Bulb Sayings And Quotes

People are mostly layers of violence and tenderness wrapped like bulbs, and it is difficult to say what makes them onions or hyacinths.

This faulty light fitting at the front door with the dangerously flickering bulb looks rather festive. Who says I don't do Christmas?

You want to be the first to do something. You want to create something. You want to innovate something...I often think of Edison inventing the light bulb. That's what I want to do. I want to drive over the bridge coming out of New York there and look down on that sea of lights that is New Jersey and say, `Hey, I did that!'

What more shall I say: born under light bulbs, deliberately stopped growing at age of three, given drum, sang glass to pieces, smelled vanilla, coughed in churches, observed ants, decided to grow, buried drum, emigrated to the West, lost the East, learned stonecutter's trade, worked as model, started drumming again, visited concrete, made money, kept finger, gave finger away, fled laughing, rode up escalator, arrested, convicted, sent to mental hospital, soon to be acquitted, celebrating this day my thirtieth birthday and still afraid of the Black Witch.

And what do you do in the face of this powerlessness? As a parent?" "You get to be obsessed and angry," Tom said. "And they get to be the age they are, and act like teenagers if they want to. There is a zero-percent chance you will change them. So we breathe in, and out, talk to friends, as needed. We show up, wear clean underwear, say hello to strangers. We plant bulbs, and pick up litter, knowing there will be more in twenty minutes. We pray that we might cooperate with any flicker of light we can find in the world.

The city of Leonia refashions itself every day: every morning the people wake between fresh sheets, wash with just-unwrapped cakes of soap, wear brand-new clothing, take from the latest model refrigerator still unopened tins, listening to the last-minute jingles from the most up-to-date radio. On the sidewalks, encased in spotless plastic bags, the remains of yesterday's Leonia await the garbage truck. Not only squeezed tubes of toothpaste, blown-out light bulbs, newspapers, containers, wrappings, but also boilers, encyclopedias, pianos, porcelain dinner services. It is not so much by the things that each day are manufactured, sold, bought, that you can measure Leonia's opulence, but rather by the things that each day are thrown out to make room for the new. So you begin to wonder if Leonia's true passion is really , as they say, the enjoyment of new things, and not, instead, the joy of expelling, discarding, cleansing itself of a recurrent impurity. The fact is that street cleaners are welcomed like angels.

…you know, sometimes an electric lightbulb goes out all of a sudden. Fizzles, you say. And this burned-out bulb, if you shake it, it flashes again and it’ll burn a little longer. Inside the bulb it’s a disaster. The wolfram filaments are breaking up, and when the fragments touch, life returns to the bulb. A brief, unnatural, undeniably doomed life—a fever, a too-bright incandescence, a flash. The comes the darkness, life never returns, and in the darkness the dead, incinerated filaments are just going to rattle around. Are you following me? But the brief flash is magnificent! “I want to shake… “I want to shake the heart of a fizzled era. The lightbulb of the heart, so that the broken pieces touch… “…and produce a beautiful, momentary flash…

Thinking! Thinking! The process should no longer be merely this feeble flurry of hailstones that raises a little dust. It should be something quite different. Thinking should be a terrifying process. When the earth thinks, whole towns crumble to the ground and thousands of people die. Thinking: raising boulders, hollowing out valleys, preparing tidal waves at sea. Thinking like a town: that's to say: eight million inhabitants, twelve million rats, nine million pints of carbon dioxide, two billion tons. Grey light. Cathedral of light. Din. Sudden flashes. Low-lying blanket of black cloud. Flat roofs. Fire alarms. Elevators. Streets. Eighteen thousand miles of streets. 145 million electric light bulbs.

What more can I say: born beneath light bulbs, interrupted my growth at the age of three, was given a drum, sangshattered glass, smelled vanilla, coughed in churches, stuffed Luzie with food, watched ants as they crawled, decided to grow, buried the drum, moved to the West, lost what was East, learned to carve stone and posed as a model, went back to my drum and inspected concrete, made money and cared for the finger, gave the finger away and fled as I laughed, ascended, arrested, convicted, confined, now soon to be freed, and today is my birthday, I’m thirty years old, and still as afraid of the Black Cook as ever—Amen.

Late August" Late August — This is the plum season, the nights blue and distended, the moon hazed, this is the season of peaches with their lush lobed bulbs that glow in the dusk, apples that drop and rot sweetly, their brown skins veined as glands No more the shrill voices that cried Need Need from the cold pond, bladed and urgent as new grass Now it is the crickets that say Ripe Ripe slurred in the darkness, while the plums dripping on the lawn outside our window, burst with a sound like thick syrup muffled and slow The air is still warm, flesh moves over flesh, there is no hurry

You can't tell that the coffin holds the body of a boy. He wasn't even sixteen but his coffin's the same size as a man's would be. It's not just that he was young, but because it was so sudden. No one should die the way he did; that's what the faces here say. I think about him, in there, with all that space, and I want to stop them. I want to open the box and climb in with him. To wrap him up in a duvet. I can't bear the thought of him being cold. And all the time the same question flails around my head, like a hawkmoth round a light-bulb: Is it possible to keep loving somebody when they kill someone you love?

Orphans The word seems sad when you say it. An orphan is like a soul bulb waiting to be planted in just the right place. When you’re an orphan, you no longer belong, but a child is a child of everyone, they belong to a community, to a greater garden, she says.

If you plant a seed in the ground, the seed doesn’t say, ‘Well, in eight hours I’m going to stop growing.’ You put it in the soil, and that bulb grows every second that it’s attached to the earth. That’s why I think that every minute that we’re attached to the earth, we should be doing something.

His eyes widened. “Pain? Darling, you haven’t yet experienced the pain I can inflict when I’ve been played for a fool. I’m in awe at your gall to try and fool me.” Bree went still as panic froze her. Oh, God. No. “Ah, the light bulb finally goes off,” he purred against her face; his voice low and cold. Even knowing who he was, and the family he came from, Bree could say that deep inside, she’d never felt any real fear of him. She did now. He knew. The look on his face told her he knew that she had lied about him being her baby’s father. Frantically, she grasped for any foothold she could find. “I don’t know what you’re talking-“ “DON’T!” he snapped, grabbing the sides of her face.

How many bodybuilders does it take to screw in a lightbulb? It takes four. One bodybuilder to screw in the bulb, and three others to watch and say, “Really, dude, you look huge!

Eventually they climb sixteen steps into the Gallery of Mineralogy. The guide shows them a gate from Brazil and violet amethysts and a meteorite on a pedestal that he claims is as ancient as the solar system itself. Then he leads them single file down two twisting staircases and along several corridors and stops outside an iron door with a single keyhole. “End of tour,” he says. A girl says, “But what’s through there?” “Behind this door is another locked door, slightly smaller.” “And what’s behind that?” “A third locked door, smaller yet.” “What’s behind that?” “A fourth door, and a fifth, on and on until you reach a thirteenth, a little locked door no bigger than a shoe.” The children lean forward. “And then?” “Behind the thirteenth door”—the guide flourishes one of his impossibly wrinkled hands—“is the Sea of Flames.” Puzzlement. Fidgeting. “Come now. You’ve never heard of the Sea of Flames?” The children shake their heads. Marie-Laure squints up at the naked bulbs strung in three-yard intervals along the ceiling; each sets a rainbow-colored halo rotating in her vision. The guide hangs his cane on his wrist and rubs his hands together. “It’s a long story. Do you want to hear a long story?” They nod. He clears his throat. “Centuries ago, in the place we now call Borneo, a prince plucked a blue stone from a dry riverbed because he thought it was pretty. But on the way back to his palace, the prince was attacked by men on horseback and stabbed in the heart.” “Stabbed in the heart?” “Is this true?” A boy says, “Hush.” “The thieves stole his rings, his horse, everything. But because the little blue stone was clenched in his fist, they did not discover it. And the dying prince managed to crawl home. Then he fell unconscious for ten days. On the tenth day, to the amazement of his nurses, he sat up, opened his hand, and there was the stone. “The sultan’s doctors said it was a miracle, that the prince never should have survived such a violent wound. The nurses said the stone must have healing powers. The sultan’s jewelers said something else: they said the stone was the largest raw diamond anyone had ever seen. Their most gifted stonecutter spent eighty days faceting it, and when he was done, it was a brilliant blue, the blue of tropical seas, but it had a touch of red at its center, like flames inside a drop of water. The sultan had the diamond fitted into a crown for the prince, and it was said that when the young prince sat on his throne and the sun hit him just so, he became so dazzling that visitors could not distinguish his figure from light itself.” “Are you sure this is true?” asks a girl. “Hush,” says the boy. “The stone came to be known as the Sea of Flames. Some believed the prince was a deity, that as long as he kept the stone, he could not be killed. But something strange began to happen: the longer the prince wore his crown, the worse his luck became. In a month, he lost a brother to drowning and a second brother to snakebite. Within six months, his father died of disease. To make matters even worse, the sultan’s scouts announced that a great army was gathering in the east. "The prince called together his father’s advisers. All said he should prepare for war, all but one, a priest, who said he’d had a dream. In the dream the Goddess of the Earth told him she’d made the Sea of Flames as a gift for her lover, the God of the Sea, and was sending the jewel to him through the river. But when the river dried up, and the prince plucked it out, the goddess became enraged. She cursed the stone and whoever kept it.

