Brief Birthday Quotes

Her blog was doing well, with thousands of unique visitors each month, and she was earning good speaking fees, and she had a fellowship at Princeton and a relationship with Blaine - "You are the absolute love of my life," he'd written in her last birthday card - and yet there was cement in her soul. It had been there for a while, an early morning disease of fatigue, shapeless desires, brief imaginary glints of other lives she could be living, that over the months melded into a piercing homesickness.

Studies show that even a brief connection with a role model can vastly increase unconscious motivation. For example, being told that you share a birthday with a mathematician can improve the amount of effort you’re willing to put into difficult math tasks by 62 percent.

The small Japanese immortal sat cross-legged, his two swords resting flat on the ground before him. He folded his hands in his lap, closed his eyes and breathing through his nose, forcing the chill night air deep into his chest. He held it for a count of five, then shaped his lips into an O and blew it out again, puncturing a tiny hole in the swirling fog before his face. Even though he would never admit it to anyone, Niten loved this moment. He had no affection for what was to come, but this brief time, when all preparations for battle were made and there was nothing left to do but wait, when the world felt still, as if it was holding its breath, was special. This moment, when he was facing death, was when he felt completely, fully alive. He’d still been called Miyamoto Musashi and had been a teenager when he’d first discovered the genuine beauty of the quiet moment before a fight. Every breath suddenly tasted like the finest food, every sound was distinct and divine, and even on the foulest battlefields, his eyes would be drawn to something simple and elegant: a flower, the shape of a branch, the curl of a cloud. A hundred years ago, Aoife had given him a book as a birthday present. He hadn’t had the heart to tell her that she’d missed his birthday by a month, but he had treasured the book, the first edition of The Professor by Charlotte Bronte. It included a line he had never forgotten: In the midst of life we are in death. Years later, he’d heard Ghandi take the same words and shift them around to create something that resonated deeply within him: In the midst of death life persists.

As you can experience, the request to retrieve and say aloud your phone number or your spouse’s birthday also requires a brief but significant effort, because the entire string must be held in memory as a response is organized.

Life is wonderful and strange...and it’s also absolutely mundane and tiresome. It’s hilarious and it’s deadening. It’s a big, screwed-up morass of beauty and change and fear and all our lives we oscillate between awe and tedium. I think stories are the place to explore that inherent weirdness; that movement from the fantastic to the prosaic that is life.... What interests me—and interests me totally—is how we as living human beings can balance the brief, warm, intensely complicated fingersnap of our lives against the colossal, indifferent, and desolate scales of the universe. Earth is four-and-a-half billion years old. Rocks in your backyard are moving if you could only stand still enough to watch. You get hernias because, eons ago, you used to be a fish. So how in the world are we supposed to measure our lives—which involve things like opening birthday cards, stepping on our kids’ LEGOs, and buying toilet paper at Safeway—against the absolutely incomprehensible vastness of the universe? How? We stare into the fire. We turn to friends, bartenders, lovers, priests, drug-dealers, painters, writers. Isn’t that why we seek each other out, why people go to churches and temples, why we read books? So that we can find out if life occasionally sets other people trembling, too?

The incident made her remember the story she had heard about the girl who was raised in a room with no horizontal lines. She couldn't recall whether the story was true or simply a thought experiment, but the room, as she remembered it, was decorated with a series of black verticle stripes on the walls, and the floor and ceiling were curved to give the illusion that the verticle stripes were continuous. On the child's first birthday, the story went, she was taken out of the room. She had learned how to recognize verticle forms, but not horizontal ones, so that if she was situated on a table, say, or a platform, she would crawl right off the edge, but she would never run into the corner of a wall or the leg of a chair. Her condition lasted for about a month before her visual sense finally corrected itself.

