Car Brakes Quotes

I had this feeling that he and I , in this moment, were a car crash, and instead of putting on the brakes, I was hitting the accelerator.

As the taxi entered the intersection, the two drivers in the attorney general’s entourage slammed on the brakes. Both Suburbans fishtailed out of control. Ducking in the back seat, Blake could smell the burning rubber from tires skidding on the asphalt and hear the pedestrians screaming and car horns sounding off in rebuke.

Upon arriving at the murder scene, they saw Deputy Sheriff Peewee Stubblefield pacing back and forth on the front walk. He stopped and smirked as Sheriff Roosevelt Baker braked the patrol car. He emitted a noise sounding more like a groan than a sigh.

Now you listen to me," says Ove calmly while he carefully closes the door. "You've given birth to two children and quite soon will be squeezing out a third. You've come here from a land far away and most likely you fled war and persecution and all sorts of other nonsense. You've learned a new language and got yourself an education and you're holding together a family of obvious incompetents. And I'll be damned if I've seen you afraid of a single bloody thing in this world before now....I'm not asking for brain surgery. I'm asking you to drive a car. It's got an accelerator, a brake and a clutch. Some of the greatest twits in world history have sorted out how it works. And you will as well." And then he utters seven words, which Parvaneh will always remember as the loveliest compliment he'll ever give her. "Because you are not a complete twit.

The Audi tires squealed as the vehicle tracked the same path. Jake hammered down the avenue, hunting for a getaway. Traffic thickened at the juncture ahead. A green light flickered into amber. He ramped up over the limit, punching over the white lines on a red signal. Tires screeched and a horn beeped. The needle sat on one hundred kilometers per hour. He fishtailed at a laneway. The GPS showed a right angle, car slid into a slot in an overhang. Jake got out and crept toward the opening, hugged the brick wall. He pulled the SIG and flicked off the safety. The Audi braked at the mouth. Door slammed. A shadow fell over the concrete. The swish of clothing indicated a possible weapon draw.

Take care of your car in the garage, and the car will take care of you on the road.

أن تحتكم إلى ضميرك ، كالذي يقود سيارته ورجله على الفرامل دائما

If we're open to it, God can use even the smallest thing to change our lives... to change us. It might be a laughing child, car brakes that need fixing, a sale on pot roast, a cloudless sky, a trip to the woods to cut down a Christmas tree, a school teacher, a Dunhill Billiard pipe...or even a pair of shoes. Some people will never believe. They may feel that such things are too trivial, too simple, or too insignificant to forever change a life. But I believe. And I always will.

So?" she said, giving me a slow, wicked smile when we accelerated forward. " You told Will you found a woman who likes to have sex in public?" "Not in my cab!" the cabbie yelled so loud we both jumped and then broke into laughter. He pumped the brakes, jolting us. "Not in my cab!" "Don't worry, mate," I told him. I turned to her and murmured, "She doesn't let me fuck her in cars. Or on Tuesdays." "She doesn't," she whispered, though she did let me kiss her again. "Shame," I said into her mouth. "I'm good in cars. And especially good on Tuesdays.

Eh.” She waved a hand. “There are thousands of me there.” Brendan snorted at her joke. And then he realized she was serious. “Piper, there is nobody like you.” She smiled like she was humoring him... He pulled the car onto the side of the road, slammed on the brakes, and threw it into park. “Did you hear me?” He reached over to tilt up her chin. “There is nobody like you.” “Why are you getting so worked up?” “Because I . . .thought I was an intuitive man. A smart man. But I keep finding out new ways I’m flying blind when it comes to something so important. You. You are important.

It’s getting closer,” Tristan said. Ayden nodded. “So let’s track it.” “No,” Ayden snapped. “She’s our priority.” “I know, but it’s following her, so,” Tristan held one hand up, “find the demon,” he held up the other, “find Aurora. It could work.” The itching intensified. Invisible claws grazed up the back of my neck, wrenching every nerve to painful attention. Another hungry screech sent spikes piercing my brain. Lights shattered my vision. I couldn’t breathe. I burst out of the suffocating space just as the engine roared to life and gunned the car forward. With a violent curse, Ayden slammed on the brakes but not before the Maserati rammed my hip. I hurtled into the air and rolled a fast spin onto the hood. “Or you could just hit her with the car,” Tristan said. “Real smooth.

I slammed the door, floored the throttle, and reversed down the road as fast as the old car would go, which was not very. Then I spun the wheel and hit the brakes, backing off the road. I crunched the transfer lever into four-wheel drive and trundled off toward the water. Behind us, the pickup was backing and filling, trying to turn around on the narrow road.

I had a dream about you. You were on a bike going 70 miles an hour, I could see you approaching my car in the mirror. You were trying to say something so, I jumped on the brakes as hard as I could, I guess I forgot I had tied your bike on my bumper.

In a werewolf pack, you cannot interfere with the mate choice of a clan fellow. You cannot intentionally harm that werewolf’s chosen mate. You are not, however, required to help that person should he find himself in a life - threatening situation. Somehow, Zeb had managed to stumble into several such situations in the few months since he ’d been engaged to Jolene. He’d had several hunting “accidents” while visiting the McClaine farm, even though he didn’t hunt. The brakes on his car had failed while he was driving home from the farm—twice. Also, a running chainsaw mysteriously fell on him from a hayloft. He would never get that pinkie toe back.

I am emotional about engines, if you hurt my car, you hurt my heart.

Because, what does it mean, to say that things aren't going well? Compared to what? You can say: compared to how things were going a couple of hours ago, or a couple of years ago. But that's not the point. If two cars are speeding towards a brick wall with no brakes, and one car hits the wall moments before the other, you can't spend those moments saying that the second car is much better off than the first. Death and disaster are at our shoulders every second of our lives, trying to get at us. Missing, a lot of the time. A lot of miles on the motorway without a front wheel blow-out. A lot of viruses that slither through our bodies without snagging. A lot of pianos that fall a minute after we've passed. Or a month, it makes no difference. So unless we're going to get down on our knees and give thanks every time disaster misses, it makes no sense to moan when it strikes. Us, or anyone else. Because we're not comparing it with anything.

I looked around me to make sure it was clear. That's when I noticed the still, white figure. Edward Cullen was leaning against the front door of the Volvo, three cars down from me, and staring intently in my direction. I swiftly looked away and threw the truck into reverse, almost hitting a rusty Toyota Corolla in my haste. Lucky for the Toyota, I stomped on the brake in time. It was just the sort of car that my truck would make scrap metal of. I took a deep breath, still looking out the other side of my car, and cautiously pulled out again, with greater success. I stared straight ahead as I passed the Volvo, but from a peripheral peek, I would swear I saw him laughing.

She turned her car onto the last stretch of straight drive leading her directly, face to face, to Hill House and, moving without thought, pressed her foot on the brake to stall the car and sat, staring. The house was vile. She shivered and thought, the words coming freely into her mind, Hill House is vile, it is diseased; get away from here at once.

Going through life with a conscience is like driving your car with the brakes on.

Then you should take it for a spin. Cars like that shouldn’t be left in storage. It causes mechanical issues. With brakes and tires and engines and such.” My smile returned. “You have no idea what you’re talking about, do you?” “Not a word.

Cars like that shouldn’t be left in storage. It causes mechanical issues. With brakes and tires and engines and such.” My smile returned. “You have no idea what you’re talking about, do you?” “Not a word.

[...] and as I walked, I tried to see the funny side. It wasn't easy, and I'm still not sure that I managed it properly, but it's just something I like to do when things aren't going well. Because what does it mean, to say that things aren't going well? Compared to what? You can say: compared to how things were going a couple of hours ago, or a couple of years ago. But that's not the point. If two cars are speeding towards a brick wall with no brakes, and one car hits the wall moments before the other, you can't spend those moments saying that the second car is much better off than the first.

Asking someone else to drive your sports car is like asking someone else to kiss your girlfriend.

I don't think humans are some self-driving car racing toward the finish line. We must own our lives, start the engine ourselves, and sometimes put on brakes.

None of us do. Being a parent is like driving a car without brakes. You grip the wheel and hold on tight, pray you don’t crash too hard.