It is true that often she doesn't want advice; she wants a listening ear. At the same time, however, the wise wife will realize her husband's desire to help and advise is strong. She should refrain from getting angry and humor him a bit, as one wife did by saying, "Thanks for the input. I know I am not the brightest bulb on the tree when it comes to certain things. I am glad we have each other.

In the old days, farmers would keep a little of their home-made opium for their families, to be used during illnesses, or at harvests and weddings; the rest they would sell to the local nobility, or to pykari merchants from Patna. Back then, a few clumps of poppy were enough to provide for a household's needs, leaving a little over, to be sold: no one was inclined to plant more because of all the work it took to grow poppies - fifteen ploughings of the land and every remaining clod to be built; purchases of manure and constant watering; and after all that, the frenzy of the harvest, each bulb having to be individually nicked, drained and scrapped. Such punishment was bearable when you had a patch or two of poppies - but what sane person would want to multiply these labours when there were better, more useful crops to grow, like wheat, dal, vegetables? But those toothsome winter crops were steadily shrinking in acreage: now the factory's appetite for opium seemed never to be seated. Come the cold weather, the English sahibs would allow little else to be planted; their agents would go from home to home, forcing cash advances on the farmers, making them sign /asámi/ contracts. It was impossible to say no to them: if you refused they would leave their silver hidden in your house, or throw it through a window. It was no use telling the white magistrate that you hadn't accepted the money and your thumbprint was forged: he earned commissions on the oppium adn would never let you off. And, at the end of it, your earnings would come to no more than three-and-a-half sicca rupees, just about enough to pay off your advance.

I watched 60 Minutes...and they showed this woman, she's in every kind of..thing like that. 'This woman', they say, 'she lost her first four children--died from malnutrition--and, now, she's afraid that her new six-month-old newborn twins will suffer the same fate'. ... Who's going to step in and say...'kick her in the cunt 'til it doesn't work', 'that woman is a sociopath! that is a sick human being!'. ... How much of a sociopath do you need to be? That is the slow ritual torture-murder of children, one after another! At what point does cause-and-effect not kick in? How many bulb-headed skeletons have to go stiff in your arms?! ... 'what? this one's not working... oh, well let's try again', one after another. At what point do you not go 'I think this is bad'? ... How many kids are you going to fuckin' kill, lady? ... If you impregnate someone under those conditions, they should abort the parents! that's sick!

The word zen itself is a Japanese mispronunciation of the Chinese word ch’an, which, in turn, is a Chinese mispronunciation of the Sanskrit dhyana, meaning “contemplation, meditation.” Contemplation, however, of what? Let us imagine ourselves for a moment in the lecture hall where I originally presented the material for this chapter. Above, we see the many lights. Each bulb is separate from the others, and we may think of them, accordingly, as separate from each other. Regarded that way, they are so many empirical facts; and the whole universe seen that way is called in Japanese ji hokkai, “the universe of things.” But now, let us consider further. Each of those separate bulbs is a vehicle of light, and the light is not many but one. The one light, that is to say, is being displayed through all those bulbs; and we may think, therefore, either of the many bulbs or of the one light. Moreover, if this or that bulb went out, it would be replaced by another and we should again have the same light. The light, which is one, appears thus through many bulbs. Analogously, I would be looking out from the lecture platform, seeing before me all the people of my audience, and just as each bulb seen aloft is a vehicle of light, so each of us below is a vehicle of consciousness. But the important thing about a bulb is the quality of its light. Likewise, the important thing about each of us is the quality of his consciousness. And although each may tend to identify himself mainly with his separate body and its frailties, it is possible also to regard one’s body as a mere vehicle of consciousness and to think then of consciousness as the one presence here made manifest through us all. These are but two ways of interpreting and experiencing the same set of present facts. One way is not truer than the other. They are just two ways of interpreting and experiencing: the first, in terms of the manifold of separate things; the second, in terms of the one thing that is made manifest through this manifold. And as, in Japanese, the first is known as ji hokkai, so the second is ri hokkai, the absolute universe.

Three Sides of a Coin" Am I in your light?                            No, go on reading       (the hackneyed light of evening quarrelling with the bulbs;       the book’s bent rectangle solid on your knees) only my fingers in your hair, only, my eyes splitting the skull to tickle your brain with love in a slow caress blurring the mind,                                    kissing your mouth awake opening the body’s mouth stopping the words. This light is thick with birds, and evening warns us beautifully of death. Slowly I bend over you, slowly your breath runs rhythms through my blood as if I said                                I love you and you should raise your head. listening, speaking into the covert night     :    Did someone say something?                               Love, am I in your light? Am I?       See how love alters the living face       go spin the immortal coin through time       watch the thing flip through space                      tick       tick Muriel Rukeyser, Collected Poems of Muriel Rukeyser. (University of Pittsburgh Press May 10th 2014)

That something I cannot yet define completely but the feeling comes when you write well and truly of something and know impersonally you have written in that way and those who are paid to read it and report on it do not like the subject so they say it is all a fake, yet you know its value absolutely; or when you do something which people do not consider a serious occupation and yet you know, truly, that it is as important and has always been as important as all th things that are in fashion, and when, on the sea, you are alone with it and know that this Gulf Stream you are living with, knowing, learning about, and loving, has moved, as it moves, since before man and that it has gone by the shoreline of that long, beautiful, unhappy island since before Columbus sighted it and that the things you find out about it, and those that have always lived in it are permanent and of value because that stream will flow, as it has flowed, after the Indians, after the Spaniards, after the British, after the Americans and after all the Cubans and all the systems of governments, the richness, the poverty, the martyrdom, the sacrifice and the venality and the cruelty are all gone as the high-piled scow of garbage, bright-colored, white-flecked, ill-smelling, now tilted on its side, spills off its load into the blue water, turning it a pale green to a depth of four or five fathoms as the load spreads across the surface, the sinkable part going down and the flotsam of palm fronds, corks, bottles, and used electric light globes, seasoned with an occasional condom or a deep floating corset, the torn leaves of a student's exercise book, a well-inflated dog, the occasional rat, the no-longer-distinguished cat; well shepherded by the boats of the garbage pickers who pluck their prizes with long poles, as interested, as intelligent, and as accurate as historians; they have the viewpoint; the stream, with no visible flow, takes five loads of this a day when things are going well in La Habana and in ten miles along the coast it is as clear and blue and unimpressed as it was ever before the tug hauled out the scow; and the palm fronds of our victories, the worn light bulbs of our discoveries and the empty condoms of our great loves float with no significance against one single, lasting thing - the stream.

is too high up in the air for my taste, too little on solid ground. And, after all, art itself is solid enough, that isn’t the trouble. But being a counting house is a passing thing, “être un comptoir cela passe,” is not a phrase of my own but of somebody whose sayings have come terribly true. I wish you were or would become a painter. I say this straight out, more emphatically than before, because I really believe that the great art-dealing business is in many respects a speculation like the bulb trade was. And the situations in it, dependent on chance and freaks of fortune.

How long to see results?” Diomedes asked. “I can’t answer that,” I said. “You know that as well as I do. It takes as long as it takes. Six months. A year. Probably longer—it could be years.” “You have six weeks.” Stephanie drew herself up and crossed her arms. “I am the manager of this unit, and I simply cannot allow—” “I am clinical director of the Grove. This is my decision, not yours. I take full responsibility for any injuries incurred upon our long-suffering therapist here,” Diomedes said, winking at me. Stephanie didn’t say anything further. She glared at Diomedes, then at me. She turned and walked out. “Oh, dear,” Diomedes said. “You appear to have made an enemy of Stephanie. How unfortunate.” He shared a smile with Indira, then gave me a serious look. “Six weeks. Under my supervision. Understand?” I agreed—I had no choice but to agree. “Six weeks.” “Good.” Christian stood up, visibly annoyed. “Alicia won’t talk in six weeks, or sixty years. You’re wasting your time.” He walked out. I wondered why Christian was so positive I would fail. But it made me even more determined to succeed. CHAPTER SIX I ARRIVED HOME, FEELING EXHAUSTED. Force of habit made me flick on the light in the hallway, even though the bulb had gone.