You haven’t gotten to the point of leaving a glass for her, too.” He covered his eyes but said nothing. She pulled away his hands, and then, looking straight at him, asked, “She’s alive, isn’t she?” He nodded and sat up. “Rong, I used to think that a character in a novel was controlled by her creator, that she would be whatever the author wanted her to be, and do whatever the author wanted her to do, like God does for us.” “Wrong!” she said, standing up and beginning to pace the room. “Now you realize you were wrong. This is the difference between an ordinary scribe and a literary writer. The highest level of literary creation is when the characters in a novel possess life in the mind of the writer. The writer is unable to control them, and might not even be able to predict the next action they will take. We can only follow them in wonder to observe and record the minute details of their lives like a voyeur. That’s how a classic is made.” “So literature, it turns out, is a perverted endeavor.” “It was like that for Shakespeare and Balzac and Tolstoy, at least. The classic images they created were born from their mental wombs. But today’s practitioners of literature have lost that creativity. Their minds give birth only to shattered fragments and freaks, whose brief lives are nothing but cryptic spasms devoid of reason. Then they sweep up these fragments into a bag they peddle under the label ‘postmodern’ or ‘deconstructionist’ or ‘symbolism’ or ‘irrational.’” “So you mean that I’ve become a writer of classic literature?” “Hardly. Your mind is only gestating an image, and it’s the easiest one of all. The minds of those classic authors gave birth to hundreds and thousands of figures. They formed the picture of an era, and that’s something that only a superhuman can accomplish. But what you’ve done isn’t easy. I didn’t think you’d be able to do it.” “Have you ever done it?” “Just once,” she said simply, and dropped the subject. She grabbed his neck, and said, “Forget it. I don’t want that birthday present anymore. Come back to a normal life, okay?” “And if all this continues—what then?” She studied him for a few seconds, then let go of him and shook her head with a smile. “I knew it was too late.” Picking up her bag from the bed, she left. Then

It's hard to form a lasting connection when your permanent address is an eight-inch mailbox in the UPS store. Still,as I inch my way closer, I can't help the way my breath hitches, the way my insides thrum and swirl. And when he turns,flashing me that slow, languorous smile that's about to make him world famous,his eyes meeting mine when he says, "Hey,Daire-Happy Sweet Sixteen," I can't help but think of the millions of girls who would do just about anything to stand in my pointy blue babouches. I return the smile, flick a little wave of my hand, then bury it in the side pocket of the olive-green army jacket I always wear. Pretending not to notice the way his gaze roams over me, straying from my waist-length brown hair peeking out from my scarf, to the tie-dyed tank top that clings under my jacket,to the skinny dark denim jeans,all the way down to the brand-new slippers I wear on my feet. "Nice." He places his foot beside mine, providing me with a view of the his-and-hers version of the very same shoe. Laughing when he adds, "Maybe we can start a trend when we head back to the States.What do you think?" We. There is no we. I know it.He knows it.And it bugs me that he tries to pretend otherwise. The cameras stopped rolling hours ago, and yet here he is,still playing a role. Acting as though our brief, on-location hookup means something more. Acting like we won't really end long before our passports are stamped RETURN. And that's all it takes for those annoyingly soft girly feelings to vanish as quickly as a flame in the rain. Allowing the Daire I know,the Daire I've honed myself to be, to stand in her palce. "Doubtful." I smirk,kicking his shoe with mine.A little harder then necessary, but then again,he deserves it for thinking I'm lame enough to fall for his act. "So,what do you say-food? I'm dying for one of those beef brochettes,maybe even a sausage one too.Oh-and some fries would be good!" I make for the food stalls,but Vane has another idea. His hand reaches for mine,fingers entwining until they're laced nice and tight. "In a minute," he says,pulling me so close my hip bumps against his. "I thought we might do something special-in honor of your birthday and all.What do you think about matching tattoos?" I gape.Surely he's joking. "Yeah,you know,mehndi. Nothing permanent.Still,I thought it could be kinda cool." He arcs his left brow in his trademark Vane Wick wau,and I have to fight not to frown in return. Nothing permanent. That's my theme song-my mission statement,if you will. Still,mehndi's not quite the same as a press-on. It has its own life span. One that will linger long after Vane's studio-financed, private jet lifts him high into the sky and right out of my life. Though I don't mention any of that, instead I just say, "You know the director will kill you if you show up on set tomorrow covered in henna." Vane shrugs. Shrugs in a way I've seen too many times, on too many young actors before him.He's in full-on star-power mode.Think he's indispensable. That he's the only seventeen-year-old guy with a hint of talent,golden skin, wavy blond hair, and piercing blue eyes that can light up a screen and make the girls (and most of their moms) swoon. It's a dangerous way to see yourself-especially when you make your living in Hollywood. It's the kind of thinking that leads straight to multiple rehab stints, trashy reality TV shows, desperate ghostwritten memoirs, and low-budget movies that go straight to DVD.

