threw upon it, faded away. I see him, foremost of just judges and honoured men, brining a boy of my name, with a forehead that I know and golden hair, to this place---then fair to look upon, with not a trace of this day's disfigurement---and I hear him tell the child my story, with a tender and faltering voice. "It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to than I have ever known.

In May 1981, Yuri Andropov, chairman of the KGB, gathered his senior officers in a secret conclave to issue a startling announcement: America was planning to launch a nuclear first strike, and obliterate the Soviet Union. For more than twenty years, a nuclear war between East and West had been held at bay by the threat of mutually assured destruction, the promise that both sides would be annihilated in any such conflict, regardless of who started it. But by the end of the 1970s the West had begun to pull ahead in the nuclear arms race, and tense détente was giving way to a different sort of psychological confrontation, in which the Kremlin feared it could be destroyed and defeated by a preemptive nuclear attack. Early in 1981, the KGB carried out an analysis of the geopolitical situation, using a newly developed computer program, and concluded that “the correlation of world forces” was moving in favor of the West. Soviet intervention in Afghanistan was proving costly, Cuba was draining Soviet funds, the CIA was launching aggressive covert action against the USSR, and the US was undergoing a major military buildup: the Soviet Union seemed to be losing the Cold War, and, like a boxer exhausted by long years of sparring, the Kremlin feared that a single, brutal sucker punch could end the contest. The KGB chief’s conviction that the USSR was vulnerable to a surprise nuclear attack probably had more to do with Andropov’s personal experience than rational geopolitical analysis. As Soviet ambassador to Hungary in 1956, he had witnessed how quickly an apparently powerful regime might be toppled. He had played a key role in suppressing the Hungarian Uprising. A dozen years later, Andropov again urged “extreme measures” to put down the Prague Spring. The “Butcher of Budapest” was a firm believer in armed force and KGB repression. The head of the Romanian secret police described him as “the man who substituted the KGB for the Communist Party in governing the USSR.” The confident and bullish stance of the newly installed Reagan administration seemed to underscore the impending threat. And so, like every genuine paranoiac, Andropov set out to find the evidence to confirm his fears. Operation RYAN (an acronym for raketno-yadernoye napadeniye, Russian for “nuclear missile attack”) was the biggest peacetime Soviet intelligence operation ever launched.

The former South African archbishop Desmond Tutu used to famously say, “We are prisoners of hope.” Such a statement might be taken as merely rhetorical or even eccentric if you hadn’t seen Bishop Tutu stare down the notorious South African Security Police when they broke into the Cathedral of St. George’s during his sermon at an ecumenical service. I was there and have preached about the dramatic story of his response more times than I can count. The incident taught me more about the power of hope than any other moment of my life. Desmond Tutu stopped preaching and just looked at the intruders as they lined the walls of his cathedral, wielding writing pads and tape recorders to record whatever he said and thereby threatening him with consequences for any bold prophetic utterances. They had already arrested Tutu and other church leaders just a few weeks before and kept them in jail for several days to make both a statement and a point: Religious leaders who take on leadership roles in the struggle against apartheid will be treated like any other opponents of the Pretoria regime. After meeting their eyes with his in a steely gaze, the church leader acknowledged their power (“You are powerful, very powerful”) but reminded them that he served a higher power greater than their political authority (“But I serve a God who cannot be mocked!”). Then, in the most extraordinary challenge to political tyranny I have ever witnessed, Archbishop Desmond Tutu told the representatives of South African apartheid, “Since you have already lost, I invite you today to come and join the winning side!” He said it with a smile on his face and enticing warmth in his invitation, but with a clarity and a boldness that took everyone’s breath away. The congregation’s response was electric. The crowd was literally transformed by the bishop’s challenge to power. From a cowering fear of the heavily armed security forces that surrounded the cathedral and greatly outnumbered the band of worshipers, we literally leaped to our feet, shouted the praises of God and began…dancing. (What is it about dancing that enacts and embodies the spirit of hope?) We danced out of the cathedral to meet the awaiting police and military forces of apartheid who hardly expected a confrontation with dancing worshipers. Not knowing what else to do, they backed up to provide the space for the people of faith to dance for freedom in the streets of South Africa.