Today Oskar says simply: The moth drummed. I have heard rabbits, foxes and dormice drumming. Frogs can drum up a storm. Woodpeckers are said to drum worms out of their hiding places. And men beat on basins, tin pans, bass drums, and kettle-drums. We speak of drumfire, drumhead courts; we drum up, drum out, drum into. There are drummer boys and drum majors. There are composers who write concerti for strings and percussion. I might even mention Oskar’s own efforts on the drum; but all this is nothing beside the orgy of drumming carried on by that moth in the hour of my birth, with no other instrument than two ordinary sixty-watt bulbs.

Adding carbon dioxide, or any other greenhouse gas, to the atmosphere by, say, burning fossil fuels or leveling forests is, in the language of climate science, an anthropogenic forcing. Since preindustrial times, the concentration of CO2 in the atmosphere has risen by roughly a third, from 280 to 378 parts per million. During the same period, the concentration of methane has more than doubled, from .78 to 1.76 parts per million. Scientists measure forcings in terms of watts per square meter, or w/m2, by which they mean that a certain number of watts have been added (or, in the case of a negative forcing, like aerosols, subtracted) for every single square meter of the earth’s surface. The size of the greenhouse forcing is estimated, at this point, to be 2.5 w/m2. A miniature Christmas light gives off about four tenths of a watt of energy, mostly in the form of heat, so that, in effect (as Sophie supposedly explained to Connor), we have covered the earth with tiny bulbs, six for every square meter. These bulbs are burning twenty-four hours a day, seven days a week, year in and year out. If greenhouse gases were held constant at today’s levels, it is estimated that it would take several decades for the full impact of the forcing that is already in place to be felt. This is because raising the earth’s temperature involves not only warming the air and the surface of the land but also melting sea ice, liquefying glaciers, and, most significant, heating the oceans, all processes that require tremendous amounts of energy. (Imagine trying to thaw a gallon of ice cream or warm a pot of water using an Easy-Bake oven.) The delay that is built into the system is, in a certain sense, fortunate. It enables us, with the help of climate models, to foresee what is coming and therefore to prepare for it. But in another sense it is clearly disastrous, because it allows us to keep adding CO2 to the atmosphere while fobbing the impacts off on our children and grandchildren.

. . . waves of desert heat . . . I must’ve passed out, because when I woke up I was shivering and stars wheeled above a purple horizon. . . . Then the sun came up, casting long shadows. . . . I heard a vehicle coming. Something coming from far away, gradually growing louder. There was the sound of an engine, rocks under tires. . . . Finally it reached me, the door opened, and Dirk Bickle stepped out. . . . But anyway so Bickle said, “Miracles, Luke. Miracles were once the means to convince people to abandon reason for faith. But the miracles stopped during the rise of the neocortex and its industrial revolution. Tell me, if I could show you one miracle, would you come with me and join Mr. Kirkpatrick?” I passed out again, and came to. He was still crouching beside me. He stood up, walked over to the battered refrigerator, and opened the door. Vapor poured out and I saw it was stocked with food. Bickle hunted around a bit, found something wrapped in paper, and took a bottle of beer from the door. Then he closed the fridge, sat down on the old tire, and unwrapped what looked like a turkey sandwich. He said, “You could explain the fridge a few ways. One, there’s some hidden outlet, probably buried in the sand, that leads to a power source far away. I figure there’d have to be at least twenty miles of cable involved before it connected to the grid. That’s a lot of extension cord. Or, this fridge has some kind of secret battery system. If the empirical details didn’t bear this out, if you thoroughly studied the refrigerator and found neither a connection to a distant power source nor a battery, you might still argue that the fridge had some super-insulation capabilities and that the food inside had been able to stay cold since it was dragged out here. But say this explanation didn’t pan out either, and you observed the fridge staying the same temperature week after week while you opened and closed it. Then you’d start to wonder if it was powered by some technology beyond your comprehension. But pretty soon you’d notice something else about this refrigerator. The fact that it never runs out of food. Then you’d start to wonder if somehow it didn’t get restocked while you slept. But you’d realize that it replenished itself all the time, not just while you were sleeping. All this time, you’d keep eating from it. It would keep you alive out here in the middle of nowhere. And because of its mystery you’d begin to hate and fear it, and yet still it would feed you. Even though you couldn’t explain it, you’d still need it. And you’d assume that you simply didn’t understand the technology, rather than ascribe to it some kind of metaphysical power. You wouldn’t place your faith in the hands of some unknowable god. You’d place it in the technology itself. Finally, in frustration, you’d come to realize you’d exhausted your rationality and the only sensible thing to do would be to praise the mystery. You’d worship its bottles of Corona and jars of pickled beets. You’d make up prayers to the meats drawer and sing about its light bulb. And you’d start to accept the mystery as the one undeniable thing about it. That, or you’d grow so frustrated you’d push it off this cliff.” “Is Mr. Kirkpatrick real?” I asked. After a long gulp of beer, Bickle said, “That’s the neocortex talking again.

Add some more?” Professor McGonagall had just stumped up the stone steps into the castle. She was carrying a tartan carpetbag in one hand and leaning heavily on a walking stick with her other, but otherwise looked quite well. “Professor McGonagall!” said Snape, striding forward. “Out of St. Mungo’s, I see!” “Yes, Professor Snape,” said Professor McGonagall, shrugging off her traveling cloak, “I’m quite as good as new. You two — Crabbe — Goyle —” She beckoned them forward imperiously and they came, shuffling their large feet and looking awkward. “Here,” said Professor McGonagall, thrusting her carpetbag into Crabbe’s chest and her cloak into Goyle’s, “take these up to my office for me.” They turned and stumped away up the marble staircase. “Right then,” said Professor McGonagall, looking up at the hourglasses on the wall, “well, I think Potter and his friends ought to have fifty points apiece for alerting the world to the return of You-Know-Who! What say you, Professor Snape?” “What?” snapped Snape, though Harry knew he had heard perfectly well. “Oh — well — I suppose . . .” “So that’s fifty each for Potter, the two Weasleys, Longbottom, and Miss Granger,” said Professor McGonagall, and a shower of rubies fell down into the bottom bulb of Gryffindor’s hourglass as she spoke. “Oh — and fifty for Miss Lovegood, I suppose,” she added, and a number of sapphires fell into Ravenclaw’s glass. “Now, you wanted to take ten from Mr. Potter, I think, Professor Snape — so there we are . . .

Some people say not to plant in the fall because the frost is on its way. What they don’t realize is the time when everything is dying is the best time to start new life.” She takes some dirt and covers the bulb. “There’re two different kinds of plants. Perennials and annuals. Some, you plant and enjoy for a season, and they die, so you get new ones. They’re superficial. But the annuals, those are the ones with roots. They grow beautiful, and in the fall, they droop. They get ugly, and they die. But in the spring, they come back even more beautiful. They’re like memories. It’s like the people in our lives. Some are fleeting, here for a moment. Others grow roots. Those are what I plant. In the dark of winter, they lie dormant until it is time for them to flourish.

That's what makes up a big part of our lives, y'know? The distractions. Lots of times, we're like moths fluttering around a porch light. Bugs'll swarm around that bulb, all distracted, forgetting in their minuscule insect brains that there's something else they should be doing, like biting people or making more bugs...Human distractions are bigger, better lightbulbs...but in the end, they're all just porch lights. So we go from one bright bulb to another until we hit the bug zapper, and it's all over. I'm not saying it's a bad thing. What fun would life be without our chosen porch lights? But every once in a while, we get these moments where we look away from the lights, and it scares us, on account of there's nothing but darkness until our eyes adjust. And that's when we get to see the stars!

Chickens are true creatures of zen - they live only and absolutely for the moment. Their actions one particular second will not necessarily have any influence or bearing on their actions in the next second, nor are they necessarily influenced by their actions of the prior second. Chicken thoughts arrive in their tiny mad little minds like flashes of a strobe light, each light being an action, each flashing with the brilliance of a not very brilliant thing. Each action utterly random. The complete randomness of chaos. Chickens are notorious escape artists, not due to their ability to devise cunning plans as they huddle together in their coop beneath a bare light bulb, scratching out complex diagrams in the dirt, but simply out of sheet unpredictability. They are the pachinko balls of the animal kingdom, effecting their escapes through the simple device of, say, turning left for no particular reason.