If your feeding on the Word of God is only happening when the pastor preaches, then you will suffer from malnourishment. When people become so focused on teaching lessons rather than teaching students, churches can become places where lessons are delivered, but no real change comes about. When members are taught how to budget and manage their money wisely they are more capable of supporting the church’s ministries. When individuals take on leadership roles, they need to be accountable, not only to God, but also to others at the church. The success or failure of your ministry depends on this. So many people would have a better opinion of Christians if they felt that the believers did not have a “holier than thou” attitude. Attract unbelievers; be honest and open. If you have experienced tough problems, and you know that God made a way for you, don’t keep this good news to yourself. Share your testimony; it just might change someone’s life. People like to know that others care about them. You may never know how much a kind word, a discussion, a visit, a brief note, a birthday card or some much needed friendship can influence someone who is not used to thoughtful gestures. It is hard to motivate people to act if they do not see the person leading them setting the proper example. Whenever only one person is responsible for making all of the major decisions for an organization, problems can arise; this is true of churches as well.

After the brief respite, Lewis died one week before his sixty-fifth birthday, on Friday, November 22, 1963—the same day on which John F. Kennedy was

(Have you ever been to the birthday party of someone who has a really mixed group of friends and the white people start singing the “regular” version of “Happy Birthday,” which, honestly, rivals “Streets of Philadelphia” for atonal glumness, and the black people launch into Stevie’s version and then everyone gets really confused because the white people have no idea what just happened? That’s my FAVORITE thing, because I like to imagine that for a brief second the white people think that they’ve slid into an alternate reality and they have to question everything they know to be true and, honestly, that’s reparations. A split second of reparations.)

My baby is four years old. I know that calling her a baby is really only a matter of semantics now. It’s true, she still sucks her thumb; I have a hard time discouraging this habit. John and I are finally confident that we already enjoy our full complement of children, so the crib is in the crawlspace, awaiting nieces, nephews, or future grandchildren. I cried when I took it down, removing the screws so slowly and feeling the maple pieces come apart in my hands. Before I dismantled it, I spent long vigils lingering in Annie’s darkened room, just watching her sleep, the length of her curled up small. What seems like permanence, the tide of daily life coming in and going out, over and over, is actually quite finite. It is hard to grasp this thought even as I ride the wave of this moment, but I will try. This time of tucking into bed and wiping up spilled milk is a brief interlude. Quick math proves it. Let me take eleven years - my oldest girl’s age - as an arbitrary endpoint to mothering as I know it now. Mary, for instance, reads her own stories. To her already I am becoming somewhat obsolete. That leaves me roughly 2.373 days, the six and half years until Annie’s eleventh birthday, to do this job. Now that is a big number, but not nearly as big as forever, which is how the current moment often seems. So I tuck Annie in every night. I check on Peter and Tommy, touch their crew-cut heads as they dream in their Star Wars pajamas, my twin boys who still need me. I steal into Mary’s room, awash with pink roses, and turn out the light she has left on, her fingers still curled around the pages of her book. She sleeps in the bed that was mine when I was a child. Who will she grow up to be? Who will I grow up to be? I think to myself, Be careful what you wish for. The solitude I have lost, the time and space I wish for myself, will come soon enough. I don’t want to be surprised by its return. Old English may be a dead language, but scholars still manage to find meaning and poetry in its fragments. And it is no small consolation that my lost letters still manage, after a thousand years, to find their way to an essay like this one. They have become part of my story, one I have only begun to write. - Essay 'Mother Tongue' from Brain, Child Magazine, Winter 2009

