Chop Life Quotes

People aren't either wicked or noble. They're like chef's salads, with good things and bad things chopped and mixed together in a vinaigrette of confusion and conflict.

I've never forgotten him. Dare I say I miss him? I do. I miss him. I still see him in my dreams. They are nightmares mostly, but nightmares tinged with love. Such is the strangeness of the human heart. I still cannot understand how he could abandon me so unceremoniously, without any sort of goodbye, without looking back even once. The pain is like an axe that chops my heart.

Dare I say I miss him? I do. I miss him. I still see him in my dreams. They are nightmares mostly, but nightmares tinged with love. I still cannot understand how he could abandon me so unceremoniously, without any sort of goodbye, without looking back even once. That pain is like an axe that chops at my heart.

I type as fast as a ten-legged man who just had eight legs chopped off runs.

A little kid asks my dad why that man is chopping down the tree. Dad: He's not chopping it down. He's saving it. Those branches were long dead from disease. All plants are like that. By cutting off the damage you make it possible for the tree to grow again. You watch - by the end of summer, this tree will be the strongest on the block.

When you know that trees experience pain and have memories and that tree parents live together with their children, then you can no longer just chop them down and disrupt their lives with larger machines.

Some may remain imprisoned in a gridlock of lies or keep on blurring the lines between facts and fables, expecting us to buy the debilitating and fake narrative of their life, until they eventually end up on the chopping block of the inexorable truth. Be that as it may, one can “fool people some of the time, but not all of the time”. (“Bribe payers' index »)

In this here place, we flesh; flesh that weeps, laughs; flesh that dances on bare feet in grass. Love it. Love it hard. Yonder they do not love your flesh. They despise it. They don't love your eyes; they'd just as soon pick em out. No more do they love the skin on your back. Yonder they flay it. And O my people they do not love your hands. Those they only use, tie, bind, chop off and leave empty. Love your hands! Love them. Raise them up and kiss them. Touch others with them, pat them together, stroke them on your face 'cause they don't love that either. You got to love it, you! And no, they ain't in love with your mouth. Yonder, out there, they will see it broken and break it again. What you say out of it they will not heed. What you scream from it they do not hear. What you put into it to nourish your body they will snatch away and give you leavins instead. No, they don't love your mouth. You got to love it. This is flesh I'm talking about here. Flesh that needs to be loved. Feet that need to rest and to dance; backs that need support; shoulders that need arms, strong arms I'm telling you. And O my people, out yonder, hear me, they do not love your neck unnoosed and straight. So love your neck; put a hand on it, grace it, stroke it and hold it up. and all your inside parts that they'd just as soon slop for hogs, you got to love them. The dark, dark liver--love it, love it and the beat and beating heart, love that too. More than eyes or feet. More than lungs that have yet to draw free air. More than your life-holding womb and your life-giving private parts, hear me now, love your heart. For this is the prize.

To make bread or love, to dig in the earth, to feed an animal or cook for a stranger—these activities require no extensive commentary, no lucid theology. All they require is someone willing to bend, reach, chop, stir. Most of these tasks are so full of pleasure that there is no need to complicate things by calling them holy. And yet these are the same activities that change lives, sometimes all at once and sometimes more slowly, the way dripping water changes stone. In a world where faith is often construed as a way of thinking, bodily practices remind the willing that faith is a way of life.

Who needs a large vocabulary when you can just make up any word at any time? It makes life a whole lot more emeaglibop.

Sometimes resignation brings relief. When you lose hope, you no longer bother struggling. You just stay benumbed like a vegetable and let your head chopped off by a guillotine so that it ends, once and for all.

The Days were a clan that mighta lived long But Ben Day’s head got screwed on wrong That boy craved dark Satan’s power So he killed his family in one nasty hour Little Michelle he strangled in the night Then chopped up Debby: a bloody sight Mother Patty he saved for last Blew off her head with a shotgun blast Baby Libby somehow survived But to live through that ain’t much a life —SCHOOLYARD RHYME, CIRCA 1985

What? It's a fair sacrifice. If you've got to be with one chick for the rest of your life, then you should at least get to go out with a bang. Or two. Or three." Anna raised a perfectly arched brow. "Really? Would you want some jackass to do that with our daughter?" "Fuck no. I’ll chop the little bastard’s balls off if he tries that kind of shit on my girl," he scowled.

Tonight the Internet seemed filled with versions of me, like a fun house filled with mirrors. Some of them made me look prettier, and some of them made me look uglier, and some of them chopped me right in half, but none of them were right.

Females create life, males end it. War, crime, violence, are primarily male franchises. Man shit. It’s nature’s supreme joke. Deep in the womb, men start out as the good thing, and wind up as the crappy thing. Not all men. Just enough. Just enough to fuck things up.

. . . I feel we don’t really need scriptures. The entire life is an open book, a scripture. Read it. Learn while digging a pit or chopping some wood or cooking some food. If you can’t learn from your daily activities, how are you going to understand the scriptures? (233)

People go through life eating lamb chops and breaking their mother’s hearts.

He thinks how it will be winter soon, and then another year gone by and another one on the chopping block, time flowing faster and faster. Life is nothing how he expected it would be when he was young and living under the delusion that things could be controlled. Nothing can be controlled. Only endured.

I have no routines or personal history. One day I found out that they were no longer necessary for me and, like drinking, I dropped them. One must have the desire to drop them and then one must proceed harmoniously to chop them off, little by little. If you have no personal history, no explanations are needed; nobody is angry or disillusioned with your acts. And above all no one pins you down with their thoughts. It is best to erase all personal history because that makes us free from the encumbering thoughts of other people. I have, little by little, created a fog around me and my life. And now nobody knows for sure who I am or what I do. Not even I. How can I know who I am, when I am all this?

A kind of second childhood falls on so many men. They trade their violence for the promise of a small increase of life span. In effect, the head of the house becomes the youngest child. And I have searched myself for this possibility with a kind of horror. For I have always lived violently, drunk hugely, eaten too much or not at all, slept around the clock or missed two nights of sleeping, worked too hard and too long in glory, or slobbed for a time in utter laziness. I've lifted, pulled, chopped, climbed, made love with joy and taken my hangovers as a consequence, not as a punishment. I did not want to surrender fierceness for a small gain in yardage. My wife married a man; I saw no reason why she should inherit a baby.

I never met a pig I didn't like. All pigs are intelligent, emotional, and sensitive souls. They all love company. They all crave contact and comfort. Pigs have a delightful sense of mischief; most of them seem to enjoy a good joke and appreciate music. And that is something you would certainly never suspect from your relationship with a pork chop.

Aim for the chopping block. If you aim for the wood, you will have nothing. Aim past the wood, aim through the wood; aim for the chopping block.

I guess when life hands you lemons, chop 'em up and get lemonade; when life hands you cats, chop 'em up and get pussy.

The indifferent pendulum of the clock kept chopping off the seconds of life, calmly and precisely.

Sometimes things are a change for the better and the worse at the same time, like the internet. Or the electric keyboard. Or pre-chopped garlic. Or the theory of relativity.

The weight of the old world is stifling, and trying to shovel its weight off your life is tiring just to think about. The constant shuttling of opinions is tiring, and the shuffling of papers across desks, the chopping of logic and the trimming of attitudes. There must, somewhere, be a simpler, more violent world.

The Screelings are loose and the Keeper may win. His assassins have come to rip off your skin. Golden eyes will see you if you try to run. The screelings will get you and laugh like it's fun. Walk away slow or they'll tear you apart, and laugh all day long as they rip out your heart. Golden eyes will see you if you try to stand still. The screelings will get you, for the Keeper they kill. Hack 'em up, chop 'em up, cut 'em to bits, or else they will get you while laughing in fits. If the screelings don't get you the Keeper will try, to reach out and touch you, your skin he will fry. Your mind he will flail, your soul he will take. You'll sleep with the dead, for life you'll forsake. You'll die with the Keeper till the end of time. He hates that you live, your life is the crime. The screelings might get you, it says so in text. If screelings don't get you the Keeper is next, lest he who's born true can fight for life's bond. And that one is marked; he's the pebble in the pond.

When my trust was suspended from the fragile thread of justice and in the whole city they were chopping up my heart's lanterns when they would blindfold me with the dark handkerchief of Law and from my anxious temples of desire fountains of blood would squirt out when my life had become nothing nothing but the tic-tac of a clock, I discovered I must must must love, insanely.

At that point in time, there were three things in life that I knew for certain: (1) I was a girl who’d never met a site she couldn’t hack or a code she couldn’t break, (2) I had a roundhouse that could put a grown man in the hospital, and (3) I would without question chop off my own hands before I’d come within five feet of a pom-pom

You win over people just like you win over a dog. You see a dog passing down the street with an old bone in his mouth. You don't grab the bone from him and tell him it's not good for him. He'll growl at you. It's the only thing he has. But you throw a big fat lamb chop in front of him, and he's going to drop that bone and pick up the lamb chop, his tail wagging to beat the band. And you've got a friend. Instead of going around grabbing bones from people... I'm going to throw them some lamb chops. Something with real meat and life in it. I'm going to tell them about New Beginnings.