The motions of the average mind, say the Hindus, are about as orderly as those of a crazed monkey cavorting in its cage. Nay, more; like the prancings of a drunk, crazed monkey. Even so we have not conveyed its restlessness; the mind is like a drunken crazed monkey who has been stung by a wasp. What if the mind could be turned from a ping-pong ball into a lump of dough, which when thrown sticks to a all until deliberately removed? Would not its power increase if it could be thus held in focus? Would not its strength be compounded, like the strength of a light bulb when ringed by reflectors? A normal mind can be held to a reasonable extent by the world’s objects. A psychotic mind cannot; it slips at once into uncontrollable fantasy. What if a third condition of mind could be developed, as much above the normal mind as the psychotic mind is below it, a condition in which the mind could be induced to focus protractedly on an object to fathom it deeply? This concentration is the sixth step of raja yoga.

I feel so far away from them, on the top of this hill. It seems as though I belong to another species. They come out of their offices after their day of work, they look at the houses and the squares with satisfaction, they think it is their city, a good, solid, bourgeois city. They aren’t afraid, they feel at home. All they have ever seen is trained water running from taps, light which fills bulbs when you turn on the switch, half-breed, bastard trees held up with crutches. They have proof, a hundred times a day, that everything happens mechanically, that the world obeys fixed, unchangeable laws. In a vacuum all bodies fall at the same rate of speed, the public park is closed at 4 p.m. in winter, at 6 p.m. in summer, lead melts at 335 degrees centigrade, the last streetcar leaves the Hotel de Ville at 11.05 p.m. They are peaceful, a little morose, they think about Tomorrow, that is to say, simply, a new today; cities have only one day at their disposal and every morning it comes back exactly the same. They scarcely doll it up a bit on Sundays. Idiots. It is repugnant to me to think that I am going to see their thick, self-satisfied faces. They make laws, they write popular novels, they get married, they are fools enough to have children. And all this time, great, vague nature has slipped into their city, it has infiltrated everywhere, in their house, in their office, in themselves. It doesn’t move, it stays quietly and they are full of it inside, they breathe it, and they don’t see it, they imagine it to be outside, twenty miles from the city. I see it, I see this nature . . . I know that its obedience is idleness, I know it has no laws: what they take for constancy is only habit and it can change tomorrow. What if something were to happen? What if something suddenly started throbbing? Then they would notice it was there and they’d think their hearts were going to burst. Then what good would their dykes, bulwarks, power houses, furnaces and pile drivers be to them? It can happen any time, perhaps right now: the omens are present.

It’s 56.43 N, 2.87 W, I think,” the awful voice continued. “Osman is dead, and Baines and Boswell and Rudd are dead, and I think Wilton may be gone as well. There are just too many—” Phillip had written down all coordinates but underlined the last set. He hated the voice’s gasping quality. The way every breath seemed to pain it. The phlegmy gurgle at the back of its throat. “What’s your situation? What happened?” “They’re in the walls.” The voice gasped, a choked laugh that curdled and quickly died. It seemed to say something else, but a hissing burst of static cut through the channel. Phillip frowned, straining to hear. “Repeat, please.” “In the walls…” The voice from the radio groaned, and the sound seemed to travel not only through Phillip’s headset but into his bones as well, causing them to ache. “The walls.” “Please repeat—” The bridge’s lights shimmered, flickering. Phillip pressed himself back against the desk as he stared up at the bulbs that sparked and threatened to blow. Then the voice rose, flooding his ears, filling his head, raw and battered with terror: “There are bodies in the walls.

You’re a talking cat?” Endora asked with a look of disbelief on her face. “My, my, my, aren’t you the bright bulb of the bunch,” he replied with a bit of snarky smugness. “Tell me then, bright-bulb, do you suppose that I need your permission to talk just because I’m a cat?” He raised his paw to his face, admiring his newly gnawed manicure. After he observed the last nail, he slapped his paw down on the floorboards, making a low thud sound. “Because I don’t,” he smirked. Endora was taken by surprise at his rudeness. She stared back at him, speechless and not quite sure how to respond. “Are you a magic cat?” Mila busted in with a question that seemed as silly to her as to the cat. He glared and narrowed his eyes at her. “A magic cat,” he said, standing up to arch his furry back. “Is my talking some sort of magic to you? If it is… then I am.” He stretched his back higher and let out a long purr that turned into, “Purrhaps, you four little witchy girls should clearly refine your meaning of magic so you know what it means before you say the word magic.” “I rather am quite fond of talking cats,” Selena said with a big smile. “Of course, you’re the first one I’ve ever seen.” The cat narrowed its eyes tighter. “Indeed,” he said, letting out a yawn as if the whole conversation were a bore. He leapt off the porch and dash away, mumbling and grumbling his way down the corridor. Selena looked over at Endora. “Rude little snot, isn’t he?” she said.

Have you ever suddenly understood something in a “flash of recognition”? Have you ever known of someone who became an “overnight success”? Here is a great secret that holds the key to great accomplishment: both that “sudden flash” and that “overnight success” were the final, breakthrough results of a long, patient process of edge upon edge upon edge. Any time you see what looks like a breakthrough, it is always the end result of a long series of little things, done consistently over time. No success is immediate or instantaneous; no collapse is sudden or precipitous. They are both products of the slight edge. Now, I’m not saying that quantum leaps are a myth because they don’t really happen. As a matter of fact, they do happen. Just not the way people think they do. The term comes from particle physics, and here’s what it means in reality: a true quantum leap is what happens when a subatomic particle suddenly jumps to a higher level of energy. But it happens as a result of the gradual buildup of potential caused by energy being applied to that particle over time. In other words, it doesn’t “just suddenly happen.” An actual quantum leap is something that finally happens after a lengthy accumulation of slight-edge effort. Exactly the way the water hyacinth moves from day twenty-nine to day thirty. Exactly the way the frog’s certain death by drowning was “suddenly” transformed into salvation by butter. A real-life quantum leap is not Superman leaping a tall building. A real quantum leap is Edison perfecting the electric light bulb after a thousand patient efforts—and then transforming the world with it.

Your daughter is delightful!" Sejanus was saying to Aelia. I gripped the edge of the bench and bit my tongue as he spoke. "She is a living testament to the good looks that seem to follow the gens Aelia." Aelia smiled. "Cousin, you flatter me." Sejanus had set the tone for the evening with the clear slight against the Gavia clan. "It's only a shame I share the name through adoption- not blood- or who knows how much more attractive I might have been!" Nearby guests laughed at the joke but to me it seemed the true intent was to point out that Apicius had, at least at one time, found him attractive. Sejanus looked directly at Apicius directly as he spoke, a smile on his face. Apicius gave away nothing. He waved a boy over with a tray. "Have you tried the fried hare livers, Sejanus?" Apicata jumped up and down and smiled at her father. "May I? May I?" Her father smiled. Apicata could always melt his heart. "Only one and don't share with Perseus!" The serving boy lowered the tray so she could reach for the liver but not so low that the jumping puppy could steal treats for himself. She snatched a morsel and popped it into her mouth. I knew what she tasted, a sublime mixture of textures, the crispy breaded exterior and the smooth, sumptuous richness of the liver itself. The combination is unexpected. When I first introduced the recipe, it immediately became a family favorite. Apicata turned to Sejanus. She did not appear to recognize him from the market. "Oh, you must try! These are my favorite!" "If you say so, I must try!" Sejanus reached for the tray. He took a bite of the liver and surprise registered in his eyes. Sejanus reached for another liver. "Where on earth did you find your cook?" "Baiae." Aelia reached for her own sample. "Thrasius's cooking is always exceptional. Wait until you try the hyacinth bulbs!" "Hyacinth bulbs are one of my favorites." Sejanus ran his fingers affectionately through Apicata's hair as he talked. I stared, wondering what his intentions were. My right eye began to twitch. Apicius nodded at Passia to come forward and collect Apicata and her puppy. The girl went begrudgingly and only after Sejanus had planted a kiss on her forehead and promised he would visit again soon.