Pleasure at simply being there had him swinging fast across the road, shooting up the snaking lane carved into the rock, then, in shock, slamming on the brakes to avoid crashing into a high iron gate. He scowled at it for a moment before the intercom beside his car buzzed on. "Templeton House.May i help you?" "What the hell is this? Who put this damn thing up?" "I-Mr. Joshua?" Recognizing the voice, he struggled to bank down on his irritation. "Annie, open this ridiculous gate,will you? And unless we're under attack, leave the damn thing open.

Why do you feel comfortable saying this to me? You wish the light would turn red or a police siren would go off so you could slam on the brakes, slam into the car ahead of you, fly forward so quickly both your faces would suddenly be exposed to the wind.

Well, my dear sisters, the gospel is the good news that can free us from guilt. We know that Jesus experienced the totality of mortal existence in Gethsemane. It's our faith that he experienced everything- absolutely everything. Sometimes we don't think through the implications of that belief. We talk in great generalities about the sins of all humankind, about the suffering of the entire human family. But we don't experience pain in generalities. We experience it individually. That means he knows what it felt like when your mother died of cancer- how it was for your mother, how it still is for you. He knows what it felt like to lose the student body election. He knows that moment when the brakes locked and the car started to skid. He experienced the slave ship sailing from Ghana toward Virginia. He experienced the gas chambers at Dachau. He experienced Napalm in Vietnam. He knows about drug addiction and alcoholism. Let me go further. There is nothing you have experienced as a woman that he does not also know and recognize. On a profound level, he understands the hunger to hold your baby that sustains you through pregnancy. He understands both the physical pain of giving birth and the immense joy. He knows about PMS and cramps and menopause. He understands about rape and infertility and abortion. His last recorded words to his disciples were, "And, lo, I am with you always, even unto the end of the world." (Matthew 28:20) He understands your mother-pain when your five-year-old leaves for kindergarten, when a bully picks on your fifth-grader, when your daughter calls to say that the new baby has Down syndrome. He knows your mother-rage when a trusted babysitter sexually abuses your two-year-old, when someone gives your thirteen-year-old drugs, when someone seduces your seventeen-year-old. He knows the pain you live with when you come home to a quiet apartment where the only children are visitors, when you hear that your former husband and his new wife were sealed in the temple last week, when your fiftieth wedding anniversary rolls around and your husband has been dead for two years. He knows all that. He's been there. He's been lower than all that. He's not waiting for us to be perfect. Perfect people don't need a Savior. He came to save his people in their imperfections. He is the Lord of the living, and the living make mistakes. He's not embarrassed by us, angry at us, or shocked. He wants us in our brokenness, in our unhappiness, in our guilt and our grief. You know that people who live above a certain latitude and experience very long winter nights can become depressed and even suicidal, because something in our bodies requires whole spectrum light for a certain number of hours a day. Our spiritual requirement for light is just as desperate and as deep as our physical need for light. Jesus is the light of the world. We know that this world is a dark place sometimes, but we need not walk in darkness. The people who sit in darkness have seen a great light, and the people who walk in darkness can have a bright companion. We need him, and He is ready to come to us, if we'll open the door and let him.

My main concern was my teeth because they were in constant pain. Meth depletes the body of calcium, the vitamin essential to maintaining healthy teeth. It also includes acidic ingredients that can damage teeth. The ingredients include but are not limited to battery acid: Drano, over-the-counter cold medications like Sudafed, antifreeze, engine starter fluid, and brake fluid. Basically, pop the hood of your car and you can find the ingredients you need to cook meth. I’m no dentist, but I came to the conclusion that was the root of my tooth pain.

Turning the key, she shifted into reverse, and I could only watch in admiration as she put her arm on the back of my seat and looked over her shoulder to back the car into position. She worked the wheel easily and maneuvered the pedals smoothly, flexing her legs everytime she braked and shifted. It was like watching porn.

There is a time lag between the activation of brain systems that excite our emotions and impulses and the maturation of brain systems that allow us to check these feelings and urgings—it’s like driving a car with a sensitive gas pedal and bad brakes.

he starts his car and i start mine. this thing between us is a rollercoaster. the brakes might be out and the tracks might be on fire, but i can't make myself get off the ride.

I don’t think humans are some self-driving car, racing toward a finish line. We need to own our lives, start the engine ourselves and sometimes put on the brakes.

Among all the machines, motorcar is my favorite machine.

To overcome fear, why does getting excited work better than trying to calm yourself down? Fear is an intense emotion. You can feel your heart pumping and your blood coursing. In that state, trying to relax is like slamming on the brakes when a car is going 80 miles per hour. The vehicle still has momentum. Rather than trying to suppress a strong emotion, it's easier to convert it into a different emotion - one that's equally intense, but propels is to step on the gas.

After all, it’s actually relatively easy to drive a Formula One car. Throttle, Green, Green, Amber. Change. Brake, turn the wheel, point it at a corner, accelerate. Simple. It’s like an arcade game. The challenge is doing it faster than everybody else without losing control. That is an entirely different level.

I’m not asking for brain surgery. I’m asking you to drive a car. It’s got an accelerator, a brake, and a clutch. Some of the greatest twits in world history have sorted out how it works. And you will as well.

The car was only partway submerged; David must have regained control enough to brake before driving all the way into the water. But from Charlie's vantage point it looked like the lake stopped the car, as if the water wasn't water but an impermeable barrier the luxury automobile didn't have the strength to shatter.

A woman is driving along when the car in front of her hits the brakes suddenly, and she plows into it. An extremely short man gets out, looks at the damage, and says, “I’m not happy ...” “Well, which one are you?

He watched her hurry off to her car and back down the driveway too fast--as always--cutting the wheel too soon as usual. "Mailbox!" he yelled when she was still ten feet from slamming on the brakes. She gazed at him with surprise, her hazel eyes holding his for a moment, then she laughed and continued out of the driveway on a safer path.

The mold we give to our lives is so that there will be no cataclysms. The order we seek we are willing to surrender to the flow of life at any time, but it is there as a brake on a car, and our health is a brake. We put brakes on, against our temperament. he said, “Even a room, arranged in a certain manner, prevents certain things from taking place in it.

My instructor was a skinny guy in his midtwenties who had a shaved head that was always peeling from sunburns and who could only have smelled more like marijuana if he'd been made of it. The training vehicle was a mid- '80s tan Nissan that had working breaks on the passenger side; He often got his jollies slamming them on for no reason and then between wheezing laughs saying 'You were all like 'I'm in control of the car' and then I hit the brakes and shit and you were all like 'whaaaat?

Walter Jelinek was a man, but he looked like a car, the kind of old junker car that had been in some bad accidents so that now the frame is bent, the wheels don’t line up any more, the whole vehicle sags to one side and pulls to that side, and the brakes are oatmeal.

And so you go out with a girl and you’re driving… “So what are you reading right now?” “Well, I’m not much of a reader…” *screeching car brakes* “I’M NOT MUCH OF A DINNER BUYER! GET OUT, GET OUT, GET OUT, GET OUT!” “But we’re lost in the stucco sprawl of L.A.” “I DON’T CARE!” But every once in a while you meet the one who reads… “So what are you reading?” he asked (you know, the date killer question)…“So what are you reading?” “Well I’m right in the middle of a book right now--” Oh my god, she’s in the middle of a book. Be still my beating heart. “So what are you reading?” he asked expectantly, nerves tingling, body aquiver “Well, I’m in the middle of this Harry Potter b—” *screeching car brakes* “DON’T BE AN ADULT WOMAN WHO READS A FUCKING CHILDREN’S BOOK IN MY CAR, GET THE FUCK OUT!

A woman ran at our car screaming, a few of the shadow people chasing her, but before I could even touch the brake she must have changed her mind, because she had already turned into a shadow person herself. It's like, ugh, run from the shadow people or become one. Make up your mind, lady!

Virginia screamed, grabbing for the door handle and nearly throwing herself from the moving car. James swerved to the side of the road, slamming on the brakes before she killed herself trying to escape. As it was, she flung herself from the car, falling to her knees and scrambling to her feet. Then she ran. Took off like a bolt until she rounded the bend and disappeared from view. 'Way to go, slick,' AJ said snarkily, climbing into the front seat. 'You ran her off.