The theme of music making the dancer dance turns up everywhere in Astaire’s work. It is his most fundamental creative impulse. Following this theme also helps connect Astaire to trends in popular music and jazz, highlighting his desire to meet the changing tastes of his audience. His comic partner dance with Marjorie Reynolds to the Irving Berlin song “I Can’t Tell a Lie” in Holiday Inn (1942) provides a revealing example. Performed in eighteenth-century costumes and wigs for a Washington’s birthday–themed floor show, the dance is built around abrupt musical shifts between the light classical sound of flute, strings, and harpsichord and four contrasting popular music styles played on the soundtrack by Bob Crosby and His Orchestra, a popular dance band. Moderate swing, a bluesy trumpet shuffle, hot flag-waving swing, and the Conga take turns interrupting what would have been a graceful, if effete, gavotte. The script supervisor heard these contrasts on the set during filming to playback. In her notes, she used commonplace musical terms to describe the action: “going through routine to La Conga music, then music changing back and forth from minuet to jazz—cutting as he holds her hand and she whirls doing minuet.”13 Astaire and Reynolds play professional dancers who are expected to respond correctly and instantaneously to the musical cues being given by the band. In an era when variety was a hallmark of popular music, different dance rhythms and tempos cued different dances. Competency on the dance floor meant a working knowledge of different dance styles and the ability to match these moves to the shifting musical program of the bands that played in ballrooms large and small. The constant stylistic shifts in “I Can’t Tell a Lie” are all to the popular music point. The joke isn’t only that the classical-sounding music that matches the couple’s costumes keeps being interrupted by pop sounds; it’s that the interruptions reference real varieties of popular music heard everywhere outside the movie theaters where Holiday Inn first played to capacity audiences. The routine runs through a veritable catalog of popular dance music circa 1942. The brief bit of Conga was a particularly poignant joke at the time. A huge hit in the late 1930s, the Conga during the war became an invitation to controlled mayhem, a crazy release of energy in a time of crisis when the dance floor was an important place of escape. A regular feature at servicemen’s canteens, the Conga was an old novelty dance everybody knew, so its intrusion into “I Can’t Tell a Lie” can perhaps be imagined as something like hearing the mid-1990s hit “Macarena” after the 2001 terrorist attacks—old party music echoing from a less complicated time.14 If today we miss these finer points, in 1942 audiences—who flocked to this movie—certainly got them all. “I Can’t Tell a Lie” was funnier then, and for specifically musical reasons that had everything to do with the larger world of popular music and dance. As subsequent chapters will demonstrate, many such musical jokes or references can be recovered by listening to Astaire’s films in the context of the popular music marketplace.

Put makes us keep a record of every two-cent stamp we buy. He got me a little pocket notebook, like his, for my birthday, to write down items like subway fares so I can transfer them at night to the budget. We do the accounts every night, before we go to bed. That way, we know where we are every day, and if we spend too much one day, we can economize on the next. All I have to do is look at the graph. Put’s very visual. Tonight I’ll be short a nickel—the one I used to call you. He’ll take me back, step by step, over my day and say, ‘Visualize what you did next,’ till he can locate that nickel. He’s nuts about accuracy.” A brief sigh followed this eulogy, which had caused Helena’s eyebrows to rise in disapproval; she had been given her own bank account at the age of ten and taught to keep her own check stubs. “Let me supply the nickel,” she said, opening her pocketbook.

You were really upset the other night. I know you were trying to put on a brave face, but it was obvious Darcy hurt you. Worse than you let on. Now “You were really upset the other night. I know you were trying to put on a brave face, but it was obvious Darcy hurt you. Worse than you let on. Now you’re agreeing to fake a relationship with her? Because of your family? Elle, if they can’t see how amazing you are . . . this isn’t worth it.” Elle ground the toe of her boot into the rug, tracing the singe mark in the paisley pattern from the Birthday Sparkler Incident of 2017. “I don’t really know what I’m doing,” she admitted. The lump inside her throat grew, forcing her to swallow to keep her voice from cracking. “I’m just tired of falling short, Mar.” Margot’s face crumpled. “Elle—” She jerked her chin and sniffed hard, blinking away the film of tears blurring her vision. She smiled and shrugged. “If I can get my family to take me seriously about one thing, see that I have my life together in a way that makes sense to them, maybe they’ll come around to the rest.” Margot shook her head. “So you’re throwing in the towel? You’re going to be like Lydia now? Dating the sorts of people your parents want and shrinking yourself down to be palatable to people who don’t get you? Who don’t even try?” No. God no. Elle wasn’t going to actually compromise who she was or how she lived her life. No, this was a blip on Elle’s radar, a pit stop, a means to an end. Elle wasn’t settling. She just wanted her parents to be proud of her for who she was. If she had to speak their language for a brief bit of time, what was the harm? “No way. This is fake. I just want them to understand I’m not the letdown they think I am. Maybe hearing how awesome I am from someone else, someone like Darcy who’s the sort of person who satisfies their whole nine-to-five I’m a serious adult vibe, will help.” Margot stuck out her tongue, eyes rolling. “Boring, you mean?” Elle shrugged. “Besides, it’s cuffing season and Lydia’s got a boyfriend. Jane’s got Gabe and Daniel has Mike and I’m just—Elle. I’m not exactly jazzed about spending another holiday alone as the black sheep of the family.” “Just Elle is pretty great.” Margot smiled. “But I get it. I mean, I might not be in your shoes, but I understand where you’re coming from. I just want you to remember that you deserve someone you don’t have to fake it with.” Both her brows rose. “And I mean that in all ways.” Elle cracked a smile. “Thanks.