To a theoretician, all these criticisms are troublesome but not fatal. But what does cause problems for a theoretician is that the model seems to predict a multiverse of parallel universes, many of which are crazier than those in the imagination of a Hollywood scriptwriter. String theory has an infinite number of solutions, each describing a perfectly well-behaved finite theory of gravity, which do not resemble our universe at all. In many of these parallel universes, the proton is not stable, so it would decay into a vast cloud of electrons and neutrinos. In these universes, complex matter as we know it (atoms and molecules) cannot exist. They only consist of a gas of subatomic particles. (Some might argue that these alternate universes are only mathematical possibilities and are not real. But the problem is that the theory lacks predictive power, since it cannot tell you which of these alternate universes is the real one.) This problem is actually not unique to string theory. For example, how many solutions are there to Newton’s or Maxwell’s equations? There are an infinite number, depending on what you are studying. If you start with a light bulb or a laser and you solve Maxwell’s equations, you find a unique solution for each instrument. So Maxwell’s or Newton’s theories also have an infinite number of solutions, depending on the initial conditions—that is, the situation you start with. This problem is likely to exist for any theory of everything. Any theory of everything will have an infinite number of solutions depending on the initial conditions. But how do you determine the initial conditions of the entire universe? This means you have to input the conditions of the Big Bang from the outside, by hand. To many physicists this seems like cheating. Ideally, you want the theory itself to tell you the conditions that gave rise to the Big Bang. You want the theory to tell you everything, including the temperature, density, and composition of the original Big Bang. A theory of everything should somehow contain its own initial conditions, all by itself. In other words, you want a unique prediction for the beginning of the universe. So string theory has an embarrassment of riches. Can it predict our universe? Yes. That is a sensational claim, the goal of physicists for almost a century. But can it predict just one universe? Probably not. This is called the landscape problem. There are several possible solutions to this problem, none of them widely accepted. The first is the anthropic principle, which says that our universe is special because we, as conscious beings, are here to discuss this question in the first place. In other words, there might be an infinite number of universes, but our universe is the one that has the conditions that make intelligent life possible. The initial conditions of the Big Bang are fixed at the beginning of time so that intelligent life can exist today. The other universes might have no conscious life in them.

Suddenly—so suddenly it scared him—there was light ahead, around a corner. Not the light of a rainy evening in the city, but paler, less certain. They rounded the corner. He noticed the flashlight bulb starting to flicker; lost the alligator momentarily. Then turned the corner and found a wide space like the nave of a church, an arched roof overhead, a phosphorescent light coming off walls whose exact arrangement was indistinct. “Wha,” he said out loud. Backwash from the river? Sea water shines in the dark sometimes; in the wake of a ship you see the same uncomfortable radiance. But not here. The alligator had turned to face him. It was a clear, easy shot. He waited. He was waiting for something to happen. Something otherworldly, of course. He was sentimental and superstitious. Surely the alligator would receive the gift of tongues, the body of Father Fairing be resurrected, the sexy V. tempt him away from murder. He felt about to levitate and at a loss to say where, really, he was. In a bonecellar, a sepulchre. “Ah, schlemihl,” he whispered into the phosphorescence. Accident prone, schlimazzel. The gun would blow up in his hands. The alligator’s heart would tick on, his own would burst, mainspring and escapement rust in this shindeep sewage, in this unholy light. “Can I let you just go?” Bung the foreman knew he was after a sure thing. It was down on the clipboard. And then he saw the alligator couldn’t go any further. Had settled down on its haunches to wait, knowing damn well it was going to be blasted. In Independence Hall in Philly, when the floor was rebuilt, they left part of the original, a foot square, to show the tourists. “Maybe,” the guide would tell you, “Benjamin Franklin stood right there, or even George Washington.” Profane on an eighth-grade class trip had been suitably impressed. He got that feeling now. Here in this room an old man had killed and boiled a catechumen, had committed sodomy with a rat, had discussed a rodent nunhood with V., a future saint—depending which story you listened to. “I’m sorry,” he told the alligator. He was always saying he was sorry. It was a schlemihl’s stock line. He raised the repeater to his shoulder, flicked off the safety. “Sorry,” he said again. Father Fairing talked to rats. Profane talked to alligators. He fired. The alligator jerked, did a backflip, thrashed briefly, was still. Blood began to seep out amoebalike to form shifting patterns with the weak glow of the water. Abruptly, the flashlight went out.

At the window, with it open, as rain sang across the land once dry, so the rain slipped in threads of current down cracks and toward the lows, the man wiped his glasses free of spray—beads that had hit the sill and splattered at him. He cleared his throat, put the glasses back on, picked up a cigarette weaving smoke into the pale-yellow room—a light cast by a single bulb dangling above the kitchen table from a cord, makeshift. “Would you say,” said the man now ashing his cigarette, smoke staining his words, his eyes toward the rain, “that I am very brave?” He then looked at the woman, wrapped in a blanket, her eyes tight against the chill, her body frail with age and labor, her hair winced gray by days. She tightened the blanket across her shoulders, leaned against a wall—faded white paint, cracked and spotting. “These days?” she said, and looked now at the rain, sighed as if she knew it only came to wash her off the land, to hoist their home from its foundation in a torrent toward the death of it—nature ravaging its boards and bones to splinters and shingles and scraps and refuse that would toss wildly in the breath of flood until it came to rest unrecognizable. She closed her eyes. Turned from the man. “I wouldn’t even call you handsome.

Light bulbs up the ass, no big deal!" you say. "On a good night I can fit a Butterball and two sweet potatoes up my bum!" Aye--But here's the rub: How did these bulbs come to shine so brightly? They weren't plugged into an electrical socket... An hour before her performance, Ida lay spread-eagle on the ground, and she had a helping hand (and how) slowly, carefully, millimeter by millimeter--INSERT A BATTERY PACK INTO HER UPPER INTESTINE.

I am in awe of Sam's decision to abandon capitals and punctuation but am not brave enough to do the same. I like to imagine the day he, as the Americans say, made the change he wished to see in the world. I like to think it came to him suddenly. Perhaps he was swimming - no, too active - or napping indoors on a hot day - no, too bourgeois - probably he was in Scotland during the midge season and he left the desk lamp on and the window open when he went out for a meaningful walk. It was dark and the midges were drawn to the lamplight and - thinking it was the moon - fried themselves against the bulb, falling in their tens and tens, cooked on the pages of Sam's poems. So when he returned some time later, with bites on his neck, he found his poems loaded with punctuation, asterisks, grammar lying dead on his manuscript and his instant reaction was disgust, a feeling that then infected his whole aesthetic.

God’s Word is the most critical tool you could use. The Bible is the inspired Word of God. This means that God spoke to everyone that wrote a book in the Bible on what he wanted an account of. In the same manner, God has inspired me to write this book and has helped me to know what to include. Scripture is meant to edify, teach, correct, encourage, inspire, and give hope to all who hear and read it. Throughout this book I have shared scripture to back up what I was saying. God reveals things in scripture to those who seek it out. You can read the same passage of scripture for years, and then one day it seems a light bulb goes on. He will show you something deeper about that verse. God is multifaceted. He is not limited to one way of speaking to you, nor does he limit His Word to one message. What I mean by that is one scripture can teach you something, and then at another time, God may reveal even more meaning to that scripture. It is like there are layers to passages of scripture, just as you may pull back layers of wallpaper. Each layer is different and reveals a bit more. As you seek to draw closer to God, He will start to peel back those layers and teach you more and more, as you are able to receive it. If you are new to reading the Bible, it may seem a bit intimidating at first. Where do you start? What should you read? I suggest researching scripture that applies to what you are going through. If you are suffering from fear, then research fear. Once you have found some scriptures, read a few of the verses before and after the verse you chose to help you learn the context in which it was written. You may also want to read from Proverbs daily, consider the Psalms and the Gospels: Matthew, Mark, Luke and John. May I also suggest you consider finding a Bible study group to join or at the very least purchase a beginner’s Bible study guide. Next, choose a few of the scriptures you researched that really spoke to you and write them down on a 3x5 index card. Or you may want to print each verse out on a sheet of paper. Then hang them up where you will see them, such as your bathroom mirror, above your desk at home, or even throughout your house. If you can, take a few to work with you. Each day, multiple times a day, speak those scriptures out loud. I suggest at a minimum speak them when you get up in the morning and before you go to bed at night. The spoken Word is so powerful. As I mentioned before, it is a weapon against the devil. He loses power every time you speak scripture. It also triggers your mind to believe what you say. That is why it is so important to be very careful about anything you speak. Negative thoughts start to become real to you when you speak them. These steps are things I have practiced through the years and found them to be very helpful. If you are struggling with multiple negative thoughts, it may be easier to find scripture for one at a time. Don’t overwhelm yourself with trying to deal with everything at once. You can switch out the verses or add to them as time goes on. Do what works for you.