Hey!” a voice calls out behind us, and we turn to find Ryder standing beside the row of orange lockers outside Mr. Jepsen’s classroom. I have no idea why he’s out of class early, and I don’t care. “I just heard the announcement--congrats.” “Thanks,” Morgan chirps. “This is epic, right? Both of us.” Ryder nods, his gaze shifting from Morgan to me. I duck my head, averting my eyes. This is worse than when I hated him, I realize. At least then, it wasn’t awkward. I could just ignore him and go about my business. Now I feel all queasy and mad and breathless and guilty. I need to get away from him. Fast. Mercifully, Morgan glances down at her watch. “We gotta get going. There’s a meeting in the media center.” “Right,” Ryder says. “But, uh…Jemma, could I talk to you for a second after school today? Before practice, maybe?” My gaze snaps up to meet his. “I…um, I don’t think that’s a good idea.” “I’ll be quick,” he says. “Actually, maybe I’ll come over to your house after dinner. That way I can say hi to Nan.” “She’s…really not up to visitors.” “Really?” He fixes me with a stare, one brow raised in disbelief. “’Cause your mom said just the opposite.” Crap. Now what? I’m out of excuses. Besides, the last thing I want to do is pique Morgan’s curiosity. “Oh, fine. Whatever.” “Great. See you then.” He turns and heads back into the classroom without a backward glance. I have no clue what he wants to talk about. Things are already uncomfortable enough between us as it is. No use making it worse by discussing things that don’t need to be discussed. We made out, even though I hadn’t bothered to break up with Patrick first. It was a mistake--a big mistake. End of story. The memory of that night hits me full force--his shirt was off; mine was close to it. My cheeks flare with sudden heat as I recall the feel of his fingertips skimming up my sides, moving beneath my bra as he kissed me like no one’s kissed me before. Ho-ly crap. Stop. “What was that about?” Morgan asks me as we continue on our way. “He was acting kinda weird, wasn’t he?” “I didn’t notice,” I say with a shrug, going for nonchalance. “Anyway, we should hurry. We’re probably late already.” “Maybe he wants you to ask him to escort you,” she teases, hurrying her step. I match my pace to hers, needing to take two steps for every one of hers. “Yeah, right,” I say breathlessly. “Hey, you never know.” She looks at me and winks. “Weirder things have happened.” Oh, man. She has no idea.

Hekate in Byzantium (also Constantinople, now Istanbul, Turkey) It is probable that Hekate had an established presence in Byzantium from a time before the city was founded. Here Hekate was invoked by her title of Phosphoros by the local population for her help when Philip of Macedon (father of Alexander the Great) attacked the city in 340 BCE. Petridou summarises the account given by Hsych of Miletus: "Hecate, or so we are told, assisted them by sending clouds of fire in a moonless rainy night; thus, she made it possible for them to see clearly and fight back against their enemies. By some sort of divine instigation the dogs began barking[164], thus awakening the Byzantians and putting them on a war footing."[165] There is a slightly alternative account of the attack, recorded by Eustathios. He wrote that Philip of Macedon's men had dug secret tunnels from where they were preparing a stealth attack. However, their plans were ruined when the goddess, as Phosphoros, created mysterious torchlight which illuminated the enemies. Philip and his men fled, and the locals subsequently called the place where this happened Phosphorion. Both versions attribute the successful defence of the city to the goddess as Phosphoros. In thanksgiving, a statue of Hekate, holding two torches, was erected in Byzantium soon after. The support given by the goddess in battle brings to mind a line from Hesiod’s Theogony: “And when men arm themselves for the battle that destroys men, then the goddess is at hand to give victory and grant glory readily to whom she will.” [166] A torch race was held on the Bosphorus each year, in honour of a goddess which, in light of the above story, is likely to have been Phosphoros. Unfortunately, we have no evidence to clarify who the goddess the race was dedicated to was. Other than Phosphoros, it is possible that the race was instead held in honour of the Thracian Bendis, Ephesian Artemis or Hekate. All of which were also of course conflated with one another at times. Artemis and Hekate both share the title of Phosphoros. Bendis is never explicitly named in texts, but a torch race in her honour was held in Athens after her cult was introduced there in the fifth-century BCE. Likewise, torch-races took place in honour of Artemis. There is also a theory that the name Phosphoros may have become linguistically jumbled due to a linguistic influence from Thrace becoming Bosphorus in the process[167]. The Bosphorus is the narrow, natural strait connecting the Black Sea to the Sea of Marmara, separating the European side of Istanbul from the Asian side. The goddess with two torches shown on coins of the time is unnamed. She is usually identified as Artemis but could equally represent Hekate.