When you chopped logs with the ax and they split open they smelled beautiful, like Christmas. But when you split someone's head open it smelled like abattoir and quite overpowered the scent of the wild lilacs you'd cut and brought into the house only this morning, which was already another life.

But more than anything, as a little girl, I wanted to be exactly like Miss Piggy. She was ma heroine. I was a plucky little girl, but I never related to the rough-and-tumble icons of children's lit, like Pippi Longstocking or Harriet the Spy. Even Ramona Quimby, who seemed cool, wasn't somebody I could super-relate to. She was scrawny and scrappy and I was soft and sarcastic. I connected instead to Miss - never 'Ms.' - Piggy; the comedienne extraordinaire who'd alternate eye bats with karate chops, swoon over girly stuff like chocolate, perfume, feather boas or random words pronounced in French, then, on a dmie, lower her voice to 'Don't fuck with me, fellas' decibel when slighted. She was hugely feminine, boldly ambitious, and hilariously violent when she didn't get way, whether it was in work, love, or life. And even though she was a pig puppet voiced by a man with a hand up her ass, she was the fiercest feminist I'd ever seen.

The Hand (Kara-Te) is the cutting edge of the Mind

England once there lived a big And wonderfully clever pig. To everybody it was plain That Piggy had a massive brain. He worked out sums inside his head, There was no book he hadn't read. He knew what made an airplane fly, He knew how engines worked and why. He knew all this, but in the end One question drove him round the bend: He simply couldn't puzzle out What LIFE was really all about. What was the reason for his birth? Why was he placed upon this earth? His giant brain went round and round. Alas, no answer could be found. Till suddenly one wondrous night. All in a flash he saw the light. He jumped up like a ballet dancer And yelled, "By gum, I've got the answer!" "They want my bacon slice by slice "To sell at a tremendous price! "They want my tender juicy chops "To put in all the butcher's shops! "They want my pork to make a roast "And that's the part'll cost the most! "They want my sausages in strings! "They even want my chitterlings! "The butcher's shop! The carving knife! "That is the reason for my life!" Such thoughts as these are not designed To give a pig great piece of mind. Next morning, in comes Farmer Bland, A pail of pigswill in his hand, And piggy with a mighty roar, Bashes the farmer to the floor… Now comes the rather grizzly bit So let's not make too much of it, Except that you must understand That Piggy did eat Farmer Bland, He ate him up from head to toe, Chewing the pieces nice and slow. It took an hour to reach the feet, Because there was so much to eat, And when he finished, Pig, of course, Felt absolutely no remorse. Slowly he scratched his brainy head And with a little smile he said, "I had a fairly powerful hunch "That he might have me for his lunch. "And so, because I feared the worst, "I thought I'd better eat him first.

In fact a favourite problem of Tyndall is—Given the molecular forces in a mutton chop, deduce Hamlet or Faust therefrom. He is confident that the Physics of the Future will solve this easily.

When digital watches were invented years later they reminded me of five-minute checks. They murdered time in the same way -slowly- chopping off pieces of it and lobbing them into the dustbin with a little click to let you know time was gone. Click, swish, "Checks," swish, click: another five minutes of life down the drain. And spent in this place.

All I want in life is to have a sexy man make passionate love to me, eat a nice meal together, and then I'll leave to go chop up corpses. Is that really so much to ask?

Let’s say you have an ax. Just a cheap one, from Home Depot. On one bitter winter day, you use said ax to behead a man. Don’t worry, the man was already dead. Or maybe you should worry, because you’re the one who shot him. He had been a big, twitchy guy with veiny skin stretched over swollen biceps, a tattoo of a swastika on his tongue. Teeth filed into razor-sharp fangs-you know the type. And you’re chopping off his head because, even with eight bullet holes in him, you’re pretty sure he’s about to spring back to his feet and eat the look of terror right off your face. On the follow-through of the last swing, though, the handle of the ax snaps in a spray of splinters. You now have a broken ax. So, after a long night of looking for a place to dump the man and his head, you take a trip into town with your ax. You go to the hardware store, explaining away the dark reddish stains on the broken handle as barbecue sauce. You walk out with a brand-new handle for your ax. The repaired ax sits undisturbed in your garage until the spring when, on one rainy morning, you find in your kitchen a creature that appears to be a foot-long slug with a bulging egg sac on its tail. Its jaws bite one of your forks in half with what seems like very little effort. You grab your trusty ax and chop the thing into several pieces. On the last blow, however, the ax strikes a metal leg of the overturned kitchen table and chips out a notch right in the middle of the blade. Of course, a chipped head means yet another trip to the hardware store. They sell you a brand-new head for your ax. As soon as you get home, you meet the reanimated body of the guy you beheaded earlier. He’s also got a new head, stitched on with what looks like plastic weed-trimmer line, and it’s wearing that unique expression of “you’re the man who killed me last winter” resentment that one so rarely encounters in everyday life. You brandish your ax. The guy takes a long look at the weapon with his squishy, rotting eyes and in a gargly voice he screams, “That’s the same ax that beheaded me!” IS HE RIGHT?

I rested my forehead against the wall and closed my eyes. It wasn’t just my curiosity, or my fascination with anatomy, or how I could unhesitatingly chop a rabbit’s head off with an ax when a roomful of boys couldn’t. Those things were all symptoms of the same sickness - a kind of madness inherited from my father. It was a dangerous pull in my gut drawing me toward the dark possibilities of science, toward the thin line between life and death, toward the animal impulses hidden behind a corset and a smile.

The way I played music there was the way I wanted to farm, chop wood, cook, make love, raise children. Everything. A lo of it had to do with things I felt while I played. If only I could feel that sense of total absorption in what I was doing when I was doing other things. It was more than absorption, it was spontaneity, competence, a sense of grace and playfulness, of being in touch with an inexhaustible source of energy and beauty.

The Elm Log By Alexander Solzhenitsyn We were sawing firewood when we picked up an elm log and gave a cry of amazement. It was a full year since we had chopped down the trunk, dragged it along behind a tractor and sawn it up into logs, which we had then thrown on to barges and wagons, rolled into stacks and piled up on the ground - and yet this elm log had still not given up! A fresh green shoot had sprouted from it with a promise of a thick, leafy branch, or even a whole new elm tree. We placed the log on the sawing-horse, as though on an executioner's block, but we could not bring ourselves to bite into it with our saw. How could we? That log cherished life as dearly as we did; indeed, its urge to live was even stronger than ours.

People who have fully prepared always save time. Albert Einstein was right to teach that if he is given six hours to chop down a tree, he would spend the first four sharpening the axes. When you are done with your action plans, work will be easier!

We’ll have to make the chumps believe it. Moonlight strolls. Staring into each other’s eyes. Sharing the same straw in our egg cream. Dreadful pet names.” “Not Lamb Chop,” Evie protested. “That’s hideous.” “You got it, Pork Chop.” “I will murder you in your sleep.” Sam grinned. “Does that mean you’re sleeping beside me?” “Not on your life, Lloyd.

I was still young and the whole world of beauty was opening before me, my own officious obstructions were often swept aside and, startled into self-forgetfulness, I again tasted Joy. ... One thing, however, I learned, which has since saved me from many popular confusions of mind. I came to know by experience that it is not a disguise of sexual desire. ... I repeatedly followed that path - to the end. And at the end one found pleasure; which immediately resulted in the discovery that pleasure (whether that pleasure or any other) was not what you had been looking for. No moral question was involved; I was at this time as nearly nonmoral on that subject as a human creature can be. The frustration did not consist in finding a "lower" pleasure instead of a "higher." It was the irrelevance of the conclusion that marred it. ... You might as well offer a mutton chop to a man who is dying of thirst as offer sexual pleasure to the desire I am speaking of. ... Joy is not a substitute for sex; sex is very often a substitute for Joy. I sometimes wonder whether all pleasures are not substitutes for Joy.

The Barbies with their stick legs and rocket breasts were another problem Megan had to endure. She was supposed to spend hours dressing up or playing house with them, including the darker ones she was supposed to find more relatable. In a fit she'd once tried to commit Barbicide, defaced them with colored marker pens, chopped off hair, extracted eyes with scissors and de-limbed a few... The Barbie invasion proliferated on birthdays and at Christmas, relatives talked about incredible collection, as if she'd actually chosen to have them in her life.

I know that it seems like life is unfair right now, and you want things to be easier, but the rough side of the mountain will actually prepare you for life much better than the smooth side. Believe it or not, the setbacks of today can quickly become the forging blades of greatness for tomorrow. In fact, a wise man once said, “hardship often prepares ordinary people for an extraordinary destiny.4

When digital watches were invented years later they reminded me of five-minute checks. They murdered time in the same way—slowly—chopping off pieces of it and lobbing them into the dustbin with a little click to let you know time was gone. Click, swish, “Checks,” swish, click: another five minutes of life down the drain. And spent in this place.