notifications and then actually let her into her messages. There was one from a few hours ago from Dylan, asking how her day was going. She felt guilty that she hadn’t seen it before the board meeting, so she fired off a quick text to him. Awful day. Guess who is now unemployed? Please tell me you have something planned for the birthday of your stressed-out girlfriend that will take us far, far away from Miami. I’m thinking somewhere with the last snow of winter, and a storybook downtown, and no frozen food or legal briefs for an entire two weeks. Ariel pictured Dylan in his office, or maybe in the courtroom, his handsome face and dreamy, blue eyes, the

Until his twenty-first birthday, when he was arrested and charged with attempting to assassinate the owner of the island, Tom Primrose. After a brief stint in jail, during which he confessed to having ties to some secret organization, Aplana mostly shunned him, with a restraining order being taken out that didn’t allow him even within spitting distance of the Primrose mansion.

When Fibber would say, “I was born in a little white house on top of Kickapoo Hill back in Peoria of poor but honest parents,” he could have been speaking about James Jordan who was born near Peoria on November 16, 1896. (On the December 12, 1939 episode of Fibber McGee and Molly Teeny correctly guesses Fibber’s birthday of November 16th.) Marian Driscoll was born not far away from Jim’s birthplace on April 15, 1898. The couple dated in their teens and were married on August 31, 1918. After Jim returned from brief service with the army at the end of World War I (which, Fibber would always insist, was the big war), the pair began touring as a musical act with Marian as pianist and Jim assisting on the singing.

But that’s the thing I’ve only recently come to understand about birthdays. They’re not about presents or streamers. They’re not about parties or pictures or petite pastel candles on your cake. They’re about having a brief sense of hope. For that one day, we’re able to close the door on our mistakes and cling to the false idea that we’ll approach the next year wiser. We make wishes. We blow out candles. We tell ourselves this will be our year.

A woman’s voice came wailing on the wind. Norman looked up and spotted Sandra high up on an even steeper funnel of snow and ice. She was crying: ‘Your father is dead. What are we going to do?’ One of her shoulders was hanging weirdly. There was a bloody wound on her forehead, matted with hair. Then he saw his dad, still in his seat but slumped awkwardly forward. Norman turned around on the steep slope and inched over towards him, sneakers pathetically trying to hold an edge. He slipped and almost plummeted like a bobsleigh down the mountain. He caught a hold. Then he started crawling back up. It took him thirty minutes to climb 6 m (20 ft). His dad was doubled over. ‘DAD!’ No response. Snow was falling on his father’s curly hair. Above him, Sandra sounded delirious. By the time he was four, Norman had skied every black run at Mammoth. On his first birthday, his dad had him strapped to his back in a canvas papoose and took him surfing. Reckless, perhaps, but it had given the boy an indomitable spirit. Eleven-year-old Norman hugged his dad for the last time then tracked back across the slope to see what he could salvage from the wreckage. There were no ice axes or tools, but he did find a rug. He took it and scrabbled back to Sandra. She couldn’t move. Somehow he got her under the ragged remains of the plane’s wing and they wrapped themselves in the rug and fell into an exhausted sleep. Norman was woken around noon by a helicopter. He leapt up, trying to catch the crew’s attention. They came very, very close but somehow didn’t see him. They were going to have to get off this mountain themselves. A brief lull in the storm gave them a sudden view. The slope continued beneath their feet, sickeningly sheer, for hundreds of feet. Then lower down there were woods and the gully levelled a little before a massive ridgeline rose again. Beyond that lay a flatter meadow of snow and, at the edge of the world, a cabin. Sandra wanted to stay put. She was ranting about waiting for the rescuers. For a moment Norman nearly lay down beside her and drifted off to sleep. The

My bans extended to meetings of all kinds, not only political ones. I could not, for example, attend my son’s birthday party. I was prohibited from talking to more than one person at a time. This was part of a systematic effort by the government to silence, persecute and immobilize the leaders of those fighting apartheid and was the first of a series of bans on me that continued with brief intervals of freedom until the time I was deprived of all freedom some years later.

My son Matthew did not look like a winner. He was rather uncoordinated and wore braces from the age of thirteen until the day he died. However, in his all too brief life he proved that he was a winner. On October sixth, 1998 my son tried to show the world that he could win again. On October twelfth, 1998 my first born son and my hero, lost. On October twelfth, 1998 my first born son and my hero, died, fifty days before his twenty-second birthday. Matt officially died in a hospital in Ft. Collins, Colorado. He actually died on the outskirts of Laramie, tied to a fence.