A plane change in space is not unlike trying to hit the offramp of a freeway covered in black ice. Brakes do nothing. Accelerating spins the wheels. Regardless of what we do, the car’s going to continue sliding on down the lane, but with the steering turned hard and a whole lot of gas, we’ll gain a little sideways motion.

The most fantastic parking-lot attendant in the world, he can back a car forty miles an hour into a tight squeeze and stop at the wall, jump out, race among fenders, leap into another car, circle it fifty miles an hour in a narrow space, back swiftly into tight spot, hump, snap the car with the emergency so that you see it bounce as he flies out; then clear to the ticket shack, sprinting like a track star, hand a ticket, leap into a newly arrived car before the owner’s half out, leap literally under him as he steps out, start the car with the door flapping, and roar off to the next available spot, arc, pop in, brake, out, run; working like that without pause eight hours a night, evening rush hours and after-theater rush hours, in greasy wino pants with a frayed fur-lined jacket and beat shoes that flap.

Because what does it mean, to say that things aren't going well? Compared to what? You can say: compared to how things were going a couple of hours ago, or a couple of years ago. But that's not the point. If two cars are speeding towards a brick wall with no brakes, and one car hits the wall moments before the other, you can't spend those moments saying the second car is much better off than the first. Death and disaster are at our shoulders every second of our lives, trying to get at us. Missing, a lot of the time. A lot of miles on the motorway without a front wheel blow-out. A lot of viruses that slither through our bodies without snagging. A lot of pianos that fall a minute after we've passed. Or a month, it makes no difference. So unless we're going to get down on our knees and give thanks every time disaster misses, it makes no sense to moan when it strikes. Us, or anyone else. Because we're not comparing it with anything. And anyway, we're all dead, or never born, and the whole thing really is a dream There, you see. That's a funny side.

Future is a car with brake failure; it is moving towards us at a very high speed.

I am so obsessed with the cars that sometimes I feel like my heart is not a muscle, it's an engine.

Attempting to drive a car before you find and release the parking brake is like trying to drag a Saint Bernard into a bathtub. But

I hoped her brakes would fail and we would slam into the back of another car and spin upside-down into a ditch, horribly mutilating her while leaving me unscathed.

The cab moves for a moment but then I see the blurry, glowing red lights through the downpour against my face and heavy lens of tears covering my eyes. The cab's brake lights. The car has stopped, as have I-and then I see the back door open. It's my Jack Henry. He gets out of the cab and stands in the heavy rain looking back at me. I don't know how-because my body has turned to mush-but I'm off my knees and running toward him. ...I touch his face because I can't believe he's real. "You sort of have a beard. Almost. I love it. It's sexy.

Gertie hit the brakes and tried to stop, but she tripped over a lip in the sidewalk and went sprawling right into the burro, then hit the pavement, her tutu skirt flipped up over her back, exposing her camouflage underwear. Tiny swung his head around to see what all the racket was and launched off the car door, setting off down the sidewalk toward the burro-Gertie wreck at high speed.

She’s always been beautiful. But her by my side while I battle my demons? It’s a look that can’t compare.  “Focus on the damn road!”  “I’m confused. Did you expect me to go slow?” I push against the accelerator, surging past Noah’s car and cutting him off. I press my foot on the brake and smoke billows from the tires.  “Oh, God. I’m sorry I don’t pray to you enough, but now is the best time. Please don’t let me die.” She presses her palms together.  I chuckle, switching gears to match the curves and straights of the track. “You’ll only die when my tongue is fucking you into oblivion. I promise.

Edward Cullen was standing four cars down from me, staring at me in horror. His face stood out from a sea of faces, all frozen in the same mask of shock. But of more immediate importance was the dark blue van that was skidding, tires locked and squealing against the brakes, spinning wildly across the ice of the parking lot. It was going to hit the back corner of my truck, and I was standing between them. I didn’t even have time to close my eyes.

If you have a car which has an accelerator but no brakes, then what will be the situation of the driver? In the same way if you have freedom, then you must know also that you have freedom to curb this whimsical freedom at a point.

My son is dead. My other son has been crippled. And she just gets a slap on the wrist. That can’t be right.’ A spokesperson for Brake, the road safety charity, said: ‘Nobody should drive if they are not fully in control of their car.

It made no difference to me. Dishonesty in a woman is a thing you never blame deeply—I was casually sorry, and then I forgot. It was on that same house party that we had a curious conversation about driving a car. It started because she passed so close to some workmen that our fender flicked a button on one man’s coat. “You’re a rotten driver,” I protested. “Either you ought to be more careful, or you oughtn’t to drive at all.” “I am careful.” “No, you’re not.” “Well, other people are,” she said lightly. “What’s that got to do with it?” “They’ll keep out of my way,” she insisted. “It takes two to make an accident.” “Suppose you met somebody just as careless as yourself.” “I hope I never will,” she answered. “I hate careless people. That’s why I like you.” Her gray, sun-strained eyes stared straight ahead, but she had deliberately shifted our relations, and for a moment I thought I loved her. But I am slow-thinking and full of interior rules that act as brakes on my desires, and I knew that first I had to get myself definitely out of that tangle back home. I’d been writing letters once a week and signing them: “Love, Nick,” and all I could think of was how, when that certain girl played tennis, a faint mustache of perspiration appeared on her upper lip. Nevertheless there was a vague understanding that had to be tactfully broken off before I was free. Every one suspects himself of at least one of the cardinal virtues, and this is mine: I am one of the few honest people that I have ever known.

Suddenly your whole life is like a car crash, no brakes, gaining momentum, piling up behind you. Your mistakes, missed opportunities, all the time you’ve wasted, a twisted, rusting heap of scrap metal that can’t be salvaged. Overwhelming you. Crushing you.

The only good thing was that by midnight, even most of the bums had gone home to sleep it off. That was lucky for them, because Ray was the worst damn driver I’d ever seen. And that was after I jerked his head out of the duffel and parked it on the dashboard. “Gah! That makes it worse!” he told me, as I tried to get the eyes facing forward. “How can it possibly be worse?” “Because I got double vision now! Get it off! Get it off!” He batted at his own head and succeeded in sending it tumbling into Christine’s lap. She immediately went into hysterics and slapped it away. The head fell out of the car; Ray hit the brakes and we came to a screeching halt. “What are you doing?” I screeched, as he hopped out. “There are people firing at us!” “Tough!” came from somewhere under the car.

Narinder Kaur had been told the story so often she believed it must be her earliest memory: that she was four years old when she’d sprinted out of their Croydon semi and straight into the road. The car braked just in time. But the funny thing was that the car belonged to a reverend, on his way to open the church, and the reason Narinder had run out of the house in the first place was because her mother had said they needed to hurry, that God was waiting for them. In other words, God, sick of waiting, had come directly to Narinder.

Now you listen to me,’ says Ove calmly while he carefully closes the door. ‘You’ve given birth to two children and quite soon you’ll be squeezing out a third. You’ve come here from a land far away and most likely you fled war and persecution and all sorts of other nonsense. You’ve learned a new language and got yourself an education and you’re holding together a family of obvious incompetents. And I’ll be damned if I’ve seen you afraid of a single bloody thing in this world before now.’ Ove rivets his eyes into her. Parvaneh is still agape. Ove points imperiously at the pedals under her feet. ‘I’m not asking for brain surgery. I’m asking you to drive a car. It’s got an accelerator, a brake and a clutch. Some of the greatest twits in world history have sorted out how it works. And you will as well.

No. I was driving Tristan's car." Ivy heard the sharp intake of breath. "When I saw the window, I tried to stop the car. I stepped on the brake, but the car wouldn't slow down. Then I heard his voice. 'Ivy, stop! Stop! Don't you see, Ivy? Ivy, stop!' But I couldn't stop. I couldn't slow down. I pressed down the pedal over and over. I had no brakes!" Ivy felt cold all over. Gregory's arms were around her, but his own skin was cold with sweat. "Why were there no brakes?" she whispered. "Am I remembering, Gregory? What am I remembering?