Food of Love Eating is touch carried to the bitter end. -Samuel Butler II I'm going to murder you with love; I'm going to suffocate you with embraces; I'm going to hug you, bone by bone, Till you're dead all over. Then I will dine on your delectable marrow. You will become my personal Sahara; I'll sun myself in you, then with one swallow Drain you remaining brackish well. With my female blade I'll carve my name In your most aspiring palm Before I chop it down. Then I'll inhale your last oasis whole. But in the total desert you become You'll see me stretch, horizon to horizon, Opulent mirage! Wisteria balconies dripping cyclamen. Vistas ablaze with crystal, laced in gold. So you will summon each dry grain of sand And move towards me in undulating dunes Till you arrive at sudden ultramarine: A Mediterranean to stroke your dusty shores; Obstinate verdue, creeping inland, fast renudes Your barrens; succulents spring up everywhere, Surprising life! And I will be that green. When you are fed and watered, flourishing With shoots entwining trellis, dome and spire, Till you are resurrected field in bloom, I will devour you, my natural food, My host, my final supper on the earth, And you'll begin to die again.

Only those who will love longer than they expected to can truly love pecan pie, which doesn't explain its status as death rows most requested last dessert, or why chopped pecans, corn syrup, directions from the Karo bottle's cherry-red side are what mercy taste like to some. But there you have it.

The life of the hero of the tale is, at the outset, overshadowed by bitter and hopeless struggles; one doubts that the little swineherd will ever be able to vanquish the awful Dragon with the twelve heads. And yet, ...truth and courage prevail and the youngest and most neglected son of the family, of the nation, of mankind, chops off all twelve heads of the Dragon, to the delight of our anxious hearts. This exultant victory, towards which the hero of the tale always strives, is the hope and trust of the peasantry and of all oppressed peoples. This hope helps them bear the burden of their destiny.

The egalitarian mania of demagogues is even more dangerous than the brutality of men in gallooned coats. For the anarch, this remains theoretical, because he avoids both sides. Anyone who has been oppressed can get back on his feet if the oppression has not cost him his life. A man who has been equalized is physically and morally ruined. Anyone who is different is not equal; that is one of the reasons why the Jews are so often targeted. Equalization goes downward, like shaving, hedge trimming, or the pecking order of poultry. At times, the world spirit seems to change into monstrous Procrustes – a man has read Rousseau and starts practicing equality by chopping off heads or, as Mimie le Bon called it, 'making the apricots roll.' The guillotinings in Cambrai were an entertainment before dinner. Pygmies shortened the legs of tall Africans in order to cut them down to size; white Negroes flatten the literary languages.

Even though you are equipped with life changing wisdom that could transform lives, you must not share it without an invitation. Most people just want to be heard and loved, they don't want your wisdom, and that is OK. Sometimes, you can actually become the greatest impediment to other people growing when you try and force things on them. In time, if they see you model it, they will probably start to ask.

She told them that the only grace they could have was the grace they could imagine. That if they could not see it, they would not have it. "Here," she said, "in this here place, we flesh; flesh that weeps, laughs; flesh that dances on bare feet in grass. Love it. Love it hard. Yonder they do not love your flesh. They despise it. They don’t love your eyes; they'd just as soon pick em out. No more do they love the skin on your back. Yonder they flay it. And O my people they do not love your hands. Those they only use, tie, bind, chop off and leave empty. Love your hands! Love them. Raise them up and kiss them. Touch others with them, pat them together, stroke them on your face 'cause they don't love that either. You got to love it, you! And no, they ain't in love with your mouth. Yonder, out there, they will see it broken and break it again. What you say out of it they will not heed. What you scream from it they do not hear. What you put into it to nourish your body they will snatch away and give you leavins instead. No, they don't love your mouth. You got to love it. This is flesh I'm talking about here. Flesh that needs to be loved. Feet that need to rest and to dance; backs that need support; shoulders that need arms, strong arms I'm telling you. And O my people, out yonder, hear me, they do not love your neck unnoosed and straight. So love your neck; put a hand on it, grace it, stroke it and hold it up. And all your inside parts that they'd just as soon slop for hogs, you got to love them. The dark, dark liver--love it, love it, and the beat and beating heart, love that too. More than eyes or feet.More than lungs that have yet to draw free air. More than your life holding womb and your life-giving private parts, hear me now, love your heart. For this is the prize." Saying no more, she stood up then and danced with her twisted hip the rest of what her heart had to say while the others opened heir mouths and gave her the music.

The repetitive phases of cooking leave plenty of mental space for reflection, and as I chopped and minced and sliced I thought about the rhythms of cooking, one of which involves destroying the order of the things we bring from nature into our kitchens, only to then create from them a new order. We butcher, grind, chop, grate, mince, and liquefy raw ingredients, breaking down formerly living things so that we might recombine them in new, more cultivated forms. When you think about it, this is the same rhythm, once removed, that governs all eating in nature, which invariably entails the destruction of certain living things, by chewing and then digestion, in order to sustain other living things. In The Hungry Soul Leon Kass calls this the great paradox of eating: 'that to preserve their life and form living things necessarily destroy life and form.' If there is any shame in that destruction, only we humans seem to feel it, and then only on occasion. But cooking doesn't only distance us from our destructiveness, turning the pile of blood and guts into a savory salami, it also symbolically redeems it, making good our karmic debts: Look what good, what beauty, can come of this! Putting a great dish on the table is our way of celebrating the wonders of form we humans can create from this matter--this quantity of sacrificed life--just before the body takes its first destructive bite.

# # My pregnant wife came home with her previously long hair that I loved chopped off and replaced with a short, mommish haircut. She asked what I thought and could tell by my face. She had put a mom's need for convenience before being a wife. She wept.

Writing a novel is like making soup. The base is a broth we make up wholesale—for instance, I have one child, not five, and am not only not a doctor but, in fact, am made woozy by paper cuts. Then, to that entirely made-up broth, we add a sprinkling of research, some chunks of childhood memories, a handful of sautéed morsels overheard at the playground, a few diced bits we weren’t planning on but turned out to need for depth of flavor, and some finely chopped pieces of our own lives. Simmer until all the disparate parts mellow and blend but still enhance and augment one another. This is how you cook a novel. Some made up, some real life, all true.

Trees, now—Slothrop’s intensely alert to trees, finally. When he comes in among trees he will spend time touching them, studying them, sitting very quietly near them and understanding that each tree is a creature, carrying on its individual life, aware of what’s happening around it, not just some hunk of wood to be cut down. Slothrop’s family actually made its money killing trees, amputating them from their roots, chopping them up, grinding them to pulp, bleaching that to paper and getting paid for this with more paper. “That’s really insane.” He shakes his head. “There’s insanity in my family.” He looks up. The trees are still. They know he’s there. They probably also know what he’s thinking. “I’m sorry,” he tells them. “I can’t do anything about those people, they’re all out of my reach. What can I do?” A medium-size pine nearby nods its top and suggests, “Next time you come across a logging operation out here, find one of their tractors that isn’t being guarded, and take its oil filter with you. That’s what you can do.

If we think we have twenty-four hours to achieve a certain purpose, today will become a means to attain an end. The moment of chopping wood and carrying water is the moment of happiness. We do not need to wait for these chores to be done to be happy. To have happiness in this moment is the spirit of aimlessness. Otherwise, we will run in circles for the rest of our life. We have everything we need to make the present moment the happiest in our life, even if we have a cold or a headache. We don't have to wait until we get over our cold to be happy. Having a cold is a part of life.

Oh no, honey. Lots of women go through it early. Why, there was this woman over in Georgia who was only thirty-six-years-old and one day she got in her car and drove right up the stairs to the county courthouse, rolled down her window, and tossed her mother's head that she had just chopped off in her kitchen at a State policeman and hollered, "Here! This is what you wanted," and drove right back down the courthouse stairs. Now that's what an early menopause will do for you if you're not careful.

Lead us, Evolution, lead us Up the future's endless stair; Chop us, change us, prod us, weed us. For stagnation is despair: Groping, guessing, yet progressing, Lead us nobody knows where. Wrong or justice, joy or sorrow, In the present what are they while there's always jam-tomorrow, While we tread the onward way? Never knowing where we're going, We can never go astray. To whatever variation Our posterity may turn Hairy, squashy, or crustacean, Bulbous-eyed or square of stern, Tusked or toothless, mild or ruthless, Towards that unknown god we yearn. Ask not if it's god or devil, Brethren, lest your words imply Static norms of good and evil (As in Plato) throned on high; Such scholastic, inelastic, Abstract yardsticks we deny. Far too long have sages vainly Glossed great Nature's simple text; He who runs can read it plainly, 'Goodness = what comes next.' By evolving, Life is solving All the questions we perplexed. Oh then! Value means survival- Value. If our progeny Spreads and spawns and licks each rival, That will prove its deity (Far from pleasant, by our present, Standards, though it may well be).

