City Girl Song Quotes

East Side, West Side, all around the town, The tots sang "Ring-a-rosie, London Bridge is falling Down; Boys and Girls together, me and Mamie O'Rorke, Tripped the light fantastic on the sidewalks of New York.

Money and office and success are the consolations of impotence. Fortune turns kind to such solid people and lets them suck their bone in peace. She flecks her whip upon flesh that is more alive, upon that stream of hungry boys and girls who tramp the streets of every city, recognizable by their pride and discontent, who are the Future, and who possess the treasure of creative power.

I am sorry for your girl, Ned. Truly. About the wolf, I mean. My son was lying, I’d stake my soul on it. My son … you love your children, don’t you?” “With all my heart,” Ned said. “Let me tell you a secret, Ned. More than once, I have dreamed of giving up the crown. Take ship for the Free Cities with my horse and my hammer, spend my time warring and whoring, that’s what I was made for. The sellsword king, how the singers would love me. You know what stops me? The thought of Joffrey on the throne, with Cersei standing behind him whispering in his ear. My son. How could I have made a son like that, Ned?” “He’s only a boy,” Ned said awkwardly. He had small liking for Prince Joffrey, but he could hear the pain in Robert’s voice. “Have you forgotten how wild you were at his age?” “It would not trouble me if the boy was wild, Ned. You don’t know him as I do.” He sighed and shook his head. “Ah, perhaps you are right. Jon despaired of me often enough, yet I grew into a good king.” Robert looked at Ned and scowled at his silence. “You might speak up and agree now, you know.” “Your Grace …” Ned began, carefully. Robert slapped Ned on the back. “Ah, say that I’m a better king than Aerys and be done with it. You never could lie for love nor honor, Ned Stark. I’m still young, and now that you’re here with me, things will be different. We’ll make this a reign to sing of, and damn the Lannisters to seven hells.

From morning until sunset — and sometimes by moonlight — the surfer dudes ride waves onto shore worried about nothing more than impressing the gorgeous girls watching them. Sometimes those bikini-clad California sweethearts let a boy get to second base to a romantic Leslie Gore or Connie Francis song. If she's really in-love, and trusts him not to tell his buddies, she'll let him round third and wave him home. When that happens, it usually isn't long before Nautica is all abuzz about an impending beach wedding.

I was deep in a dream about photography-walking through a strange city with buildings that stretched so high they disappeared into the clouds. And every time I took a picture of one, it shivered and changed into something else. A sound came from a building behind me-a soft song. I started to walk toward it's open doors, but they closed. I would have to climb in a window- and then I woke up.

The rich, noisy city, fat with food and drink, is a spent thing; it's chief concern is its digestion and its little game of hide-and-seek with the undertaker. Money and office and success are the consolations of impotence. Fortune turns kind to such solid people and lets them suck their bone in peace. She flecks her whip upon flesh that is more alive, upon that stream of hungry boys and girls who tramp the streets of every city, recognizable by their pride and discontent, who are the Future, and who possess the treasure of creative power.

My birth certificate says: Female Negro Mother: Mary Anne Irby, 22, Negro Father: Jack Austin Woodson, 25, Negro In Birmingham, Alabama, Martin Luther King Jr. is planning a march on Washington, where John F. Kennedy is president. In Harlem, Malcolm X is standing on a soapbox talking about a revolution. Outside the window of University Hospital, snow is slowly falling. So much already covers this vast Ohio ground. In Montgomery, only seven years have passed since Rosa Parks refused to give up her seat on a city bus. I am born brown-skinned, black-haired and wide-eyed. I am born Negro here and Colored there and somewhere else, the Freedom Singers have linked arms, their protests rising into song: Deep in my heart, I do believe that we shall overcome someday. and somewhere else, James Baldwin is writing about injustice, each novel, each essay, changing the world. I do not yet know who I’ll be what I’ll say how I’ll say it . . . Not even three years have passed since a brown girl named Ruby Bridges walked into an all-white school. Armed guards surrounded her while hundreds of white people spat and called her names. She was six years old. I do not know if I’ll be strong like Ruby. I do not know what the world will look like when I am finally able to walk, speak, write . . . Another Buckeye! the nurse says to my mother. Already, I am being named for this place. Ohio. The Buckeye State. My fingers curl into fists, automatically This is the way, my mother said, of every baby’s hand. I do not know if these hands will become Malcolm’s—raised and fisted or Martin’s—open and asking or James’s—curled around a pen. I do not know if these hands will be Rosa’s or Ruby’s gently gloved and fiercely folded calmly in a lap, on a desk, around a book, ready to change the world . . .