Driving with a mobile phone makes you hit the brakes 0.5 seconds slower. If you are travelling at 112km per hour, in 0.5seconds you travel 15.5 meters... a lot can happen over that distance. If you are distracted in your car, you have a 9 times higher chance of having an accident.

There's some kind of universal 'how to deal with a kidnapper as a girl' lecture?" "It goes along with telling us how to hold our keys between our fingers so we can stab people's eyes out with them if they attack us in parking lots," Iris says. "And checking the back seat of the car before we get into it in case there's someone hiding there," I add. "And how you should kick the brake light out of the back of a car if someone throws you in a trunk–" "That way you can wave your hand out, and the cars driving behind can see you and call 911." Wes stares at us. "That's really fucked up.

Don’t worry about me,” he said. “The little limp means nothing. People my age limp. A limp is a natural thing at a certain age. Forget the cough. It’s healthy to cough. You move the stuff around. The stuff can’t harm you as long as it doesn’t settle in one spot and stay there for years. So the cough’s all right. So is the insomnia. The insomnia’s all right. What do I gain by sleeping? You reach an age when every minute of sleep is one less minute to do useful things. To cough or limp. Never mind the women. The women are all right. We rent a cassette and have some sex. It pumps blood to the heart. Forget the cigarettes. I like to tell myself I’m getting away with something. Let the Mormons quit smoking. They’ll die of something just as bad. The money’s no problem. I’m all set incomewise. Zero pensions, zero savings, zero stocks and bonds. So you don’t have to worry about that. That’s all taken care of. Never mind the teeth. The teeth are all right. The looser they are, the more you can wobble them with your tongue. It gives the tongue something to do. Don’t worry about the shakes. Everybody gets the shakes now and then. It’s only the left hand anyway. The way to enjoy the shakes is pretend it’s somebody else’s hand. Never mind the sudden and unexplained weight loss. There’s no point eating what you can’t see. Don’t worry about the eyes. The eyes can’t get any worse than they are now. Forget the mind completely. The mind goes before the body. That’s the way it’s supposed to be. So don’t worry about the mind. The mind is all right. Worry about the car. The steering’s all awry. The brakes were recalled three times. The hood shoots up on pothole terrain.” Deadpan.

My final destination? I don’t think humans are some self-driving car, racing towards a finish line. We need to own our own lives, start the engine ourselves and sometimes put on the brakes. My life isn’t all about becoming a famous writer. I enjoy writing scripts, that’s all. Wherever I end up in life, whether beach or desert, I’ll embrace it.

The kid was swell. He was walking in the street, instead of on the sidewalk, but right next to the curb. He was making out like he was walking a very straight line, the way kids do, and the whole time he kept singing and humming. I got closer so I could hear what he was singing. He was singing that song, "If a body catch a body coming through the rye." He had a pretty little voice, too. He was just singing for the hell of it, you could tell. the Cars zoomed by, brakes screeched all over the place, his parents paid no attention to him, and he kept on walking next to the curb and singing "If a body catch a body coming through the rye." If made me feel better. If made me feel not so depressed any more.

I nearly ran him over after he ran out in front of my car. So I slammed on the brakes, rolled down my window, and said, “Do you realize I could have killed you?” “It was stupid of me to run out in front of you,” he said. “Yeah, it was,” I replied. “But I’m not talking about now. Last Tuesday I could have killed you. Had you in the scope of my rifle, but I let you live. Now THAT was stupid.

They looked so familiar that for a moment Claude feared he had doubled back to Mrs. Merritt's city, until a sudden wave of water blinded his wipers and drove him along with everyone else to the curb, where the crackling radio reported an old man had just now been swept from his backyard by a cloudburst, the latest in a series deluging Tulsa. Clinging there to the side of the hill, no hand brake, Claude rode out the storm, stuffing blankets into the cracks under the doors, watching overhead drips as best he could with the babyseat. When the car next in front crept away from the curb, Claude followed as far as a gas station. There he wondered aloud what lay ahead, but the attendant couldn't say, having swum to work just five minutes ago. Now as Claude pulled away the rain suddenly ceased, it seemed from exhaustion, and for the next hundred miles he spun his dial to catch the latest reports: that old man was still missing, he had last been seen floating downhill toward the river, he had been found, he was dead, he was dying, he was still missing... Claude turned off the radio, for he was beyond range of Tulsa, and Joplin had not heard the news yet. He raced in silence toward the night which he knew already had begun not far ahead.

Imagine that a tribe of ignorant natives find a motor-car, and decide that it makes an ideal storage room for food. So when they set out on a journey, they load it with food, attach ropes to it, and pull it through the jungle as if it was a cart. One of them fiddling about inside it, discovers the hand brake and releases it. Immediately, they find the car much easier to pull. They congratulate the discoverer, tell him he is a genius, and convince themselves that they now know the purpose and use of the car. This is how I feel with my body. Occasionally, as I am dragging it along, it accidentally gets into gear; there is a roar, and the engine starts for a moment. Then, just as quickly, it cuts out. But I know that this body is not merely designed for this boring, irritating, two-dimensional life that so easily becomes a burden to me.

Many systems require slack in order to work well. Old reel-to-reel tape recorders needed an extra bit of tape fed into the mechanism to ensure that the tape wouldn’t rip. Your coffee grinder won’t grind if you overstuff it. Roadways operate best below 70 percent capacity; traffic jams are caused by lack of slack. In principle, if a road is 85 percent full and everybody goes at the same speed, all cars can easily fit with some room between them. But if one driver speeds up just a bit and then needs to brake, those behind her must brake as well. Now they’ve slowed down too much, and, as it turns out, it’s easier to reduce a car’s speed than to increase it again. This small shock—someone lightly deviating from the right speed and then touching her brakes—has caused the traffic to slow substantially. A few more shocks, and traffic grinds to a halt. At 85 percent there is enough road but not enough slack to absorb the small shocks.

We were somewhere around Barstow on the edge of the desert when the drugs began to take hold. I remember saying something like “I feel a bit lightheaded; maybe you should drive. . . .” And suddenly there was a terrible roar all around us and the sky was full of what looked like huge bats, all swooping and screeching and diving around the car, which was going about a hundred miles an hour with the top down to Las Vegas. And a voice was screaming: “Holy Jesus! What are these goddamn animals?” Then it was quiet again. My attorney had taken his shirt off and was pouring beer on his chest, to facilitate the tanning process. “What the hell are you yelling about?” he muttered, staring up at the sun with his eyes closed and covered with wraparound Spanish sunglasses. I hit the brakes and aimed the Great Red Shark toward the shoulder of the highway. No point mentioning those bats, I thought. The poor bastard will see them soon enough.

Both the Roadster and the Model S also take advantage of what’s known as regenerative braking, which extends the life of the brakes. During stop-and-go situations, the Tesla will brake by kicking the motor into reverse via software and slowing down the wheels instead of using brake pads and friction to clamp them down. The Tesla motor generates electricity during this process and funnels it back to the batteries, which is why electric cars get better mileage in city traffic.

all this important stuff has *no one in charge of it.* Some people claim to be, but they're in charge of one tiny piece of it, and maybe they think *their* piece is a brake or a steering wheel, but they're wrong. The world's economy is a runaway train, the driver dead at the switch, the passengers clinging on for dear life as their possessions go flying off the freight-cars and out the windows, and each curve in the tracks threatens to take it off the rails altogether. There's a small number of people in the back of the train who fiercely argue about when it will go off the rails, and whether the train can be slowed down by everyone just calming down and acting as though everything was all right. These people are the economists, and some of the first-class passengers pay them very well for their predictions about whether the train is doing all right and which side of the car they should lean into to prevent their hats from falling off on the next corner. Everyone else ignores them.