You shall see rude and sturdy, experienced and wise men, keeping their castles, or teaming up their summer’s wood, or chopping alone in the woods, men fuller of talk and rare adventure in the sun and wind and rain, than a chestnut is of meat; who were out not only in ‘75 and 1812, but have been out every day of their lives; greater men than Homer, or Chaucer, or Shakespeare, only they never got time to say so; they never took to the way of writing. Look at their fields, and imagine what they might write, if ever they should put pen to paper. Or what have they not written on the face of the earth already, clearing, and burning, and scratching, and harrowing, and plowing, and subsoiling, in and in, and out and out, and over and over, again and again, erasing what they had already written for want of parchment.

In short, she self-medicated with books. (By the way, as the author of this novel, and one who has herself always self-medicated with books, I cannot rightfully attest or deny whether this is a better way of dealing with 'real life' than any other. In fact, as a reader (all writers are just readers one step to the side), I'm not actually sure I believe in this 'real life'. I know it is a terrible betrayal to say this, but come on, aren't books - whisper it - quite a lot better in real life? In books, baddies get blown up or chopped up or sent to prison. In real life, they're your boss or your ex. In books, you get to know what happened. In real life, sometimes you don't get to know what happened ever. They're not even sure they've found Amelia Earhart. So. Books are absolutely the thing in my opinion, or as the old saying goes: whatever gets you through the night (which I should say is also books. Books get you through the night).)

There was no more room in the world for whole people, they took up too much space. What she had done to him was only a part of the general program for cutting him and people like him down to size, for chopping and paring and breaking up, so that in the texture of life nothing large, nothing hard, nothing grand should remain.

Since words elude me when I need them most, I learned long ago that I cannot count on QUALITY time with God when I want to pray. I need QUANTITY and regularity. Quality is not something I can predict. My husband, Andy, and I might schedule an elaborate evening out with candles and a gourmet meal, but there is no guarantee that we'll have a wonderful time together -- chopping onions peppers die by side in the kitchen, reading together on the couch, sitting on the front step watching our sons ride bikes, and making plans for our life together.

To Juan at the Winter Solstice There is one story and one story only That will prove worth your telling, Whether as learned bard or gifted child; To it all lines or lesser gauds belong That startle with their shining Such common stories as they stray into. Is it of trees you tell, their months and virtues, Or strange beasts that beset you, Of birds that croak at you the Triple will? Or of the Zodiac and how slow it turns Below the Boreal Crown, Prison to all true kings that ever reigned? Water to water, ark again to ark, From woman back to woman: So each new victim treads unfalteringly The never altered circuit of his fate, Bringing twelve peers as witness Both to his starry rise and starry fall. Or is it of the Virgin's silver beauty, All fish below the thighs? She in her left hand bears a leafy quince; When, with her right hand she crooks a finger, smiling, How many the King hold back? Royally then he barters life for love. Or of the undying snake from chaos hatched, Whose coils contain the ocean, Into whose chops with naked sword he springs, Then in black water, tangled by the reeds, Battles three days and nights, To be spewed up beside her scalloped shore? Much snow if falling, winds roar hollowly, The owl hoots from the elder, Fear in your heart cries to the loving-cup: Sorrow to sorrow as the sparks fly upward. The log groans and confesses: There is one story and one story only. Dwell on her graciousness, dwell on her smiling, Do not forget what flowers The great boar trampled down in ivy time. Her brow was creamy as the crested wave, Her sea-blue eyes were wild But nothing promised that is not performed.

As our buggy wound its way up through the bottoms, Grandpa started talking. “You know, Billy,” he said, “about this tree-chopping of yours, I think it’s all right. In fact, I think it would be a good thing if all young boys had to cut down a big tree like that once in their life. It does something for them. It gives them determination and will power. That’s a good thing for a man to have. It goes a long way in his life. The American people have a lot of it. They have proved that, all down through history, but they could do with a lot more of it.

They walked back to the chopping block, Claire carrying the crab in her hands. Helen paused. "You know, I'd like to ask you something a friend asked me once, if you don't think it's too personal." "What is it?" "What do you do that makes you happy? Just you?" Claire looked at Helen for a moment and thought, the crab resting on the block beneath her hands. "I was just wondering," Helen continued. "No one ever asked me when I was your age, and I think it's a good thing to think about." Claire nodded. Then she took the cleaver and cut the crab into ten pieces.

Simplicity, simplicity, simplicity! I say, let your affairs be as two or three, and not a hundred or a thousand; instead of a million count half a dozen, and keep your accounts on your thumbnail. In the midst of this chopping sea of civilized life, such are the clouds and storms and quicksands and thousand-and-one items to be allowed for, that a man has to live.

The Correspondence-School Instructor Says Goodbye to His Poetry Students Goodbye, lady in Bangor, who sent me snapshots of yourself, after definitely hinting you were beautiful; goodbye, Miami Beach urologist, who enclosed plain brown envelopes for the return of your very “Clinical Sonnets”; goodbye, manufacturer of brassieres on the Coast, whose eclogues give the fullest treatment in literature yet to the sagging breast motif; goodbye, you in San Quentin, who wrote, “Being German my hero is Hitler,” instead of “Sincerely yours,” at the end of long, neat-scripted letters extolling the Pre-Raphaelites: I swear to you, it was just my way of cheering myself up, as I licked the stamped, self-addressed envelopes, the game I had of trying to guess which one of you, this time, had poisoned his glue. I did care. I did read each poem entire. I did say everything I thought in the mildest words I knew. And now, in this poem, or chopped prose, no better, I realize, than those troubled lines I kept sending back to you, I have to say I am relieved it is over: at the end I could feel only pity for that urge toward more life your poems kept smothering in words, the smell of which, days later, tingled in your nostrils as new, God-given impulses to write. Goodbye, you who are, for me, the postmarks again of imaginary towns—Xenia, Burnt Cabins, Hornell— their solitude given away in poems, only their loneliness kept. Galway Kinnell

And then there was pain and blood and tears, all those things that cause suffering and revolt, the killing of Françoise, the killing of Fouan, vice triumphing, and the stinking, bloodthirsty peasants, vermin who disgrace and exploit the earth. But can you really know? Just as the frost that burns the crops, the hail that chops them down, the thunderstorms which batter them are all perhaps necessary, maybe blood and tears are needed to keep the world going. And how important is human misery when weighed against the mighty mechanism of the stars and the sun? What does God care for us? We earn our bread only by dint of a cruel struggle, day in, day out. And only the earth is immortal, the Great Mother from whom we spring and to whom we return, love of whom can drive us to crime and through whom life is perpetually preserved for her own inscrutable ends, in which even our wretched degraded nature has its part to play.

I suddenly look at the fish and feel horrible all over again, that old death scheme is now back only now I'm gonna put my big healthy Anglosaxon teeth into it and wrench away at the mournful flesh of a little living being that only an hour ago was swimming happily in the sea, in fact even Dave thinking this and saying: 'Ah yes that little muzzling mouth was blindly sucking away in the glad waters of life and now look at it, here's where the fittin head's chopped off, you don't have to look, us big drunken sinners are now going to use it for our sacrificial supper[...]

I'm tired of people using their cars as biographical information centers, informing the world of their sad-sack lives and boring interests. Keep that shit to yourself. I don't want to know what college you went to, who you intend to vote for or what your plan is for world peace. I don't care if you visited the Grand Canyon, Mount Rushmore or the birthplace of Wink Martindale. And I'm not interested in what radio station you listen to or what bands you like. In fact, I'm not interested in you in any way, except to see you in my rearview mirror. Furthermore, I can do without your profession of faith in God, Allah, Jehova, Yahweh, Peter Cottonail or whoever the fuck it is you've turned your life over to; please keep your superstitions private. I can't tell how happy it would make me to someday drive up to a flaming auto wreck and see smoke curling up around one of those little fish symbols with Jesus written inside it. And as far as I'm concerned you can include the Darwin/fish-with-feet-evolution symbol too. Far too cute for my taste. So keep the personal and autobiographical messages to yourself. Here's an idea: maybe you could paste them up inside your car, where you can see them and I can't.