Christ was an Aryan, and St. Paul used his doctrine to mobilise the criminal underworld and thus organise a proto-Bolshevism. This intrusion upon the world marks the end of a long reign, that of the clear Graeco-Latin genius. What is this God who takes pleasure only in seeing men grovel before Him? Try to picture to yourselves the meaning of the following, quite simple story. God creates the conditions for sin. Later on He succeeds, with the help of the Devil, in causing man to sin. Then He employs a virgin to bring into the world a son who, by His death, will redeem humanity! I can imagine people being enthusiastic about the paradise of Mahomet, but as for the insipid paradise of the Christians ! In your lifetime, you used to hear the music of Richard Wagner. After your death, it will be nothing but hallelujahs, the waving of palms, children of an age for the feeding-bottle, and hoary old men. The man of the isles pays homage to the forces of nature. But Christianity is an invention of sick brains : one could imagine nothing more senseless, nor any more indecent way of turning the idea of the Godhead into a mockery. A negro with his tabus is crushingly superior to the human being who seriously believes in Transubstantiation. I begin to lose all respect for humanity when I think that some people on our side, Ministers or generals, are capable of believing that we cannot triumph without the blessing of the Church. Such a notion is excusable in little children who have learnt nothing else. For thirty years the Germans tore each other to pieces simply in order to know whether or not they should take Communion in both kinds. There's nothing lower than religious notions like that. From that point of view, one can envy the Japanese. They have a religion which is very simple and brings them into contact with nature. They've succeeded even in taking Christianity and turning it into a religion that's less shocking to the intellect. By what would you have me replace the Christians' picture of the Beyond? What comes naturally to mankind is the sense of eternity and that sense is at the bottom of every man. The soul and the mind migrate, just as the body returns to nature. Thus life is eternally reborn from life. As for the "why?" of all that, I feel no need to rack my brains on the subject. The soul is unplumbable. If there is a God, at the same time as He gives man life He gives him intelligence. By regulating my life according to the understanding that is granted me, I may be mistaken, but I act in good faith. The concrete image of the Beyond that religion forces on me does not stand up to examination. Think of those who look down from on high upon what happens on earth: what a martyrdom for them, to see human beings indefatigably repeating the same gestures, and inevitably the same errors ! In my view, H. S. Chamberlain was mistaken in regarding Christianity as a reality upon the spiritual level. Man judges everything in relation to himself. What is bigger than himself is big, what is smaller is small. Only one thing is certain, that one is part of the spectacle. Everyone finds his own rôle. Joy exists for everybody. I dream of a state of affairs in which every man would know that he lives and dies for the preservation of the species. It's our duty to encourage that idea : let the man who distinguishes himself in the service of the species be thought worthy of the highest honours.

Violet’s not getting out of our sight,” Arion adds. There’s a moment of just staring…like everyone is trying to silently argue. “No one naked in my car,” Mom states when I just stand in my spot, waiting on them to hurry through the push and pull. You really can tell how thick the air is when too many alphas are in the room at one time, but weirdly it never feels this way when it’s just the four of them. Unless punches are thrown. Then it gets a little heavier than normal. Arion pulls on his clothes, and threads whir in the air as I quickly fashion Emit a lopsided toga that lands on his body. Everyone’s gaze swings to him like it’s weird for him and normal for me to be in a toga. Awesome. Damien muffles a sound, Emit arches an eyebrow at me, and Arion remains rigid, staying close to me but never touching me. All of us squeezing into a car together while most of them hate each other…should be fun. The storm finally stops before we board the elevator, and it’s one of those super awkward elevator moments where no one is looking at anyone or saying anything, and everyone is trying to stay in-the-moment serious. We stop on the floor just under us, after the longest thirty-five seconds ever. The doors open, and two men glance around at Emit and I in our matching togas, even though his is the fitted sheet and riding up in some funny places. He looks like a caveman who accidentally bleached and shrank his wardrobe. I palm my face, embarrassed for him. The next couple of floors are super awkward with the addition of the two new, notably uncomfortable men. Worst seventy-nine seconds ever. Math doesn’t add up? Yeah. I’m upset about those extra nine seconds as well. Poor Emit has to duck out of the unusually small elevator, and the bottom of his ass cheek plays peek-a-boo on one side. Damien finally snorts, and even Mom struggles to keep a straight face. That really pisses her off. “You’re seeing him on an off day,” I tell the two guys, who stare at my red boots for a second. I feel the need to defend Emit a little, especially since I now know he overheard all that gibberish Tiara was saying… I can’t remember all I said, and it’s worrying me now that my mind has gone off on this stupid tangent. I trip over the hem of my toga, and Arion snags me before I hit the floor, righting me and showing his hands to my mother with a quick grin. “Can’t just let her fall,” he says unapologetically. “You’re going to have to learn to deal with that,” she bites out. She has a very good point. I don’t trip very often, but things and people usually knock me around a good bit of my life. The two guys look like they want to run, so I hurry to fix this. “Really, it’s a long story, but I swear Emit—the tallest one in the fitted-sheet-toga—generally wears pants…er…I guess you guys call them trousers over here. Anyway, we had some plane problems,” I carry on, and then realize I have to account for the fact we’re both missing clothing. “Then there was a fire that miraculously only burned our clothes, because Emit put all my flames out by smothering me with his body,” I state like that’s exactly what happened. Why do they look so scared? I’m not telling a scary lie. At this point, I’ve just made it worse, and fortunately Damien takes mercy, clamping his hand over my mouth as he starts steering me toward the door before I can make it…whatever comes after worse but before the worst. “Thank you,” sounds more like “Mmdi ooooo,” against his hand, but he gets the gist, as he grins. Mom makes a frustrated sound. “Another minute, and she’d be bragging about his penis size in quest to save his dignity. Did you really want to hear that?” Damien asks her, forcing me to groan against his hand.