He’s threatening us!” Tempest flailed. She slammed Wasp on the back so hard the communal eyeball popped right out of her socket. Wasp snatched it—and with a terrible show of fumbling, intentionally chucked it over her shoulder, right into my lap. I screamed. The sisters screamed, too. Anger, now bereft of guidance, swerved all over the road, sending my stomach into my esophagus. “He’s stolen our eye!” cried Tempest. “We can’t see!” “I have not!” I yelped. “It’s disgusting!” Meg whooped with pleasure. “THIS. IS. SO. COOL!” “Get it off!” I squirmed and tilted my hips, hoping the eye would roll away, but it stayed stubbornly in my lap, staring up at me with the accusatory glare of a dead catfish. Meg did not help. Clearly, she didn’t want to do anything that might interfere with the coolness of us dying in a faster-than-light car crash. “He will crush our eye,” Anger cried, “if we don’t recite our verses!” “I will not!” “We will all die!” Wasp said. “He is crazy!” “I AM NOT!” “Fine, you win!” Tempest howled. She drew herself up and recited as if performing for the people in Connecticut ten miles away: “A dare reveals the path that was unknown!” Anger chimed in: “And bears destruction; lion, snake-entwined!” Wasp concluded: “Or else the princeps never be o’erthrown!” Meg clapped. I stared at the Gray Sisters in disbelief. “That wasn’t doggerel. That was terza rima! You just gave us the next stanza of our actual prophecy!” “Well, that’s all we’ve got for you!” Anger said. “Now give me the eye, quick. We’re almost at camp!” Panic overcame my shock. If Anger couldn’t stop at our destination, we’d accelerate past the point of no return and vaporize in a colorful streak of plasma across Long Island. And yet that still sounded better than touching the eyeball in my lap. “Meg! Kleenex?” She snorted. “Wimp.” She scooped up the eye with her bare hand and tossed it to Anger. Anger shoved the eye in her socket. She blinked at the road, yelled “YIKES!” and slammed on the brakes so hard my chin hit my sternum.

Did you try his cell phone?” Adrienne’s tone was uncharacteristically tentative. “Yes.” Maddie began to back down the driveway, her mind swirling with details. How badly damaged was Edna’s kitchen? Should she have Steve go to the hospital while she checked the house? “It went right to voice mail. Isn’t he in the office? Do you know how to reach him?” There was another odd pause and then Adrienne said, “Steve doesn’t work here anymore.” Madeline’s foot found the brake of its own accord. The car jerked to a stop. “I’m sorry? Where did you say he was?

Secondly, if we somehow succeed in hitting the brakes, our economy will collapse, along with our society. As explained in a later chapter, the modern economy needs constant and indefinite growth in order to survive. If growth ever stops, the economy won’t settle down to some cosy equilibrium; it will fall to pieces. That’s why capitalism encourages us to seek immortality, happiness and divinity. There’s a limit to how many shoes we can wear, how many cars we can drive and how many skiing holidays we can enjoy. An economy built on everlasting growth needs endless projects – just like the quests for immortality, bliss and divinity.

Keep in mind a distinction that is being imported into more and more scientific thinking, that between ‘complicated’ and ‘complex’. ‘Complicated’ means a whole set of simple things working together to produce some effect, like a clock or an automobile: each of the components – brakes, engine, body-shell, steering – contributes to what the car does by doing its own thing, pretty well. There are some interactions, to be sure. When the engine is turning fast, it has a gyroscopic effect that makes the steering behave differently, and the gearbox affects how fast the engine is going at a particular car speed. To see human development as a kind of car assembly process, with the successive genetic blueprints ‘defining’ each new bit as we add them, is to see us as only complicated. A car being driven, however, is a complex system: each action it takes helps determine future actions and is dependent upon previous actions. It changes the rules for itself as it goes. So does a garden. As plants grow, they take nutrients from the soil, and this affects what else can grow there later. But they also rot down, adding nutrients, providing habitat for insects, grubs, hedgehogs … A mature garden has a very different dynamic from that of a new plot on a housing estate. Similarly, we change our own rules as we develop.

Wit,” I tried again, and this time, I put my hand on his knee and squeezed it. “Wit!” Something flashed in his eyes when he turned and saw the terror on my face, and before I could count to ten, he’d eased on the brakes, pulled onto the side of the road, and put the Jeep in park. “Shit, shit, shit,” I heard him mutter as he hopped out of the car and came around to my side to pop open my door. “I’m sorry.” He looked up at me, high off the ground in the passenger seat. “I’m an asshole. I’m sorry.” Don’t cry, I told myself. Don’t cry. But it had taken him less than ten seconds. It had taken him less than ten seconds to connect the dots, while Ben had never connected them.

He kept winding through Boston traffic. It was easy to tell that the car was Declan’s, because it was clearly still on his side. It kept trying to surprise Matthew so it could run back to its master. It lunged at green lights, hopped over curbs, shuddered to an uneasy, panting stop in difficult intersections. Matthew was quite certain it shifted round the gas and brake pedal at a few points. It certainly played hanky-panky with the gearshift, in his opinion, at one point coasting in neutral into the middle of an intersection and then screaming loudly at all the other vehicles that tried to approach it. It did not seem to like bicycles. It was always plunging at them with a barely heard growl, then rearing back when they gave it the finger. Matthew was sweating a little.

No one said a word, and I waited a beat, then pushed forward. Screw Kevin. Screw Maggie. Screw whatever happened to them now. I went after Caden. He didn’t have to push his way through the crowd. It automatically opened for him. Not so much for me. I was at a disadvantage, and when I ran to the parking lot, he was already in the car and peeling past me. “HEY!” I yelled, raising my hands in the air. He braked, a little too close for comfort, right next to me. The passenger window rolled down. “What?” I reached for the door. “Let me in.” His eyebrows pinched together. “Why?” “Let me in.” He unlocked the door. I opened it and climbed in. “Okay. I’m with you.” I had no idea what I was doing. “Excuse me?” “I’m with you.” I clapped the dashboard, pointing ahead. “Whatever you’re going to do, I’m in. You seem to need a friend. You’re in luck. I could use one myself. So I’m in.” “I’m going to get drunk and have sex.” “Oh.” He cocked an eyebrow. “You still in?” He was laughing now. He was still mad, but he was laughing. For whatever reason—maybe I did want to go with him, or maybe I heard my own voice calling me boring and pathetic again—I sat back and folded my hands in my lap. “I’m in.” He shook his head. “You have no idea what you’re getting yourself into..” He shifted his Land Rover into drive and started forward. “But that’s your problem, not mine.” He careened out of the parking lot, and I fell against the door. I grabbed the oh shit handle above my head, and I had a feeling that was going to be the theme for the rest of the night: Oh, shit.

When it passes us, the driver tips his cap our way, eying us as if he thinks we're up to no good-the kind of no good he might call the cops on. I wave to him and smile, wondering if I look as guilty as I feel. Better make this the quickest lesson in driving history. It's not like she needs to pass the state exam. If she can keep the car straight for ten seconds in a row, I've upheld my end of the deal. I turn off the ignition and look at her. "So, how are you and Toraf doing?" She cocks her head at me. "What does that have to do with driving?" Aside from delaying it? "Nothing," I say, shrugging. "Just wondering." She pulls down the visor and flips open the mirror. Using her index finger, she unsmudges the mascara Rachel put on her. "Not that it's your business, but we're fine. We were always fine." "He didn't seem to think so." She shoots me a look. "He can be oversensitive sometimes. I explained that to him." Oversensitive? No way. She's not getting off that easy. "He's a good kisser," I tell her, bracing myself. She turns in her seat, eyes narrowed to slits. "You might as well forget about that kiss, Emma. He's mine, and if you put your nasty Half-Breed lips on him again-" "Now who's being oversensitive?" I say, grinning. She does love him. "Switch places with me," she snarls. But I'm too happy for Toraf to return the animosity. Once she's in the driver's seat, her attitude changes. She bounces up and down like she's mattress shopping, getting so much air that she'd puncture the top if I hadn't put it down already. She reaches for the keys in the ignition. I grab her hand. "Nope. Buckle up first." It's almost cliché for her to roll her eyes now, but she does. When she's finished dramatizing the act of buckling her seat belt-complete with tugging on it to make sure it won't unclick-she turns to me in pouty expectation. I nod. She wrenches the key and the engine fires up. The distant look in her eyes makes me nervous. Or maybe it's the guilt swirling around in my stomach. Galen might not like this car, but it still feels like sacrilege to put the fate of a BMW in Rayna's novice hands. As she grips the gear stick so hard her knuckles turn white, I thank God this is an automatic. "D is for drive, right?" she says. "Yes. The right pedal is to go. The left pedal is to stop. You have to step on the left one to change into drive." "I know. I saw you do it." She mashes down on the brake, then throws us into drive. But we don't move. "Okay, now you'll want to step on the right pedal, which is the gas-" The tires start spinning-and so do we. Rayna stares at me wide-eyed and mouth ajar, which isn't a good thing since her hands are on the wheel. It occurs to me that she's screaming, but I can't hear her over my own screeching. The dust wall we've created whirls around us, blocking our view of the trees and the road and life as we knew it. "Take your foot off the right one!" I yell. We stop so hard my teeth feel rattled. "Are you trying to get us killed?" she howls, holding her hand to her cheek as if I've slapped her. Her eyes are wild and glassy; she just might cry. "Are you freaking kidding me? You're the one driving!