It’s not really such a bad place,” she says, looking around the room. She’s moved on to dessert. “They know how to make a decent rice pudding.” My hand shakes a little when I pour creamer into her coffee. If I got on a plane tonight I could be in Rome in time for dinner tomorrow. Homemade pasta, fresh tomatoes and basil. Real Parmesan cheese, not the kind that comes in packets. And wine—maybe something I haven’t tasted before, a grape varietal I don’t yet know. It would be nothing like here. A break from this place. From Mom. I want to get home and e-mail Paul. I will be there. I am coming. I feel her eyes on me as I pack up my things. “You should dye your hair before you leave,” she says finally. “See if the salon can fit you in this week.” “That’s a good idea.” I kiss her goodbye. “I bet Hannah is gorgeous, she’ll look just like Emily did at that age. Beautiful, but not the brightest bulb. It’s good you’re going. You’ll have to send me pictures.” She surveys my face. I try to keep it blank, unreadable. “Use my brightening mask when you get home. It’ll clear up whatever’s happening on your chin.” “I will.” I shift my purse full of papers and snacks and bottled water from one shoulder to the other. “I love you, see you tomorrow.

There are a few ways you can find your own tilt. • What questions are your audience members asking that aren’t addressed in your niche? • What perspectives and viewpoints in your niche do you oppose or take an opposite view on? • What is everyone saying that isn’t necessarily true? • Are there any specific methods you use that get your readers/clients results? • What are common misconceptions readers have about the content in your niche or what mistakes do they make? • What are your biggest light bulb moments that have impacted the way you do certain things and how you help your readers or clients?

But you are not ungrateful, you never have been. Always, you could see the whirling constellation of wonders that makes up your life. God, there is just so much to love. Dust motes lit up by stage lights, the creak of a book’s binding when it’s opened for the first time, the ache in the back of your throat from singing too loud, the whirring noise of a light bulb as it’s flicked on, a warm blanket in a cold room, a kiss when you didn’t know you needed one, dark pencils, the wet snuffle of a dog’s nose, strangers who say ‘Bless you’ when you sneeze, mahogany, the dusty silk of flower petals, good lines in bad poems, the watercolour mess of sunset, snow, liquid-ink pens and more. So much more.

My books show me what it’s like to live in a reliable country where you flick on a switch and a bulb is guaranteed to shine and remain on, where you know that cars will stop at red lights and those traffic lights will not cease working a couple of times a day. How does it feel when a plumber shows up at the designated time, when he shows up at all? How does it feel to assume that when someone says she’ll do something by a certain date, she in fact does it?

How many church members does it take to change a lightbulb?” Answer: “Ten. One to change it and nine to say how much better they liked the old bulb.” Soon

We have heard the stories: Duke Ellington would say, “I merely took the energy it takes to pout and wrote some blues.” 5 Tennessee Williams felt that “apparent failure” motivated him. He said it “sends me back to my typewriter that very night, before the reviews are out. I am more compelled to get back to work than if I had a success.” Many have heard that Thomas Edison told his assistant, incredulous at the inventor’s perseverance through jillions of aborted attempts to create an incandescent light bulb, “I have not failed, I’ve just found 10,000 ways that won’t work.” 6 “Only one look is enough. Hardly one copy would sell here. Hardly one. Hardly one. Many thanks . . .” read part of the rejection letter that Gertrude Stein received from a publisher in 1912.7 Sorting through dross, artists, entrepreneurs, and innovators have learned to transform askew strivings. The telegraph, the device that underlies the communications revolution, was invented by a painter, Samuel F. B. Morse, who turned the stretcher bars from what he felt was a failed picture into the first telegraph device. The 1930s RKO screen-test response “Can’t sing. Can’t act. Balding. Can dance a little” was in reference to Fred Astaire. We hear more stories from commencement speakers—from J. K. Rowling to Steve Jobs to Oprah Winfrey—who move past bromides to tell the audience of the uncommon means through which they came to live to the heights of their capacity. Yet the anecdotes of advantages gleaned from moments of potential failure are often considered cliché or insights applicable to some, not lived out by all.

In 1900, Max Planck, a critic of Boltzmann’s science for nearly two decades, published papers that hinted at a change of heart. Even more unexpectedly he seemed to be saying that Boltzmann’s statistical methods might have relevance far beyond thermodynamics. This reluctant conversion was forced upon Planck by the advent of a new technology—the electric light bulb. In these electric current flows through a filament, warming it and making it glow. This focused scientific minds on investigating the precise relationship between heat and light.

(For Philosophers: No, the computer doesn't "think". Unfortunately, there's no better word for what it really does. We say "think" on the grounds that it's all right to say, "the lamp needs a new light bulb." Whether the lamp really *needs* a bulb depends on whether it *needs* to provide light (that is, incandescence is its karma). So let's just say the computer thinks.)

ON THE DISCOMFORT OF BEING IN THE SAME ROOM AS THE BOY YOU LIKE Everyone is looking at you looking at him. Everyone can tell. He can tell. So you spend most of your time not looking at him. The wallpaper, the floor, there are cracks in the ceiling. Someone has left a can of iced tea in the corner, it is half-empty, I mean half-full. There are four light bulbs in the standing lamp, there is a fan. You are counting things to keep from looking at him. Five chairs, two laptops, someone’s umbrella, a hat. People are talking so you look at their faces. This is a good trick. They will think you are listening to them and not thinking about him. Now he is talking. So you look away. The cracks in the ceiling are in the shape of a whale or maybe an elephant with a fat trunk. If he ever falls in love with you, you will lie on your backs in a field somewhere and look up at the sky and he will say, Baby, look at that silly cloud, it is a whale! and you will say, Baby, that is an elephant with a fat trunk, and you will argue for a bit, but he will love you anyway. He is asking a question now and no one has answered it yet. So you lower your eyes from the plaster and say, The twenty-first, I think, and he smiles and says, Oh, cool, and you smile back, and you cannot stop your smiling, oh, you cannot stop your smile.

It’s a beautiful thing to be in Hollywood... the feeling of it... that classical glamour never dies.” She walked to the closet and back to the bed. “The actress lives a beautiful life once at a certain level... when her sink has a view and her phone calls aren’t rejections anymore, but producers, offices, playhouses in London, a director pitching his sacred screenplay. The food gets healthier, people around you are more positive... driving in traffic is even different because your car is nice, and the music you normally hate sounds different when life works... when you get the furniture you want... And mentors pass down movie posters from their mentors—so Hepburn never really dies. You keep it in your home... there’s room for everything... I treasure letters from other artists... studio invitations... Being a woman in Hollywood is entirely different than a man’s experience. All the time, by everyone, for everything, a woman is wanted... dinners... so many dinners... so many scripts lying around the room, in the sun... the people you have yet to meet... it’s not about fame—I do not care for the public praise... but what is truly compelling is when you make it big, you finally understand why there are palm trees in this city... Los Angeles suddenly turns on. Like a bulb you thought disliked you and would never light. But it lights. Of course, one must put the cocktail down, leave the house, and make more movies. But this is to say, the after hours are nice. When the camera is off and I return home, I get to love what is left.

Hallmark movies aside, people didn’t usually have epiphanies. Light bulb moments or defining points where they suddenly knew what to say and what to do. And recognizing your own errors was especially hard.

Get complimentary newspapers delivered. Dress neatly. Finish your conversations straight away when a customer appears. Keep the shelves stocked. Use warm cups, not hot, not cold. Don’t serve cups with spills down the side. Set drinks up the same way all the time. Have a clear menu. Make sure all the light bulbs work. Repaint the room often. Room temperature butter. Opening and closing times written on the door. Take care of your espresso machine. Dry tables after you wipe them. Say hello to your co-workers. If you think someone’s not happy, ask. Smile.

6'5" Looking for Something Casual that Has the Potential to Be Something More ;) [In a dimly lit restaurant] Is this a date? [Walking back to a car in a dark parking lot with a gun to my back] Is this a date? [In the trunk of a car] Is this a date? [In a room, tied to a chair with one, dangling light bulb] I actually would say that I’m like, an introverted extrovert. [Locked in an attic dressed up as a doll with a bowl of water and a plate of food at my feet] Yeah, I don’t know, I just have such a weird relationship with social media! [In a submarine unaware of what day it is] I’m trying this cleanse, have you heard of it? [Chopped up into little pieces and dispersed into the ocean, little fishes feeding on my hands] So, do you have any siblings?

Like fish in water, we are swimming at all times in an ocean of energy. Look around you: Everything is energy! Everything you see is part of the electromagnetic spectrum. Not only light bulbs and computers and iPhones but planets, animals, stars, and entire galaxies — it’s all electrical. The page you’re reading, the chair you’re sitting in, the ground beneath your feet, the planet you live on, the sun that heats that planet are ultimately just electromagnetic energy vibrating at different frequencies — in other words, electricity. It’s all energy, frequency, and vibration. Every single thing in our observable universe is in constant motion on an atomic or subatomic level — even things like rocks that appear motionless. As the great physicist Richard Freyman says, “Everything jiggles,” or as I like to put it, “Everything jitterbugs,” thanks to the exchange of positive and negative forces that gives rise to this dance of energy. There’s no such thing as a “noun” when we get right down to it, because everything is actually a process. (Interestingly, the Hopi language doesn’t contain any nouns, and it better reflects the essential fluidity of the world around us.)