There's a race of men that don't fit in, A race that can't stay still; So they break the hearts of kith and kin, And they roam the world at will. They range the field and they rove the flood, And they climb the mountain's crest; Theirs is the curse of the gypsy blood, And they don't know how to rest. If they just went straight they might go far; They are strong and brave and true; But they're always tired of the things that are, And they want the strange and new. They say: "Could I find my proper groove, What a deep mark I would make!" So they chop and change, and each fresh move Is only a fresh mistake. And each forgets, as he strips and runs With a brilliant, fitful pace, It's the steady, quiet, plodding ones Who win in the lifelong race. And each forgets that his youth has fled, Forgets that his prime is past, Till he stands one day, with a hope that's dead, In the glare of the truth at last. He has failed, he has failed; he has missed his chance; He has just done things by half. Life's been a jolly good joke on him, And now is the time to laugh. Ha, ha! He is one of the Legion Lost; He was never meant to win; He's a rolling stone, and it's bred in the bone; He's a man who won't fit in.

pretend I am equal while I am: walking the dog/doing the grocery shopping/waiting in the orthodontist’s/commiserating about mean teens/folding laundry. I pretend I am equal when I am chopping vegetables/organising the counsellor or the hospital or the solicitor/de-griming the fridge. Actually, I mind none of it. This is my real life, with my real loves. I know that when I’m old I’ll envy my younger self her busyness, her purpose, her big-hearted whirligig life. But still, the distribution of labour is hard to make equal, because so much of it is hard to see, wrapped up in the definition of what it is to be me.

After Nicholas hung up the phone, he watched his mother carry buckets and garden tools across the couch grass toward a bed that would, come spring, be brightly ablaze as tropical coral with colorful arctotis, impatiens, and petunias. Katherine dug with hard chopping strokes, pulling out wandering jew and oxalis, tossing the uprooted weeds into a black pot beside her. The garden will be beautiful, he thought. But how do the weeds feel about it? Sacrifices must be made.

There is nothing so bracing as planning a murder. I recommend it to the weak-willed and those with a leaky sense of self. It is fortifying as a drop of coagulant in a solution. I had planned (The word is too strong. Imagined. Anticipated?) this particular murder for so many years that it had taken on an air of performance and respectability. To understand how a murder can be domesticated and even humdrum may be hard for fans of the pounce of the soundtrack, the streak of scarlet, the gunky skeleton jiggling in the flashlight beam. But I am convinced that if murder is horrible, its for the overflow into the ordinary: severed heads in Ziploc bags, the dead baby in the dumpster behind Chubby’s. Anyone who has eaten a pork chop has all the information she needs for murder…It takes a special kind of person, a criminal, to commit a crime? You know better; in your dreams you’ve already tried it…

I know more about my father than I used to know: I know he wanted to be a pilot in the war but could not, because the work he did was considered essential to the war effort… I know he grew up on a farm in the backwoods of Nova Scotia, where they didn’t have running water or electricity. This is why he can build things and chop things… He did his high school courses by correspondence, sitting at the kitchen table and studying by the light by a kerosene lamp; he put himself through university by working in lumber camps and cleaning out rabbit hutches, and was so poor he lived in a tent in the summers to save money… All this is known, but unimaginable. Also I wish I did not know it. I want my father to be just my father, the way he has always been, not a separate person with an earlier, mythological life of his own. Knowing too much about other people puts you in their power, they have a claim on you, you are forced to understand their reasons for doing things and then you are weakened.

You can taste sorrow in salt tears and in the bitterness of spoiled words left in your mouth for far too long. You can hear sorrow in a familiar song. You can hide sorrow behind closed doors and inside screams muffled by pillowcases. You can stick to sorrow as if it were gum in your hair; too mangled to brush out, too jarring to chop off. You can see sorrow in bloodshot eyes and shaky hands. You can get lost in sorrow when it knocks your life off course with no detour signs to redirect you. Most importantly, you can be found in sorrow by becoming a different version of yourself, here, on the other side of tragedy.

Last night I dreamed of the "happy hunting ground." I passed through a place of bones that looked human, but weren't--the skulls were wrong. Then I came to a place where the days were the best of every season, the sweetest air and water in spring, then the dry heat where deer make dust in the road, the fog of fall with good leaves. And you could shoot without a gun, never kill, but the rabbits would do a little dance, all as if it were a game, and they were playing it too. Then winter came with heavy powder-snow, and big deer, horses, goats and buffaloes--all white--snorted, tossed their heads, and I lay down with my Army blanket, made my bed in the snow, then dreamed within the dream. I dreamed I was at Fleety's, and she told me the bones were poor people killed by bandits, and she took me back to the place, and under a huge rock where no light should have shown, a cave almost, was a dogwood tree. It glowed the kind of red those trees get at sundown, the buds were purple in that weird light, and a madman came out with an axe and chopped at the skulls, trying to make them human-looking. Then I went back to the other side of both dreams. --from a letter to his mother, Helen Pancake, where he describes a dream that seems to encapsulate the play between violence and gentleness in his life.

When they turned off, it was still early in the pink and green fields. The fumes of morning, sweet and bitter, sprang up where they walked. The insects ticked softly, their strength in reserve; butterflies chopped the air, going to the east, and the birds flew carelessly and sang by fits. They went down again and soon the smell of the river spread over the woods, cool and secret. Every step they took among the great walls of vines and among the passion-flowers started up a little life, a little flight. 'We’re walking along in the changing-time,' said Doc. 'Any day now the change will come. It’s going to turn from hot to cold, and we can kill the hog that’s ripe and have fresh meat to eat. Come one of these nights and we can wander down here and tree a nice possum. Old Jack Frost will be pinching things up. Old Mr. Winter will be standing in the door. Hickory tree there will be yellow. Sweet-gum red, hickory yellow, dogwood red, sycamore yellow.' He went along rapping the tree trunks with his knuckle. 'Magnolia and live-oak never die. Remember that. Persimmons will all get fit to eat, and the nuts will be dropping like rain all through the woods here. And run, little quail, run, for we’ll be after you too.' They went on and suddenly the woods opened upon light, and they had reached the river. Everyone stopped, but Doc talked on ahead as though nothing had happened. 'Only today,' he said, 'today, in October sun, it’s all gold—sky and tree and water. Everything just before it changes looks to be made of gold.' ("The Wide Net")

Never did I learn to think in terms of The Niggers. When I grew up, and I did grow up with black people, they were Calpurnia, Zeebo the garbage collector, Tom the yard man, and whatever else their names were. There were hundreds of Negroes surrounding me, they were the hands in the fields, who chopped the cotton, who worked the roads, who sawed the lumber to make our houses. They were poor, they were diseased and dirty, some were lazy and shiftless but never in my life was I given the idea that I should despise one, should fear one, should be discourteous to one, or think that I could mistreat one and get away with it.They as a people did not enter my world, nor did I enter theirs: when I went hunting I did not trespass on a Negro's land, not because it was a Negro's, but because I was not supposed to trespass on anybody's land. I was taught never to take advantage of anybody who was less fortunate than myself, whether he be less fortunate in brains, wealth, or social position; it meant anybody, not just Negroes. I was given to understand that the reverse was to be despised. That is the way I was raised, by a black woman and a white man.

And yet, for all this, for all that he was unparalleled in depicting tyrants knee-deep in blood, Shakespeare was a little naive. Because his monsters had doubts, bad dreams, pangs of conscience, guilt. They saw the spirits of those they had killed rising in front of them. But in real life, under real terror, what guilty conscience? What bad dreams? That was all sentimentality, false optimism, a hope that the world would be as we wanted it to be, rather than as it was. Those who chopped the wood and made the chips fly, those who smoked Belomory behind their desks at the Big House, those who signed the orders and made the telephone calls, closing a dossier and with it a life: how few of them had bad dreams, or ever saw the spirits of the dead rising to reproach them." (p 94)

I tried every diet in the book. I tried some that weren’t in the book. I tried eating the book. It tasted better than most of the diets. I tried the Scarsdale diet and the Stillman water diet (you remember that one, where you run weight off trying to get to the bathroom). I tried Optifast, Juicefast, and Waterfast. I even took those shots that I think were made from cow pee. I endured every form of torture anybody with a white coat and a clipboard could devise for a girl who really liked fried pork chops. One night while I was on some kind of liquid-protein diet made from bone marrow, or something equally appetizing, I was with a group of friends at a Howard Johnson’s and some of them were having fried clams. I’ll never forget sitting there with all of that glorious fried fat filling my nostrils and feeling completely left out. I went home and wrote one of my biggest hits, “Two Doors Down.” I also went off my diet and had some fried clams. There were times when I thought of chucking it all in. “Damn the movie,” I would say. “I’m just gonna eat everything and go ahead and weigh five hundred pounds and have to be buried in a piano case.” Luckily, a few doughnuts later, that thought would pass and I would be back to the goal at hand. I remember something in a book I read called Gentle Eating. The author said you should pretend the angels are eating with you and that you want to save some for them. I loved that idea, because I love angels. I have to admit, though, there were times I would slap those angels out of the way and have their part too. A true hog will do that.

The late 1920s were an age of islands, real and metaphorical. They were an age when Americans by thousands and tens of thousands were scheming to take the next boat for the South Seas or the West Indies, or better still for Paris, from which they could scatter to Majorca, Corsica, Capri or the isles of Greece. Paris itself was a modern city that seemed islanded in the past, and there were island countries, like Mexico, where Americans could feel that they had escaped from everything that oppressed them in a business civilization. Or without leaving home they could build themselves private islands of art or philosophy; or else - and this was a frequent solution - they could create social islands in the shadow of the skyscrapers, groups of close friends among whom they could live as unconstrainedly as in a Polynesian valley, live without moral scruples or modern conveniences, live in the pure moment, live gaily on gin and love and two lamb chops broiled over a coal fire in the grate. That was part of the Greenwich Village idea, and soon it was being copied in Boston, San Francisco, everywhere.