hotbed of radicalism in the capital, the campus and its adjacent streets were jammed with students. Just finished with their midday prayers, they were now chanting and marching. Some were firing machine guns into the air. Charlie could feel the same violent spirit that had pervaded the scene around the embassy, and he immediately slammed on the brakes and screeched to a halt. Jamming the car into reverse, he gunned the engine and began to back up but was cut off by a VW van filled with students that had come up behind them. The VW’s driver suddenly began screaming something about their American car, and six young men jumped out, carrying wooden sticks and metal pipes. “Lock your doors, Claire,” Charlie ordered, doing the same on his side. Wild-eyed, the students surrounded the Buick, taunting and cursing them.

I say, it sounds like some dangerous psychotic killer wrote this, and this buttoned-down schizophrenic could probably go over the edge at any moment in the working day and stalk from office to office with an Armalite AR-180 carbine gas-operated semiautomatic. My boss just looks at me. The guy, I say, is probably at home every night with a little rattail file, filing a cross into the tip of every one of his rounds. This way, when he shows up to work one morning and pumps a round into his nagging, ineffectual, petty, whining, butt-sucking, candy-ass boss, that one round will split along the filed grooves and spread open the way a dumdum bullet flowers inside you to blow a bushel load of your stinking guts out through your spine. Picture your gut chakra opening in a slow-motion explosion of sausage-casing small intestine. My boss takes the paper out from under my nose. Go ahead, I say, read some more. No really, I say, it sounds fascinating. The work of a totally diseased mind. And I smile. The little butthole-looking edges of the hole in my cheek are the same blue-black as a dog’s gums. The skin stretched tight across the swelling around my eyes feels varnished. My boss just looks at me. Let me help you, I say. I say, the fourth rule of fight club is one fight at a time. My boss looks at the rules and then looks at me. I say, the fifth rule is no shoes, no shirts in the fight. My boss looks at the rules and looks at me. Maybe, I say, this totally diseased fuck would use an Eagle Apache carbine because an Apache takes a thirty-shot mag and only weighs nine pounds. The Armalite only takes a five-round magazine. With thirty shots, our totally fucked hero could go the length of mahogany row and take out every vice-president with a cartridge left over for each director. Tyler’s words coming out of my mouth. I used to be such a nice person. I just look at my boss. My boss has blue, blue, pale cornflower blue eyes. The J and R 68 semiautomatic carbine also takes a thirty-shot mag, and it only weighs seven pounds. My boss just looks at me. It’s scary, I say. This is probably somebody he’s known for years. Probably this guy knows all about him, where he lives, and where his wife works and his kids go to school. This is exhausting, and all of a sudden very, very boring. And why does Tyler need ten copies of the fight club rules? What I don’t have to say is I know about the leather interiors that cause birth defects. I know about the counterfeit brake linings that looked good enough to pass the purchasing agent, but fail after two thousand miles. I know about the air-conditioning rheostat that gets so hot it sets fire to the maps in your glove compartment. I know how many people burn alive because of fuel-injector flashback. I’ve seen people’s legs cut off at the knee when turbochargers start exploding and send their vanes through the firewall and into the passenger compartment. I’ve been out in the field and seen the burned-up cars and seen the reports where CAUSE OF FAILURE is recorded as "unknown.” No, I say, the paper’s not mine. I take the paper between two fingers and jerk it out of his hand. The edge must slice his thumb because his hand flies to his mouth, and he’s sucking hard, eyes wide open. I crumble the paper into a ball and toss it into the trash can next to my desk. Maybe, I say, you shouldn’t be bringing me every little piece of trash you pick up.

It doesn't really feel like driving when you don't know where you’re going. There should be an option on the car for driving in place, like treading water. Or at least a light that shines between the brake lights that you can turn on to indicate that you have no destination. I felt like I was fooling the other drivers and I just wanted to come clean. But the more I drove, the more I felt like I had somewhere to go. I was making difficult left turns that no one would ever do unless they had to. Sometimes I would make left turns all the way around a block, and when I returned to the original intersection, I would feel disappointed to find all the drivers were new. It wasn’t like a square dance, where you miraculously end up with your original partner, laughing and feeling giddily relieved to find him after dancing with everyone else in the world.

Then there was the time when he picked up a two-by-four on the side of the road and put it in the front seat by me and stuck it out the window. He told me to hold it, which I did, but when the wind hit the board, it turned around and hit me in the head and knocked me out. Another time, when a friend of Daddy’s bought a brand-new Buick, Daddy pressed the push-button window up on my neck. But that time I think it was just a matter of him not being familiar with the equipment. The main thing Momma bases her theory on is once Daddy, who is very artistic, wanted to make a life mask of my face. He put plaster of paris on me but forgot the breathing holes. On top of that he also forgot to put Vaseline on my face. He had to crack the plaster off with a hammer. Momma didn’t speak to him for a week on that one. I myself was sorry that it didn’t turn out. She also says he is going to ruin my nervous system because of the time he sneaked up on me when I was listening to Inner Sanctum on the radio. Just as the squeaking door opened, he grabbed me and yelled, “Got ya,” real loud, which caused me to faint. She also didn’t like him telling me Santa Claus had been killed in a bus accident and making me throw up. The Pettibones have very delicate nervous systems. That’s true. Momma is nervous all the time. She’s worn a hole in the floor on the passenger’s side of Daddy’s car from putting on the brakes. Momma always looks like she is on the verge of a hissy fit, but that’s mainly because when she was eighteen, she stuck her head in a gas oven looking at some biscuits and blew her eyebrows off. So she paints them on like little half-moons. People love to talk to her because she always looks interested, even if she isn’t.

So who does run a company these days? Not the shareholders or the board. They largely find out after the fact that things have gone well or badly. Nor are firms cooperatives. Anybody who has tried to run a company by consensus will tell you how disastrously bad an idea that is. Interminable meetings follow hard upon each other’s heels as everybody tries to get everybody else to see his or her point of view. Nothing gets done, and tempers fray. The problem with consensus is that people are not allowed to be different. It’s like trying to drive a car in which the brake and the accelerator have to do similar jobs. No, what really works inside a big firm is division of labour: you do what you’re good at, I’ll do what I’m good at, and we’ll coordinate our actions. That is what actually happens in practice inside most companies, and good management means good coordination. The employees specialise and exchange, just like participants in a market, or citizens in a city. The

Somebody had been doing some major league tampering to my car. The brake lines were cut. The tires were on fire. There was carbon monoxide coming out of everything. And the radio was tuned to a station I didn’t like. I had to tip my booby-trapped hat to whoever tampered with this car. I was late with my payments on the car anyway, and it looked like a lot of repair work was going to have to be done no matter how this came out, so I figured let the finance company worry about it. I called them up on my cell phone, told them where the car was, and jumped out. I was going over sixty at the time, but luckily I didn't hit the ground. There was a cliff there and I just went harmlessly over that. But just when you’re sailing along, thinking everything is going to be okay, something unexpected comes along to jar you out of your complacency. For me, in this case, it was the bottom of the cliff. I got bruised up pretty bad – they say I bounced for an hour - but luckily no bones were broken. That's where that protective layer of fat I was telling you about comes in.