Edison made 1,000 failed attempts at the light bulb (some say 10,000 failed attempts).

There are a few ways you can find your own tilt. • What questions are your audience members asking but aren’t addressed in your niche? • What perspectives and viewpoints in your niche do you oppose or take an opposite view on? • What is everyone saying that isn’t necessarily true. • Do you disagree with any view point widely held in your niche? • Are there any specific methods you use that get your readers/clients results? • What are common misconceptions and mistakes readers have about the content in your niche? • What are your biggest light bulb moments that have impacted the way you do certain things and how you help your readers or clients?

I was seven years old when The Exorcist came out. I remember the grown-ups talking about it. I remember one grown-up saying she had to sleep with the light on for months after seeing it. I remember another saying he had to go on pills for his nerves after he saw it.

On the sidewalks, encased in spotless plastic bags, the remains of yesterday’s Leonia await the garbage truck. Not only squeezed tubes of toothpaste, blown-out light bulbs, newspapers, containers, wrappings, but also boilers, encyclopedias, pianos, porcelain dinner services. It is not so much by the things that each day are manufactured, sold, bought that you can measure Leonia’s opulence, but rather by the things that each day are thrown out to make room for the new. So you begin to wonder if Leonia’s true passion is really, as they say, the enjoyment of new and different things, and not, instead, the joy of expelling, discarding, cleansing itself of a recurrent impurity. The fact is that street cleaners are welcomed like angels, and their task of removing the residue of yesterday’s existence is surrounded by a respectful silence, like a ritual that inspires devotion, perhaps only because once things have been cast off nobody wants to have to think about them further.

One thing leads to another in this world, Flamen, and we human beings get dragged along like—like dead leaves spinning in the wake of a skimmer. Diablo was saying a while back how you fine down your principles so that a machine can handle them, and pretty soon the person using the machine comes to imagine that this is how it’s always been— there never was a subtler way of thinking. That’s some of where it’s at, but it’s not all by any means. Take the fine expensive home you live in, with its automatic defenses and its mines sown under the lawn like daffodil-bulbs. You shut yourself up behind armor-plate, you shut your mind too. You advertise Guardian traps on your show, don’t you—those steel bands spiked like an Iron Maiden? What’s the mentality of someone who’s prepared to come home from visiting neighbors and find a corpse hung up in the doorway? I say he’s already insane when he commits himself to that course of action, and you don’t have to wait for him to lose his marbles under an overdose of Ladromide before he stops thinking as a responsible mature person ought to! And what’s the reason that’s advanced for acting this way?” He rounded on Reedeth. “You know! You probably have it dinned into you a dozen times a day at your work! ‘Be an individual!’” Conroy contrived to make the slogan sound obscene. “And what’s this been twisted into? The biggest Big Lie in history! It’s no use making your life so private you refuse to learn from other people’s experience—you just get stuck in a groove of mistakes you need never have made. We have more knowledge available at the turn of a switch than ever before, we can bring any part of the world into our own homes, and what do we do with it? Half the time we advertise goods people can’t afford, and anyhow they’ve got the color and hold controls adrift because the pretty patterns are fun to look at when you’ve bolted and barred your mind with drugs. Split! Divide! Separate! Shut your eyes and maybe it’ll go away! “We mine our gardens, we close our frontiers, we barricade our cities with Macnamara lines to shut off black from white, we divide, divide, divide!” A stamp emphasized each repetition of the word. “It gets into our families, goddamn it, it gets into our very love-making! Christ, do you know I had a girl student last year who thought she was having an affair with a boy back home and all they’d ever done was sit in front of the comweb and masturbate at each other? Twenty miles apart! They’d never even kissed! We’re going insane, our whole blasted species—we’re heading for screaming ochlophobia! Another couple of generations and husbands will be afraid to be alone in the same room with their wives, mothers will be afraid of their babies, if there are any babies!

EACH INCREMENT OF THE ARTIST'S JOURNEY IS A HERO'S JOURNEY We experience our life as dull and ordinary. But beneath the surface, something powerful and transformative is brewing. Suddenly the light bulb goes off. We've got a new idea! An idea for a novel, a movie, a startup . . . Except immediately we perceive the downside. We become daunted. Our idea is too risky, we fear. We're afraid we can't pull it off. We hesitate, until . . . We're having coffee with a friend. We tell her our idea. "I love it," she says. "You've gotta do it." Fortified, we rally. We commit. We begin. This is the pattern for the genesis of any creative work. It's also, in Joseph Campbell terms, "the Ordinary World," "The Call," "Refusal of the Call," "Meeting with the Mentor," and "Crossing the Threshold." In other words, the first five stages of the hero's journey. Keep going. As you progress on your project, you'll hit every other Campbellian beat, right down to the finish and release/publication, i.e., "The Return," bearing a "Gift for the People." This pattern will hold true for the rest of your life, through every novel, movie, dance, drama, work of architecture, etc. you produce. Every work is its own hero's journey.

On one such afternoon, I had got myself vaguely lost. Not completely lost, just a little bit, enough to make my stomach tilt, rather than turn. I could, of course, back-track, but this always took time and it was getting dark. In the past, whenever I wanted Diggity to guide me home, I simply said to her, ‘Go home, girl,’ which she thought was a kind of punishment. She would flatten those crazy ears to her head, roll her amber brown eyes at me, tuck her tail between her legs and glance over her shoulder, every part of her saying, ‘Why are you doing this to me? What did I do wrong?’ But that evening, she made a major breakthrough. She immediately grasped the situation; you could see a light bulb flash above her head. She barked at me, ran forward a few yards, turned back, barked, ran up and licked my hand, and then scampered forward again and so on. I pretended I didn’t understand. She was beside herself with worry. She repeated these actions and I began to follow her. She was ecstatic, overjoyed. She had understood something and she was proud of it. When we made it back to camp, I hugged her and made a great fuss of her and I swear that animal laughed. And that look of pride, that unmistakable pleasure in having comprehended something, perceived the reason and necessity for it, made her wild, hysterical with delight.

Humans believe they are special; that they possess special abilities and gifts. They do not. They believe because they invented the light bulb and the car that it gives them purpose but it only serves to make their lives more comfortable in an uncomfortable existence. They cannot fly, like the bird, or possess great strength, like the elephant. They cannot leap into a tree like a cat. Humans evolved from crustaceans that excrete serotonin in the brain just as they do and yet humans eat them for pleasure. Human beings have devolved into eating their own. How ironic. The human is an anomaly that needs to return to non-existence and leave the earth be. Then and only then will there be peace. Only the fearful and arrogant would say otherwise.

Matty (7): Daddy, my teacher said that light bulb was invented by Edison. Dad: That’s correct. Matty: No, it isn’t. Dad: Excuse me? Matty: Well… didn’t God create everything?

All evening, my mother’s cheeks blushed a deep red that could be noticed even in the low light of the lamp. My books show me what it’s like to live in a reliable country where you flick on a switch and a bulb is guaranteed to shine and remain on, where you know that cars will stop at red lights and those traffic lights will not cease working a couple of times a day. How does it feel when a plumber shows up at the designated time, when he shows up at all? How does it feel to assume that when someone says she’ll do something by a certain date, she in fact does it? Compared to the Middle East, William Burroughs’s world or Gabriel García Márquez’s Macondo is more predictable. Dickens’s Londoners are more trustworthy than the Lebanese. Beirut and its denizens are famously and infamously unpredictable. Every day is an adventure. This unsteadiness makes us feel a shudder of excitement, of danger, as well as a deadweight of frustration. The spine tingles momentarily and the heart sinks.

When I grow up, Mamaw Milkweed,” Daffy would say, “I’m gonna have my own flower bulb catalog and mail them to you so you can buy from me. Every flower that blooms will be because I gave ’em to the world.

Her hands may be old,” I said, “but they’re strong as boot heels.” How could they not be? They scrubbed pots and folded sheets, pulled weeds up from the ground and planted flower bulbs in the same hole. They built things, cleaned things, cooked things, tore things apart, and put them back together again in better ways. They moved things, lifted things, and bandaged them, like the cuts my sister and me got when we decided to fly off the tree in the backyard. In the quiet moments, her hands would hold our faces as she gave us ten kisses apiece. “Enough for you to always find your way back home,” she’d say.