I prayed to a mystery. Sometimes I was simply aware of the mystery. I saw a flash of it during a trip to New York that David and I took before we were married. We were walking on a busy sidewalk in Manhattan. I don't remember if it was day or night. A man with a wound on his forehead came toward us. His damp, ragged hair might have been clotted with blood, or maybe it was only dirt. He wore deeply dirty clothes. His red, swollen hands, cupped in half-fists, swung loosely at his sides. His eyes were focused somewhere past my right shoulder. He staggered while he walked. The sidewalk traffic flowed around him and with him. He was strange and frightening, and at the same time he belonged on the Manhattan sidewalk as much as any of us. It was that paradox -- that he could be both alien and resident, both brutalized and human, that he could stand out in the moving mass of people like a sea monster in a school of tuna and at the same time be as much at home as any of us -- that stayed with me. I never saw him again, but I remember him often, and when I do, I am aware of the mystery. Years later, I was out on our property on the Olympic Peninsula, cutting a path through the woods. This was before our house was built. After chopping through dense salal and hacking off ironwood bushes for an hour or so, I stopped, exhausted. I found myself standing motionless, intensely aware of all of the life around me, the breathing moss, the chattering birds, the living earth. I was as much a part of the woods as any millipede or cedar tree. At that moment, too, I was aware of the mystery. Sometimes I wanted to speak to this mystery directly. Out of habit, I began with "Dear God" and ended with "Amen". But I thought to myself, I'm not praying to that old man in the sky. Rather, I'm praying to this thing I can't define. It was sort of like talking into a foggy valley. Praying into a bank of fog requires alot of effort. I wanted an image to focus on when I prayed. I wanted something to pray *to*. but I couldn't go back to that old man. He was too closely associated with all I'd left behind.

(By the way, as the author of this novel, and one who has herself always self-medicated with books, I cannot rightfully attest or deny whether this is a better way of dealing with ‘real life’ than any other. In fact, as a reader (all writers are just readers one step to the side), I’m not actually sure I believe in this ‘real life’. I know it is a terrible betrayal to say this, but come on, aren’t books – whisper it – quite a lot better in real life? In books, baddies get blown up or chopped up or sent to prison. In real life, they’re your boss or your ex. In books, you get to know what happened. In real life, sometimes you don’t get to know what happened ever. They’re not even sure they’ve found Amelia Earhart. So. Books are absolutely the thing in my opinion, or as the old saying goes: whatever gets you through the night (which I should say is also books. Books get you through the night).)

There is a small wooden viewing tower, and pamphlets from the State of Ohio, but they focus on facts—for instance, the Serpent Mound is as long as four football fields—not on meaning. In The Sacred Hoop, Paula Gunn Allen, a Native poet, mythologist, and scholar, explains that Serpent Woman was one of the names of the quintessential original spirit “that pervades everything, that is capable of powerful song and radiant movement, and that moves in and out of the mind…she is both Mother and Father to all people and all creatures. She is the only creator of thought, and thought precedes creation.” In Western mythology, she might be compared to Medusa, the serpent-haired Greek goddess whose name means Knowing Woman or Protectress. She once was all-powerful—until patriarchy came along in the form of a mythic young man who chopped off her head. He was told to do this by Athena, who sprang full-blown from the mind of her father, Zeus—a goddess thought up by patriarchy and therefore motherless. There is history in what is dismissed as prehistory.

What is an oyster if not the perfect food? It requires no preparation or cooking. Cooking would be an affront. It provides its own sauce. It’s a living thing until seconds before disappearing down your throat, so you know – or should know – that it’s fresh. It appears on your plate as God created it: raw, unadorned. A squeeze of lemon, or maybe a little mignonette sauce (red wine vinegar, cracked black pepper, some finely chopped shallot), about as much of an insult as you might care to tender against this magnificent creature. It is food at its most primeval and glorious, untouched by time or man. A living thing, eaten for sustenance and pleasure, the same way our knuckle-dragging forefathers ate them. And they have, for me anyway, the added mystical attraction of all that sense memory – the significance of being the first food to change my life. I blame my first oyster for everything I did after: my decision to become a chef, my thrill-seeking, all my hideous screwups in pursuit of pleasure. I blame it all on that oyster. In a nice way, of course.

XII. If there pushed any ragged thistle-stalk Above its mates, the head was chopped, the bents Were jealous else. What made those holes and rents In the dock's harsh swarth leaves, bruised as to baulk All hope of greenness? Tis a brute must walk Pashing their life out, with a brute's intents. XIII. As for the grass, it grew as scant as hair In leprosy; thin dry blades pricked the mud Which underneath looked kneaded up with blood. One stiff blind horse, his every bone a-stare, Stood stupified, however he came there: Thrust out past service from the devil's stud! XIV. Alive? he might be dead for aught I knew, With that red gaunt and colloped neck a-strain. And shut eyes underneath the rusty mane; Seldom went such grotesqueness with such woe; I never saw a brute I hated so; He must be wicked to deserve such pain. XV. I shut my eyes and turned them on my heart, As a man calls for wine before he fights, I asked one draught of earlier, happier sights, Ere fitly I could hope to play my part. Think first, fight afterwards, the soldier's art: One taste of the old time sets all to rights. XVI. Not it! I fancied Cuthbert's reddening face Beneath its garniture of curly gold, Dear fellow, till I almost felt him fold An arm to mine to fix me to the place, The way he used. Alas, one night's disgrace! Out went my heart's new fire and left it cold. XVII. Giles then, the soul of honour - there he stands Frank as ten years ago when knighted first, What honest man should dare (he said) he durst. Good - but the scene shifts - faugh! what hangman hands Pin to his breast a parchment? His own bands Read it. Poor traitor, spit upon and curst! XVIII. Better this present than a past like that: Back therefore to my darkening path again! No sound, no sight as far as eye could strain. Will the night send a howlet or a bat? I asked: when something on the dismal flat Came to arrest my thoughts and change their train. XIX. A sudden little river crossed my path As unexpected as a serpent comes. No sluggish tide congenial to the glooms; This, as it frothed by, might have been a bath For the fiend's glowing hoof - to see the wrath Of its black eddy bespate with flakes and spumes. XX. So petty yet so spiteful! All along, Low scrubby alders kneeled down over it; Drenched willows flung them headlong in a fit Of mute despair, a suicidal throng: The river which had done them all the wrong, Whate'er that was, rolled by, deterred no whit. XXI. Which, while I forded - good saints, how I feared To set my foot upon a dead man's cheek, Each step, of feel the spear I thrust to seek For hollows, tangled in his hair or beard! - It may have been a water-rat I speared, But, ugh! it sounded like a baby's shriek. XXII. Glad was I when I reached the other bank. Now for a better country. Vain presage! Who were the strugglers, what war did they wage, Whose savage trample thus could pad the dank soil to a plash? Toads in a poisoned tank Or wild cats in a red-hot iron cage - XXIII. The fight must so have seemed in that fell cirque, What penned them there, with all the plain to choose? No footprint leading to that horrid mews, None out of it. Mad brewage set to work Their brains, no doubt, like galley-slaves the Turk Pits for his pastime, Christians against Jews.

But there is a way of despising the dandelion which is not that of the dreary pessimist, but of the more offensive optimist. It can be done in various ways; one of which is saying, "You can get much better dandelions at Selfridge's," or "You can get much cheaper dandelions at Woolworth's." Another way is to observe with a casual drawl, "Of course nobody but Gamboli in Vienna really understands dandelions," or saying that nobody would put up with the old-fashioned dandelion since the super-dandelion has been grown in the Frankfurt Palm Garden; or merely sneering at the stinginess of providing dandelions, when all the best hostesses give you an orchid for your buttonhole and a bouquet of rare exotics to take away with you. These are all methods of undervaluing the thing by comparison; for it is not familiarity but comparison that breeds contempt. And all such captious comparisons are ultimately based on the strange and staggering heresy that a human being has a right to dandelions; that in some extraordinary fashion we can demand the very pick of all the dandelions in the garden of Paradise; that we owe no thanks for them at all and need feel no wonder at them at all; and above all no wonder at being thought worthy to receive them. Instead of saying, like the old religious poet, "What is man that Thou carest for him, or the son of man that Thou regardest him?" we are to say like the discontented cabman, "What's this?" or like the bad-tempered Major in the club, "Is this a chop fit for a gentleman?" Now I not only dislike this attitude quite as much as the Swinburnian pessimistic attitude, but I think it comes to very much the same thing; to the actual loss of appetite for the chop or the dish of dandelion-tea. And the name of it is Presumption and the name of its twin brother is Despair. This is the principle I was maintaining when I seemed an optimist to Mr. Max Beerbohm; and this is the principle I am still maintaining when I should undoubtedly seem a pessimist to Mr. Gordon Selfridge. The aim of life is appreciation; there is no sense in not appreciating things; and there is no sense in having more of them if you have less appreciation of them.