FOXFIRE NEVER SAYS NEVER! By the time the kidnapped turquoise-and-chrome car overturns--turns and turns and turns!--in a snow-drifted field north of Tydeman's Corners Legs Sadovsky will have driven eleven miles from Eddy's Smoke Shop on Fairfax Avenue, six wild miles with the Highway Patrol cop in pursuit bearing up swiftly when the highway is clear and the girls are hysterical with excitement squealing and clutching one another thrown from side to side as Legs grimaces sighting the bridge ahead, it's one of those old-fashioned nightmare bridges with a steep narrow ramp, narrow floor made of planks but there's no time for hesitation Legs isn't going to use the brakes, she's shrewd, reasoning too that the cop will have to slow down, the fucker'll be cautious thus she'll have several seconds advantage won't she?--several seconds can make quite a difference in a contest like this so the Buick's rushing up the ramp, onto the bridge, the front wheels strike and spin and seem at first to be lifting in decorous surprise Oh! oh but astonishingly the car holds, it's a heavy machine of power that seems almost intelligent until flying off the bridge hitting a patch of slick part-melted ice the car swerves, now the rear wheels appear to be lifting, there's a moment when all effort ceases, all gravity ceases, the Buick a vessel of screams as it lifts, floats, it's being flung into space how weightless! Maddy's eyes are open now, she'll remember all her life this Now, now how without consequence! as the car hits the earth again, yet rebounds as if still weightless, turning, spinning, a machine bearing flesh, bones, girls' breaths plunging and sliding and rolling and skittering like a giant hard-shelled insect on its back, now righting itself again, now again on its back, crunching hard, snow shooting through the broken windows and the roof collapsing inward as if crushed by a giant hand upside-down and the motor still gunning as if it's frantic to escape, they're buried in a cocoon of bluish white and there's a sound of whimpering, panting,sobbing, a dog's puppyish yipping and a strong smell of urine and Legs is crying breathlessly half in anger half in exultation, caught there behind the wheel unable to turn, to look around, to see, "Nobody's dead--right?" Nobody's dead.

You're afraid that you'll live like those things in the hospital. You're afraid of ending up like them." "Aren't you?" His voice was almost too soft to hear, but somehow it carried over the rush of wheels and the expensive purr of the engine. "I'm trying not to think about it," I said. "How can you not think about it?" he asked. "Because if you start thinking about the bad things, worrying about them, then it makes you slow, makes you afraid. Neither of us can afford that." "Two years ago, I'd have been giving you the pep talk," he said, and there was something in his voice, not anger, but close. "You were a good teacher," I said. His hands gripped the wheel. "I haven't taught you all I know, Anita. You are not a better monster than I am." I watched the side of his face, trying to read that expressionless face. There was a tightness at the jaw, a thread of anger down the neck and into his shoulders. "Are you trying to convince me or yourself... Ted?" I made the name light and mocking. I didn't usually play with Edward just to get a rise out of him, but today, he was unsure, and I wasn't. Part of me was enjoying the hell out of that. He slammed on the brakes and screeched to a stop on the side of the road. I had the Browning pointed at the side of his head, close enough that pulling the trigger would paint his brains all over the windows. He had a gun in his hand. I don't know where in the car it had come from, but the gun wasn't pointed at me. "Ease down, Edward." He stayed motionless but didn't drop the gun. I had one of those moments when you see into another person's soul like looking into an open window. "Your fear makes you slow, Edward, because you'd rather die here, like this, than survive like those poor bastards. You're looking for a better way to die." My gun was very steady, finger on the trigger. But this wasn't for real, not yet. "If you were really serious, you'd have had the gun in your hand before you pulled over. You didn't invite me here to hunt monsters. You invited me here to kill you if it works out wrong." He laid the gun very, very slowly on the floorboard hump between the seats. He looked at me, hands spread on the steering wheel. I took the offered gun without taking either my eyes or my gun off of him. "Like I believe that's the only gun you've got hidden in this car. But I do appreciate the gesture." He laughed then, and it was the most bitter sound I'd ever heard from Edward.

There’s an unexpected lull in the traffic about two-thirds of the way to Darmstadt, and I make the mistake of breathing a sigh of relief. The respite is short-lived. One moment I’m driving along a seemingly empty road, bouncing from side to side on the Smart’s town-car suspension as the hairdryersized engine howls its guts out beneath my buttocks, and the next instant the dashboard in front of me lights up like a flashbulb. I twitch spasmodically, jerking my head up so hard I nearly dent the thin plastic roof. Behind me the eyes of Hell are open, two blinding beacons like the landing lights on an off-course 747. Whoever they are, they’re standing on their brakes so hard they must be smoking. There’s a roar, and then a squat, red Audi sports coupe pulls out and squeezes past my flank close enough to touch, its blonde female driver gesticulating angrily at me. At least I think she’s blonde and female. It’s hard to tell because everything is gray, my heart is trying to exit through my rib cage, and I’m frantically wrestling with the steering wheel to keep the roller skate from toppling over. A fraction of a second later she’s gone, pulling back into the slow lane ahead of me to light off her afterburners. I swear I see red sparks shooting out of her two huge exhaust tubes as she vanishes into the distance, taking about ten years of my life with her.

Christina died of a stroke in the fall of 1971, at the age of sixty-one. June watched the nurses take her mother's body away. Standing there in the hospital, June felt like she'd been caught in an undertow. How had she ended up here? One woman all alone, with four kids, and a restaurant she had never wanted. The day after the funeral, June took the kids to school. She dropped Kit off at the elementary building and then drove Nina, Jay, and Hud to junior high. When they pulled into the drop-off circle, Jay and Hud took off. But Nina turned back, put her hand on the door handle, and looked at her mother. 'Are you sure you're OK?' Nina asked. 'I could stay home. Help you at the restaurant.' 'No, honey,' June said, taking her daughter's hand. 'If you feel up for going to school, then that's where you should be.' 'OK,' Nina said. 'But if you need me, come get me.' 'How about we think of it the other way around?' June said, smiling. 'If you need me, have the office call me.' Nina smiled. 'OK' June felt herself about to cry and so she put her sunglasses over her eyes and pulled out of the parking lot. She drove, with the window down, to Pacific Fish. She pulled in and put on the parking brake. She took a deep breath. She got out of the car and stood there, staring up at the restaurant with a sense of all that she had inherited. It was hers now, whatever that meant. She lit a cigarette.

You said to step on the brake to put us into drive, then to step on the right one to-" "Not at the same time!" "Well, you should have told me that. How was I supposed to know?" I snort. "You acted like the freaking Dalai Lama when I tried to tell you how to shift gears. I told you, one was for go and one was for stop. You can't stop and go at the same time! You have to make up your mind." From the expression on her face, she's either about to punch me or call me something really bad. She opens her mouth, but the really bad something doesn't come out; she shuts it again. Then she giggles. Now I've seen everything. "Galen tells me that all the time," she chortles. "That I can never make up my mind." Then she bursts out laughing so hard she spits all over the steering wheel. She keeps laughing until I'm convinced an unknown force is tickling her senseless. What? As far as I can tell, her indecisiveness almost got us killed. Killed isn't funny. "You should have seen your face," she says, between gulps of breaths. "You were all, like-" And she makes the face of a drunk clown. "I bet you wet yourself, didn't you?" She cracks herself up so much she clutches her side as if she's holding in her own guts. I feel my lips fracture into a smile before I can stop them. "You were more scared than me. You swallowed like ten flies while you were screaming." She spits all over the steering wheel again. And I spew laughter onto the dash. It takes a good five minutes for us to sober up enough for another driving lesson. My throat is dry, and my eyes are wet when I say, "Okay, now. Let's concentrate. The sun is going down. These woods probably get pretty creepy at night." She clears her throat, still giggling a little. "Okay. Concentrate. Right." "So, this time, when you take your foot off the brake, the car will go on its own. There, see?" We slink along the road at an idle two miles per hour. She huffs up at her bangs. "This is boring. I want to go faster." I start to say, "Not too fast," but she squashes the gas under her foot, and my words are snatched away by the wind. She gives a startled shout, which I find hypocritical because after all, I'm the one helpless in the passenger seat, and she's the one screaming like a teapot, turning the wheel back and forth like the road isn't straight as a pencil. "Brake, brake, brake!" I shout, hoping repetition will somehow penetrate the small part of her brain that actually thinks. Everything happens fast. We stop. There's a crunching sound. My face slams into the dash. No wait, the dash becomes an airbag. Rayna's scream is cut off by her airbag. I open my eyes. A tree. A freaking tree. The metal frame groans, and something under the hood lets out a mechanical hiss. Smoke billows up from the front, the universal symbol for "you're screwed." I turn to the rustling sound beside me. Rayna is wrestling with the airbag like it has attacked her instead of saved her life. "What is this thing?" she wails, pushing it out of her way and opening the door. One Mississippi...two Mississippi... "Well, are you just going to sit there? We have a long walk home. You're not hurt are you? Because I can't carry you." Three Mississippi...four Mississippi... "What are those flashing blue lights down there?