The short pieces of his black hair are spiked out every which way. The poor lighting from the singular bulb on the ceiling over the shower exaggerates the dark circles under his eyes. He looks rough. And why I find it incredibly hot is beyond me. “Late night?” I ask. I’m staring. I shouldn’t stare. Biting back a smirk at his disheveledness, I pull the band out of my hair, pretending that I need to redo my ponytail. Really, I just need a distraction. “I’m going back to work today,” I say, when he doesn’t reply. He snatches my hand to keep me from putting my hair back up. “It is lovely down,” he says softly. I’m frozen, watching him in the mirror as he smooths a section of my hair, grazing my bare neck with his fingers. Everything Chiara’s said about him rushes to the front of my mind. “Don’t,” I tell him, immediately wishing I hadn’t. His hands are at my waist in an instant and he rotates me, pinning me between him and the counter. “Why?” Because your cousin already wants to kill me for kissing you. Because I like it too much. Because you make me feel wanted. I clear my throat. “Because you haven’t brushed your teeth yet.” I twist my upper body around and grab his toothbrush--the neon green one. I squeeze out a bead of toothpaste from my tube, get the brush wet, and hold it close to his mouth. With the tiniest hint of a smile, Bruno opens his mouth maybe half an inch and shifts his body even closer to mine. His eyes dart down to my lips and back to my eyes, down and up, down and up, leaning closer. I should dodge him but I don’t--can’t. All I can do is stare at his mouth, knowing full well I don’t really care if he’s brushed his teeth yet or not. Our noses nearly touch. He tilts his head to his right, I tilt mine to my right. We’re lined up and ready for impact. His warm breath tickles my chin as he whispers, “Grazie.” He turns his head, wraps his mouth around the toothbrush, taking it from me, and walks out of the bathroom.

I kiss Orion deeply, one last time. “Are you sure you don’t want to come in with me?” I ask.               “I don’t think it’s going to help your case,” the raptor replies. “I mean, some people just don’t understand that love is real. You’ve gotta put yourself in there position. They’re so used to everything working a certain way, women kissing men, men kissing men… not men kissing dinosaurs.”               I want to protest but I know that he’s right. Even the most liberal of juries is going to have a hard time with this muscular dinosaur sitting there in the courtroom while I argue my case. It’s better if we part ways here.               “I’ll see you soon.” I tell him, my voice quaking. We both know that’s not going to happen, but we’re trying our best to pretend.               “I love you,” Orion says to me one last time.               “I love you, too” I assure him.               We kiss again and then I finally muster up the discipline to pull away and push out through the car’s door. I stand up on the sidewalk before the courthouse as flash bulbs burst with blinding luminescence. I shield my eyes, stunned for a moment as I struggle to collect my bearings.               “Mr. Tanner!” someone interjects, shoving a microphone in my face. “Is it true you hate unicorns?”               “What?” I stammer.               “We understand that your mission was funded off the profits of illegally traded unicorn tears, do you have anything to say to that?”               “I mean…” I’m still trying to collect my bearings, struggling to sort through her words. “No, wait, yeah I do. That’s really bad, I didn’t know anything about it.”               The reporter nods and repeats my words back to me. “Really bad… so you’re saying it’s not awful? Is that what you’re saying?”               “No, I just…” I start.               “Because it sounds like you’re not really coming out against the illegal trade of unicorn tears,” the reporter continues.               “I literally heard about it five seconds ago,” I counter. “That sounds terrible, I don’t really know anything about it but it sounds really bad and I don’t support that.”               The reporter nods. “Okay it’s really hard to understand you when you speak in code like this. Can you just answer the question? Do you or don’t you support bad guys doing bad things? Because you haven’t really come out against them.”               “I don’t support bad guys,” I try to say as clearly as I possibly can.               The reporter just stares at me blankly. “So you’re not going to come out against them?”               Suddenly, someone from the mob pushes me from behind and I stumble forward. The entire gang of hungry journalists and newscasters has reached a tipping point and I realize now that if I don’t continue onward there is going to be a problem.               I

I went for walks across the fields in my cozy, cotton-knit shirt, my worn out jeans, and my cowboy boots. I would stand at the pasture fence and watch the sun set. One day, pink ripples trailed its red ball; then the next it was a yellow bulb shining against gold-dusted clouds. Though it seemed as if heaven was on the other side of the hill, for some reason, the sunset was sad. At night, I would sit in the rocking chair by the fire with a cup of coffee and a book in my hand, a practice I had grown to love over the years. But what was once refreshing was now depressing. And when I stopped to ask myself what was wrong with me to see the world as so dull, dark, and worn-out looking, I remembered.

The key to great bamboo, Yamashita tells me, is space. Bamboo trees can reproduce for six years, but their roots need room to spread, and the sun needs room to bake the forest floor. More than a farmer, Yamashita is a constant gardener, pruning branches, keeping the trees to a height of six meters, using rice husk to sow nutrients into the soil. The best bamboo is found deep underground, safely away from sunlight, turning the harvest into something resembling a truffle hunt. We walk carefully and quietly through the forest, looking for little cracks in the earth that indicate a baby bamboo trying to make its way to the surface. When we spot cracks, Yamashita comes by with a small pick and gently works the soil until he reaches the bulb. Most bamboo you see is ruddy brown or purple, but Yamashita's takenoko comes out lily white, tender, and sweet enough to eat like an apple. "You have to cook it right away, otherwise you begin to lose the flavor," says Shunichi.

He desperately wanted to hear Lily say merci again, but Naneh Goli folded a piece of naan around a boiled egg, placed it in his knapsack, and pushed him out the door with a long list of instructions he didn't hear. All he could think was, I fell in love at eight fifteen on the morning of June 9. Later that afternoon he scurried around the kitchen, underfoot until Naneh Goli sent him to the storeroom for jam. The cellar, illuminated by a bulb on a string, was like a pharmacy, with shelves of rosewater, orange blossom water, quince syrup, lime syrup, vinegars, and jars of pickled vegetables, all painstakingly labeled in Agha (Mr.) Zod's shaky script. Karim paused to read the labels but found nothing to ease the knocking in his chest, so he took the last jar of fig preserves for Lily. His Lily jan (dear), Lily rose, Lily shirin (sweet), Lily morning, Lily moon, Lily merci.

Did you know what Thomas Edison used to say when he kept trying to make light bulbs and nothing worked?” “ ‘I have not failed. I’ve found ten thousand ways that don’t work.

Quiet? I yearned to say, "Really, Karen? You know what's worse than quiet? Fluorescent bulbs crackling twenty-four hours a day in the center. Or maybe the sound of my cutter roommate weeping as she attacked her thigh with a spork? How about disconnected laughter with no punch line?" But then, that last one had been me.

But in every telling of the tale, they fell in love. ''Love at first sound'', her father would say. Then her mother would always kiss him on the cheek and say, '' For me, it was just love at first''. Then her parents would both be sure to tell Evangeline that not all loves happened at first; some took time to grow like seeds, or they might be like bulbs, dormant until the right season approached.

There’s a charge to being around Duncan, like one of those light bulbs you touch in the science museum that make your hair stand up, and we hadn’t stopped talking—urgently—since I arrived. We bounced from topic to topic, frantically, like fast friends excited to find someone else who also wanted to talk about religion, mysticism, sex, ghosts, and drugs. We sat down next to the incense like two kids in a dorm room trying to mask illegal aromas, and Duncan hit Record. I told him I wasn’t used to things getting so deep and so interesting so quickly. “That’s what happens when you’re with cool people,” Duncan said. “You end up getting in great conversations.” I wondered in this moment if Duncan knew how unique he was. I wondered if he knew how bored and dismissive people can be when you try to talk about dreams, or out-of-body experiences, or the afterlife, or if you suggest that the physical world is only just a small piece of what’s really going on here. “The plague of the world is that so many people allow themselves to be surrounded by vampires,” Duncan said, using the classiest monster as a word to describe all the what-you-see-is-what-you-get people, the ones who are busy cockblocking the curious weirdos from tripping out on their basic wonder. “Their whole life is one shit conversation to the next to the next to the next until they’re on their deathbed, and that’s the one real conversation they have. They finally say, ‘I love you so much!’ And then they die.” This is Duncan, the opposite of a vampire. He doesn’t drain life from people, he infuses them, resuscitating their awe and bringing color back to their cheeks. The vampires, he warned, “will keep you stuck in the harbor of sorrows. They’ll try to keep your fucking anchor down.” I cackled with laughter. Duncan is one of those rare people who remind you that we’re all here, stuck in our human bodies, confused and curious since we all emerged from the interdimensional space portal commonly known as a vagina. He wants to get into it; he wants to touch, taste, scream, laugh, and sing his way toward enlightenment, and as I sat with him that day, he made me think he just might bring me along with him.