SPACEBALL RICOCHET" "I'm just a man I understand the wind And all the things that make the children cry With my Les Paul I know I'm small But I enjoy living anyway Book after book I get hooked everytime The writer talks to me like a friend What can I do We just live in a zoo All I do is play the spaceball ricochet Deep in my heart There's a house That can hold just about all of you I bought a car It was old but kind I gave it my mind and it disappeared I love a girl She is a changeless angel She's a city it's a pity that I'm like me I said how can I lay When all I do is play The spaceball ricochet I'm just a man I understand the wind And all the things that make the children cry With my Les Paul I know I'm small But I enjoy living anyway, yes too Deep in my heart There's a house That can hold just about all of you How can I lay When all I do is play The spaceball ricochet Oh Baby, the spaceball ricochet Oh Mama, the spaceball Oh, do the spaceball ...

Last fall, I was sitting at the kitchen table of two friends who have been together since 1972. They tell me a story about how they got together. She couldn't decide between two suitors, so she left New York City to spend the summer in an ashram. (Did I mention was 1972?) One of the suitors sent her postcards while she was gone, the famous postcards that came inside the sleeve of the Rolling Stones' Exile on Main Street. Needless to say, he was the suitor that won her hand. They tell me this story, laughing and interrupting each other, as their teenage daughter walks through the kitchen on her way out to a Halloween party. I've heard of these postcards - over the years, I've heard plenty of record-collector guys boast that they own the original vinyl Exile on Main Street with the original postcards, intact and pristine in the virgin sleeve. I've never heard of anybody getting rid of their prized Exile postcards, much less actually writing on them and sending them through the mail to a girl. I watch these two, laughing over this story at the same kitchen table they've shared for thirty years. I realize that I will never fully understand the millions of bizarre ways that music brings people together.