It was at night,” I say. “What was?” “What happened. The car wreck. We were driving along the Storm King Highway.” “Where’s that?” “Oh, it’s one of the most scenic drives in the whole state,” I say, somewhat sarcastically. “Route 218. The road that connects West Point and Cornwall up in the Highlands on the west side of the Hudson River. It’s narrow and curvy and hangs off the cliffs on the side of Storm King Mountain. An extremely twisty two-lane road. With a lookout point and a picturesque stone wall to stop you from tumbling off into the river. Motorcycle guys love Route 218.” We stop moving forward and pause under a streetlamp. “But if you ask me, they shouldn’t let trucks use that road.” Cool Girl looks at me. “Go on, Jamie,” she says gently. And so I do. “Like I said, it was night. And it was raining. We’d gone to West Point to take the tour, have a picnic. It was a beautiful day. Not a cloud in the sky until the tour was over, and then it started pouring. Guess we stayed too late. Me, my mom, my dad.” Now I bite back the tears. “My little sister. Jenny. You would’ve liked Jenny. She was always happy. Always laughing. “We were on a curve. All of a sudden, this truck comes around the side of the cliff. It’s halfway in our lane and fishtailing on account of the slick road. My dad slams on the brakes. Swerves right. We smash into a stone fence and bounce off it like we’re playing wall ball. The hood of our car slides under the truck, right in front of its rear tires—tires that are smoking and screaming and trying to stop spinning.” I see it all again. In slow motion. The detail never goes away. “They all died,” I finally say. “My mother, my father, my little sister. I was the lucky one. I was the only one who survived.

Prologue In 1980, a year after my wife leapt to her death from the Silas Pearlman Bridge in Charleston, South Carolina, I moved to Italy to begin life anew, taking our small daughter with me. Our sweet Leah was not quite two when my wife, Shyla, stopped her car on the highest point of the bridge and looked over, for the last time, the city she loved so well. She had put on the emergency brake and opened the door of our car, then lifted herself up to the rail of the bridge with the delicacy and enigmatic grace that was always Shyla’s catlike gift. She was also quick-witted and funny, but she carried within her a dark side that she hid with bright allusions and an irony as finely wrought as lace. She had so mastered the strategies of camouflage that her own history had seemed a series of well-placed mirrors that kept her hidden from herself. It was nearly sunset and a tape of the Drifters’ Greatest Hits poured out of the car’s stereo. She had recently had our car serviced and the gasoline tank was full. She had paid all the bills and set up an appointment with Dr. Joseph for my teeth to be cleaned. Even in her final moments, her instincts tended toward the orderly and the functional. She had always prided herself in keeping her madness invisible and at bay; and when she could no longer fend off the voices that grew inside her, their evil set to chaos in a minor key, her breakdown enfolded upon her, like a tarpaulin pulled across that part of her brain where once there had been light. Having served her time in mental hospitals, exhausted the wide range of pharmaceuticals, and submitted herself to the priestly rites of therapists of every theoretic persuasion, she was defenseless when the black music of her subconscious sounded its elegy for her time on earth. On the rail, all eyewitnesses agreed, Shyla hesitated and looked out toward the sea and shipping lanes that cut past Fort Sumter, trying to compose herself for the last action of her life. Her beauty had always been a disquieting thing about her and as the wind from the sea caught her black hair, lifting it like streamers behind her,

It was a sort of car that seemed to have a faculty for motion with an absolute lack of any accompanying sound whatsoever. This was probably illusory; it must have been, internal combustion engines being what they are, tires being what they are, brakes and gears being what they are, even raspy street-surfacing being what it is. Yet the illusion outside the hotel entrance was a complete one. Just as there are silencers that, when affixed to automatic hand-weapons, deaden their reports, so it was as if this whole massive car body were encased in something of that sort. For, first, there was nothing out there, nothing in sight there. Then, as though the street-bed were water and this bulky black shape were a grotesque gondola, it came floating up out of the darkness from nowhere. And then suddenly, still with no sound whatsoever, there it was at a halt, in position. It was like a ghost-car in every attribute but the visual one. In its trancelike approach and halt, in its lightlessness, in its enshrouded interior, which made it impossible to determine (at least without lowering one's head directly outside the windows and peering in at nose-tip range) if it were even occupied at all, and if so by whom and by how many. You could visualize it scuttling fleetly along some overshadowed country lane at dead of night, lightless, inscrutable, unidentifiable, to halt perhaps beside some inky grove of trees, linger there awhile undetected, then glide on again, its unaccountable errand accomplished without witness, without aftermath. A goblin-car that in an earlier age would have fed folklore and rural legend. Or, in the city, you could visualize it sliding stealthily along some warehouse-blacked back alley, curving and squirming in its terrible silence, then, as it neared the mouth and would have emerged, creeping to a stop and lying there in wait, unguessed in the gloom. Lying here in wait for long hours, like some huge metal-cased predatory animal, waiting to pounce on its prey. Sudden, sharp yellow spurts of fangs, and then to whirl and slink back into anonymity the way it came, leaving the carcass of its prey huddled there and dead. Who was there to know? Who was there to tell? ("The Number's Up")

One evening in April a thirty-two-year-old woman, unconscious and severely injured, was admitted to the hospital in a provincial town south of Copenhagen. She had a concussion and internal bleeding, her legs and arms were broken in several places, and she had deep lesions in her face. A gas station attendant in a neighboring village, beside the bridge over the highway to Copenhagen, had seen her go the wrong way up the exit and drive at high speed into the oncoming traffic. The first three approaching cars managed to maneuver around her, but about 200 meters after the junction she collided head-on with a truck. The Dutch driver was admitted for observation but released the next day. According to his statement he started to brake a good 100 meters before the crash, while the car seemed to actually increase its speed over the last stretch. The front of the vehicle was totally crushed, part of the radiator was stuck between the road and the truck's bumper, and the woman had to be cut free. The spokesman for emergency services said it was a miracle she had survived. On arrival at the hospital the woman was in very critical condition, and it was twenty-four hours before she was out of serious danger. Her eyes were so badly damaged that she lost her sight. Her name was Lucca. Lucca Montale. Despite the name there was nothing particularly Italian about her appearance. She had auburn hair and green eyes in a narrow face with high cheek-bones. She was slim and fairly tall. It turned out she was Danish, born in Copenhagen. Her husband, Andreas Bark, arrived with their small son while she was still on the operating table. The couple's home was an isolated old farmhouse in the woods seven kilometers from the site of the accident. Andreas Bark told the police he had tried to stop his wife from driving. He thought she had just gone out for a breath of air when he heard the car start. By the time he got outside he saw it disappearing along the road. She had been drinking a lot. They had had a marital disagreement. Those were the words he used; he was not questioned further on that point. Early in the morning, when Lucca Montale was moved from the operating room into intensive care, her husband was still in the waiting room with the sleeping boy's head on his lap. He was looking out at the sky and the dark trees when Robert sat down next to him. Andreas Bark went on staring into the gray morning light with an exhausted, absent gaze. He seemed slightly younger than Robert, in his late thirties. He had dark, wavy hair and a prominent chin, his eyes were narrow and deep-set, and he was wearing a shabby leather jacket. Robert rested his hands on his knees in the green cotton trousers and looked down at the perforations in the leather uppers of his white clogs. He realized he had forgotten to take off his plastic cap after the operation. The thin plastic crackled between his hands. Andreas looked at him and Robert straightened up to meet his gaze. The boy woke.