What first comes across our minds About the stocky Mexican Pushing a mower across the lawn At 7 a.m. on a Saturday As the roar of the cutter wakes us? Let me take a guess. Why do they have to come so damn early? What do we make of his flannel Shirt missing buttons at the cuffs, Threadbare at the shoulders, The grass stains around his knees, The dirt like roadmaps to nowhere, Between the wrinkles of his neck? Let me take a shot. Dirty Mexican. Would his appearance lead us to believe He is a border jumper or wetback Who hits the bar top with an empty shot glass For the twelfth time then goes home To kick his wife around like fallen grapefruit Lying on the ground? First, the stocky Mexican isn’t mowing the lawn At 7 a.m. on a Saturday. He doesn’t work weekends anymore ever since He lost one-third of his route To laborers willing to work for next to nothing. Second, he knows better than to kneel On the wet grass because, well, the knees Of his pants will become grass-stained And pants don’t grow on trees, even here, Close to Palm Springs. Instead, after 25 years of the same blue collar work, Two sons out and one going to college, Rather than jail, and a small but modest savings In case he loses the remaining two-thirds Of his work—no matter how small and reluctantly The checks come in the mail— My father the stocky gardener believes He firmly holds his life In both his hands like pruning shears, Chopping branches and blossoms, Never looking downward as they fall to his feet In pieces like the American dream.

The Men That Don't Fit In There's a race of men that don't fit in, A race that can't stay still; So they break the hearts of kith and kin, And they roam the world at will. They range the field and they rove the flood, And they climb the mountain's crest; Theirs is the curse of the gypsy blood, And they don't know how to rest. If they just went straight they might go far; They are strong and brave and true; But they're always tired of the things that are, And they want the strange and new. They say: "Could I find my proper groove, What a deep mark I would make!" So they chop and change, and each fresh move Is only a fresh mistake. And each forgets, as he strips and runs With a brilliant, fitful pace, It's the steady, quiet, plodding ones Who win in the lifelong race. And each forgets that his youth has fled, Forgets that his prime is past, Till he stands one day, with a hope that's dead, In the glare of the truth at last. He has failed, he has failed; he has missed his chance; He has just done things by half. Life's been a jolly good joke on him, And now is the time to laugh. Ha, ha! He is one of the Legion Lost; He was never meant to win; He's a rolling stone, and it's bred in the bone; He's a man who won't fit in.

Mr. Brock’s account of his adventure in London has given the reader some short notice of his friend, Mr Macshane. Neither the wits nor the principles of that worthy Ensign were particularly firm: for drink, poverty, and a crack on the skull at the battle of Steenkirk had served to injure the former; and the Ensign was not in his best days possessed of any share of the latter. He had really, at one period, held such a rank in the army, but pawned his half-pay for drink and play; and for many years past had lived, one of the hundred thousand miracles of our city, upon nothing that anybody knew of, or of which he himself could give any account. Who has not a catalogue of these men in his list? who can tell whence comes the occasional clean shirt, who supplies the continual means of drunkenness, who wards off the daily-impending starvation? Their life is a wonder from day to day: their breakfast a wonder; their dinner a miracle; their bed an interposition of Providence. If you and I, my dear sir, want a shilling tomorrow, who will give it us? Will OUR butchers give us mutton-chops? will OUR laundresses clothe us in clean linen? — not a bone or a rag. Standing as we do (may it be ever so) somewhat removed from want,[*] is there one of us who does not shudder at the thought of descending into the lists to combat with it, and

It [the charcuterie] was almost on the corner of the Rue Pirouette and was a joy to behold. It was bright and inviting, with touches of brilliant colour standing out amidst white marble. The signboard, on which the name QUENU-GRADELLE glittered in fat gilt letter encircled by leaves and branches painted on a soft-hued background, was protected by a sheet of glass. On the two side panels of the shop front, similarly painted and under glass, were chubby little Cupids playing in the midst of boars' heads, pork chops, and strings of sausages; and these still lifes, adorned with scrolls and rosettes, had been designed in so pretty and tender a style that the raw meat lying there assumed the reddish tint of raspberry jam. Within this delightful frame, the window display was arranged. It was set out on a bed of fine shavings of blue paper; a few cleverly positioned fern leaves transformed some of the plates into bouquets of flowers fringed with foliage. There were vast quantities of rich, succulent things, things that melted in the mouth. Down below, quite close to the window, jars of rillettes were interspersed with pots of mustard. Above these were some boned hams, nicely rounded, golden with breadcrumbs, and adorned at the knuckles with green rosettes. Then came the larger dishes--stuffed Strasbourg tongues, with their red, varnished look, the colour of blood next to the pallor of the sausages and pigs' trotters; strings of black pudding coiled like harmless snakes; andouilles piled up in twos and bursting with health; saucissons in little silver copes that made them look like choristers; pies, hot from the oven, with little banner-like tickets stuck in them; big hams, and great cuts of veal and pork, whose jelly was as limpid as crystallized sugar. Towards the back were large tureens in which the meats and minces lay asleep in lakes of solidified fat. Strewn between the various plates and sishes, on the bed of blue shavings, were bottles of relish, sauce, and preserved truffles, pots of foie gras, and tins of sardines and tuna fish. A box of creamy cheeses and one full of snails stuffed with butter and parsley had been dropped in each corner. Finally, at the very top of the display, falling from a bar with sharp prongs, strings of sausages and saveloys hung down symmetrically like the cords and tassels of some opulent tapestry, while behind, threads of caul were stretched out like white lacework. There, on the highest tier of this temple of gluttony, amid the caul and between two bunches of purple gladioli, the alter display was crowned by a small, square fish tank with a little ornamental rockery, in which two goldfish swam in endless circles.

never so happy in my whole life. Once on a yellow piece of paper with green lines he wrote a poem And he called it “Chops” because that was the name of his dog And that’s what it was all about And his teacher gave him an A and a gold star And his mother hung it on the kitchen door and read it to his aunts That was the year Father Tracy took all the kids to the zoo And he let them sing on the bus And his little sister was born with tiny toenails and no hair And his mother and father kissed a lot And the girl around the corner sent him a Valentine signed with a row of X’s and he had to ask his father what the X’s meant And his father always tucked him in bed at night And was always there to do it Once on a piece of white paper with blue lines he wrote a poem And he called it “Autumn” because that was the name of the season And that’s what it was all about And his teacher gave him an A and asked him to write more clearly And his mother never hung it on the kitchen door because of its new paint And the kids told him that Father Tracy smoked cigars And left butts on the pews And sometimes they would burn holes That was the year his sister got glasses with thick lenses and black frames And the girl around the corner laughed when he asked her to go see Santa Claus And the kids told him why his mother and father kissed a lot And his father never tucked him in bed at night And his father got mad when he cried for him to do it. Once on a paper torn from his notebook he wrote a poem And he called it “Innocence: A Question” because that was the question about his girl And that’s what it was all about And his professor gave him an A and a strange steady look And his mother never hung it on the kitchen door because he never showed her That was the year that Father Tracy died And he forgot how the end of the Apostle’s Creed went And he caught his sister making out on the back porch And his mother and father never kissed or even talked And the girl around the corner wore too much makeup That made him cough when he kissed her but he kissed her anyway because that was the thing to do And at three A.M. he tucked himself into bed his father snoring soundly That’s why on the back of a brown paper bag he tried another poem And he called it “Absolutely Nothing” Because that’s what it was really all about And he gave himself an A and a slash on each damned wrist And he hung it on the bathroom door because this time he didn’t think he could reach the kitchen.

Simplicity, simplicity, simplicity! I say, let your affairs be as two or three, and not a hundred or a thousand; instead of a million count half a dozen, and keep your accounts on your thumb-nail. In the midst of this chopping sea of civilized life, such are the clouds and storms and quicksands and thousand-and-one items to be allowed for, that a man has to live, if he would not founder and go to the bottom and not make his port at all, by dead reckoning, and he must be a great calculator indeed who succeeds. Simplify, simplify. Instead of three meals a day, if it be necessary eat but one; instead of a hundred dishes, five; and reduce other things in proportion. Our life is like a German Confederacy, made up of petty states, with its boundary forever fluctuating, so that even a German cannot tell you how it is bounded at any moment. The nation itself, with all its so-called internal improvements, which, by the way are all external and superficial, is just such an unwieldy and overgrown establishment, cluttered with furniture and tripped up by its own traps, ruined by luxury and heedless expense, by want of calculation and a worthy aim, as the million households in the land; and the only cure for it, as for them, is in a rigid economy, a stern and more than Spartan simplicity of life and elevation of purpose. It lives too fast. Men think that it is essential that the Nation have commerce, and export ice, and talk through a telegraph, and ride thirty miles an hour, without a doubt, whether they do or not; but whether we should live like baboons or like men, is a little uncertain. If we do not get out sleepers, and forge rails, and devote days and nights to the work, but go to tinkering upon our lives to improve them, who will build railroads? And if railroads are not built, how shall we get to heaven in season? But if we stay at home and mind our business, who will want railroads? We do not ride on the railroad; it rides upon us.