When I close my eyes to see, to hear, to smell, to touch a country I have known, I feel my body shake and fill with joy as if a beloved person had come near me. A rabbi was once asked the following question: ‘When you say that the Jews should return to Palestine, you mean, surely, the heavenly, the immaterial, the spiritual Palestine, our true homeland?’ The rabbi jabbed his staff into the ground in wrath and shouted, ‘No! I want the Palestine down here, the one you can touch with your hands, with its stones, its thorns and its mud!’ Neither am I nourished by fleshless, abstract memories. If I expected my mind to distill from a turbid host of bodily joys and bitternesses an immaterial, crystal-clear thought, I would die of hunger. When I close my eyes in order to enjoy a country again, my five senses, the five mouth-filled tentacles of my body, pounce upon it and bring it to me. Colors, fruits, women. The smells of orchards, of filthy narrow alleys, of armpits. Endless snows with blue, glittering reflections. Scorching, wavy deserts of sand shimmering under the hot sun. Tears, cries, songs, distant bells of mules, camels or troikas. The acrid, nauseating stench of some Mongolian cities will never leave my nostrils. And I will eternally hold in my hands – eternally, that is, until my hands rot – the melons of Bukhara, the watermelons of the Volga, the cool, dainty hand of a Japanese girl… For a time, in my early youth, I struggled to nourish my famished soul by feeding it with abstract concepts. I said that my body was a slave and that its duty was to gather raw material and bring it to the orchard of the mind to flower and bear fruit and become ideas. The more fleshless, odorless, soundless the world was that filtered into me, the more I felt I was ascending the highest peak of human endeavor. And I rejoiced. And Buddha came to be my greatest god, whom I loved and revered as an example. Deny your five senses. Empty your guts. Love nothing, hate nothing, desire nothing, hope for nothing. Breathe out and the world will be extinguished. But one night I had a dream. A hunger, a thirst, the influence of a barbarous race that had not yet become tired of the world had been secretly working within me. My mind pretended to be tired. You felt it had known everything, had become satiated, and was now smiling ironically at the cries of my peasant heart. But my guts – praised be God! – were full of blood and mud and craving. And one night I had a dream. I saw two lips without a face – large, scimitar-shaped woman’s lips. They moved. I heard a voice ask, ‘Who if your God?’ Unhesitatingly I answered, ‘Buddha!’ But the lips moved again and said: ‘No, Epaphus.’ I sprang up out of my sleep. Suddenly a great sense of joy and certainty flooded my heart. What I had been unable to find in the noisy, temptation-filled, confused world of wakefulness I had found now in the primeval, motherly embrace of the night. Since that night I have not strayed. I follow my own path and try to make up for the years of my youth that were lost in the worship of fleshless gods, alien to me and my race. Now I transubstantiate the abstract concepts into flesh and am nourished. I have learned that Epaphus, the god of touch, is my god. All the countries I have known since then I have known with my sense of touch. I feel my memories tingling, not in my head but in my fingertips and my whole skin. And as I bring back Japan to my mind, my hands tremble as if they were touching the breast of a beloved woman.

Elnora lifted the violin and began to play. She wore a school dress of green gingham, with the sleeves rolled to the elbows. She seemed a part of the setting all around her. Her head shone like a small dark sun, her face never had seemed so rose-flushed and fair. From the instant she drew the bow, her lips parted and her eyes fastened on something far away in the swamp, and never did she give more of that immpression of feeling for her notes and repeating something audible only to her. Ammon was to near to get the best effect. he arose and stepped back several yards, leaning against a large tree, looking and listening with all his soul. As he changed position he saw that Mrs. Comstock had followed them, and was standing on the trail, where she could not have helped hearing everything Elnora had said. So to Ammon before her and the mother watching on the trail, Elnora played the Song of the Limberlost. It seemed as if the swamp hushed all its other voices and spoke only through her dancing bow. The mother out on the trail had heard it all once before from the girl, many times from her father. To the man it was a revelation. He stood so stunned he forgot Mrs. Comstock. He tried to realize what a great city audience would say to that music, from such a player, with a like background, he could not imagine.

The rich, noisy, city, fat with food and drink, is a spent thing; its chief concern is its digestion and its little game of hide-and-seek with the undertaker. Money and office and success are the consolations of impotence. Fortune turns kind to such solid people and lets them suck their bone in peace. She flecks her whip upon flesh that is more alive, upon that stream of hungry boys and girls who tramp the streets of every city, recognizable by their pride and discontent, who are the Future, and who possess the treasure of creative power.

Three miles from my adopted city lies a village where I came to peace. The world there was a calm place, even the great Danube no more than a pale ribbon tossed onto the landscape by a girl’s careless hand. Into this stillness I had been ordered to recover. The hills were gold with late summer; my rooms were two, plus a small kitchen, situated upstairs in the back of a cottage at the end of the Herrengasse. From my window I could see onto the courtyard where a linden tree twined skyward — leafy umbilicus canted toward light, warped in the very act of yearning — and I would feed on the sun as if that alone would dismantle the silence around me. At first I raged. Then music raged in me, rising so swiftly I could not write quickly enough to ease the roiling. I would stop to light a lamp, and whatever I’d missed — larks flying to nest, church bells, the shepherd’s home-toward-evening song — rushed in, and I would rage again. I am by nature a conflagration; I would rather leap than sit and be looked at. So when my proud city spread her gypsy skirts, I reentered, burning towards her greater, constant light. Call me rough, ill-tempered, slovenly— I tell you, every tenderness I have ever known has been nothing but thwarted violence, an ache so permanent and deep, the lightest touch awakens it. . . . It is impossible to care enough. I have returned with a second Symphony and 15 Piano Variations which I’ve named Prometheus, after the rogue Titan, the half-a-god who knew the worst sin is to take what cannot be given back. I smile and bow, and the world is loud. And though I dare not lean in to shout Can’t you see that I’m deaf? — I also cannot stop listening.