I hate Toscanini. I’ve never heard him in a concert hall, but I’ve heard enough of his recordings. What he does to music is terrible in my opinion. He chops it up into a hash and then pours a disgusting sauce over it. Toscanini ‘honoured’ me by conducting my symphonies. I heard those records, too, and they’re worthless. I’ve read about Toscanini’s conducting style and his manner of conducting a rehearsal. The people who describe this disgraceful behaviour are for some reason delighted by it. I simply can’t understand what they find delightful. I think it’s outrageous, not delightful. He screams and curses the musicians and makes scenes in the most shameless manner. The poor musicians have to put up with all this nonsense or be sacked. And they even begin to see ‘something in it’. (…) Toscanini sent me his recording of m Seventh Symphony and hearing it made me very angry. Everything is wrong. The spirit and the character and the tempi. It’s a sloppy, hack job. I wrote him a letter expressing my views. I don’t know if he ever got it; maybe he did and pretended not to – that would be completely in keeping with his vain and egoistic style. Why do I think that Toscanini didn’t let it be known that I wrote to him? Because much later I received a letter from America: I was elected to the Toscanini Society! They must have thought that I was a great fan of the maestro’s. I began receiving records on a regular basis: all new recordings by Toscanini. My only comfort is that at least I always have a birthday present handy. Naturally, I wouldn’t give something like that to a friend. But to an acquaintance-why not? It pleases them and it’s less trouble for me. That’s one of life’s most difficult problems- what to give for a birthday or anniversary to a person you don’t particularly like, don’t know very well, and don’t respect. Conductors are too often rude and conceited tyrants. And in my youth I often had to fight fierce battles with them, battles for my music and my dignity.

After situating herself on a huge flat-sided rock, Baby Suggs bowed her head and prayed silently. The company watched her from the trees. They knew she was ready when she put her stick down. Then she shouted, 'Let the children come!' and they ran from the trees toward her. 'Let your mothers hear you laugh,' she told them, and the woods rang. The adults looked on and could not help smiling. Then 'Let the grown men come,' she shouted. They stepped out one by one from among the ringing trees. 'Let your wives and your children see you dance,' she told them, and groundlife shuddered under their feet. Finally she called the women to her. 'Cry,' she told them. 'For the living and the dead. Just cry.' And without covering their eyes the women let loose. It started that way: laughing children, dancing men, crying women and then it got mixed up. Women stopped crying and danced; men sat down and cried; children danced, women laughed, children cried until, exhausted and riven, all and each lay about the Clearing damp and gasping for breath. In the silence that followed, Baby Suggs, holy, offered up to them her great big heart. She did not tell them to clean up their lives or to go and sin no more. She did not tell them they were the blessed of the earth, its inheriting meek or its glorybound pure. She told them that the only grace they could have was the grace they could imagine. That if they could not see it, they would not have it. 'Here,' she said, 'in this here place, we flesh; flesh that weeps, laughs; flesh that dances on bare feet in grass. Love it. Love it hard. Yonder they do not love your flesh. They despise it. They don't love your eyes; they'd just as soon pick em out. No more do they love the skin on your back. Yonder they flay it. And O my people they do not love your hands. These they only use, tie, bind, chop off and leave empty. Love your hands! Love them. Raise them up and kiss them. Touch others with them, pat them together, stroke them on your face 'cause they don't love that either. You got to love it, you! And nom they ain't in love with your mouth. Yonder, out there, they will see it broken and break it again. What you say out of it they will not heed. What you scream from it they do not hear. Flesh that needs to be loved. Feet that need to rest and to dance; backs that need support; shoulders that need arms, strong arms I'm telling you. And O my people, out yonder, hear me, they do not love your neck unnoosed and straight. So love your neck; put a hand on it, grace it, stroke it and hold it up. And all your inside parts that they'd just as soon slop for hogs, you got to love them. The dark, dark liver-love it, love it, and the beat and beating heart, love that too. More than eyes or feet. More than lungs that have yet to draw free air. More than your life-holding womb and your life-giving private parts, hear me now, love your heart. For this is the prize.

Come on, Bob, kill it!” “I’m trying, Tom. It won’t stop moving.” I looked at Wolf and whispered, “What do you think they are trying to kill?” Wolf shrugged. “Let’s go check it out.” We snuck forward until we could get a visual on what was happening. We saw that there were two large slimes and one baby slime. Judging by the way the large slimes were protecting the baby, I assumed it was their child rather than a random baby slime. The two players were slashing at the large slimes who were trying to defend themselves but failing. Eventually the players chopped the two large slimes into medium slimes, then into small slimes until they had finally killed all the pieces. That left the baby slime all alone. Bob and Tom looked at each other. “I think we should kill it,” said Tom. “Otherwise, it’s going to grow into an adult slime and try to get its revenge on us.” Where have I heard this story before? Bob laughed. “Slimes are stupid. It won’t be able to get revenge because it will be dead.” The players began to move forward to the baby slime. And that’s when something snapped in me. I was reminded of the night my parents sacrificed their lives for me. I couldn’t let this baby slime be killed. I jumped up and rushed to the players. Wolf shout-whispered, “No! Don’t do it!” I didn’t care. I ran up to the two players and without giving them a chance to surrender, mercilessly assassinated them. The baby slime looked at me with fear in its eyes and backed away, fearful that I would kill it too. But I didn’t. I put my sword back into my inventory and reached down and gently picked up the slime. “Can you talk?” I asked. The slime made cooing and booping noises, but apparently was too young to be able to speak yet. “I wish I could talk to you, Child. I would tell you that everything is going to be alright. I’ll be your new guardian.” Wolf arrived by my side a moment later. “It’s not part of the Way to kill players unless the killing falls under a specific rule or arises from self-defense.” I shot a look at Wolf. “I was defending the life of another. Is that not the same as self-defense?” “I guess, but it’s … hurrr … it’s a slime.” “Are you saying a slime has less right to be alive than us?” “I’m not saying that, but now that you mention it….” “Shut up. I’m taking charge of this child.” Wolf shook his head. “You realize that according to the Way, if you take the life of an orphan into your hands you have to protect it and see that it makes it to adulthood, just as I have with you.

It's never going to stop,’ Malenfant whispered. ‘It will consume the Solar System, the stars—’ This isn't some local phenomenon, Malenfant. This is a fundamental change in the structure of the universe. It will never stop. It will sweep on, growing at light speed, a runaway feedback fueled by the collapse of the vacuum itself. The Galaxy will be gone in a hundred thousand years, Andromeda, the nearest large galaxy, in a couple of million years. It will take time, but eventually— ‘The future has gone,’ Malenfant said. ‘My God. That’s what this means, isn’t it? The downstream can’t happen now. All of it is gone. The colonization of the Galaxy; the settlement of the universe; the long, patient fight against entropy...’ That immense future had been cut off to die, like a tree chopped through at the root. ‘Why, Michael? Why have the children done this? Burned the house down, destroyed the future—’ Because it was the wrong future. Michael looked around the sky. He pointed to the lumpy, spreading edge of the unreality bubble. There. Can you see that? It's already starting... ‘What is?’ The budding... The growth of the true vacuum region is not even. There will be pockets of the false vacuum—remnants of our universe—isolated by the spreading true vacuum. The fragments of false vacuum will collapse. Like— ‘Like black holes.’ And in that instant, Malenfant understood. ‘That’s what this is for. This is just a better way of making black holes, and budding off new universes. Better than stars, even.’ Much better. The black holes created as the vacuum decay proceeds will overwhelm by many orders of magnitude the mere billion billion that our universe might have created through its stars and galaxy cores. ‘And the long, slow evolution of the universes, the branching tree of cosmoses?...’ We have changed everything, Malenfant. Mind has assumed responsibility for the evolution of the cosmos. There will be many daughter universes—universes too many to count, universes exotic beyond our imagining—and many, many of them will harbor life and mind. ‘But we were the first.’ Now he understood. This was the purpose. Not the long survival of humankind into a dismal future of decay and shadows, the final retreat into the lossless substrate, where nothing ever changed or grew. The purpose of humankind—the first intelligence of all—had been to reshape the universe in order to bud others and create a storm of mind. We got it wrong, he thought. By striving for a meaningless eternity, humans denied true infinity. But we reached back, back in time, back to the far upstream, and spoke to our last children—the maligned Blues—and we put it right. This is what it meant to be alone in the universe, to be the first. We had all of infinite time and space in our hands. We had ultimate responsibility. And we discharged it. We were parents of the universe, not its children.