Hush, child,” said Lady Leona. “You heard your lord grandfather. Hush! You know nothing.” “I know about the promise,” insisted the girl. “Maester Theomore, tell them! A thousand years before the Conquest, a promise was made, and oaths were sworn in the Wolf’s Den before the old gods and the new. When we were sore beset and friendless, hounded from our homes and in peril of our lives, the wolves took us in and nourished us and protected us against our enemies. The city is built upon the land they gave us. In return we swore that we should always be their men. Stark men!

if they label you soft, feather weight and white-livered, if the locker room tosses back its sweaty head, and laughs at how quiet your hands stay, if they come to trample the dandelions roaring in your throat, you tell them that you were forged inside of a woman who had to survive fifteen different species of disaster to bring you here, and you didn’t come to piss on trees. you ain’t nobody’s thick-necked pitbull boy, don’t need to prove yourself worthy of this inheritance of street-corner logic, this blood legend, this index of catcalls, “three hundred ways to turn a woman into a three course meal”, this legacy of shame, and man, and pillage, and man, and rape, and man. you boy. you won’t be some girl’s slit wrists dazzling the bathtub, won’t be some girl’s, “i didn’t ask for it but he gave it to me anyway”, the torn skirt panting behind the bedroom door, some father’s excuse to polish his gun. if they say, “take what you want”, you tell them you already have everything you need; you come from scabbed knuckles and women who never stopped swinging, you come men who drank away their life savings, and men who raised daughters alone. you come from love you gotta put your back into, elbow-grease loving like slow-dancing on dirty linoleum, you come from that house of worship. boy, i dare you to hold something like that. love whatever feels most like your grandmother’s cooking. love whatever music looks best on your feet. whatever woman beckons your blood to the boiling point, you treat her like she is the god of your pulse, you treat her like you would want your father to treat me: i dare you to be that much man one day. that you would give up your seat on the train to the invisible women, juggling babies and groceries. that you would hold doors, and say thank-you, and understand that women know they are beautiful without you having to yell it at them from across the street. the day i hear you call a woman a “bitch” is the day i dig my own grave. see how you feel writing that eulogy. and if you are ever left with your love’s skin trembling under your nails, if there is ever a powder-blue heart left for dead on your doorstep, and too many places in this city that remind you of her tears, be gentle when you drape the remains of your lives in burial cloth. don’t think yourself mighty enough to turn her into a poem, or a song, or some other sweetness to soften the blow, boy, i dare you to break like that. you look too much like your mother not t

Danny’s Song” by Kenny Loggins “Reminder” by Mumford & Sons “Barton Hollow” by The Civil Wars “Like a Bridge Over Troubled Waters” by Simon and Garfunkel “I and Love and You” by The Avett Brothers “Make You Feel My Love” by Adele “Can’t Break Her Fall” by Matt Kearney  “Stillborn” by Black Label Society “Come On Get Higher” by Matt Nathanson “I Won’t Give Up” by Jason Mraz “This Girl” by City & Colour “My Funny Valentine” by Ella Fitzgerald “Dream a Little Dream of Me” by Ella Fitzgerald and Louis Armstrong “Stormy Blues” by Billie Holiday “I would be Sad” by The Avett Brothers “Hello, I’m Delaware” by City & Colour “99 Problems” by Hugo (originally written and performed by Jay-Z) “It’s Time” by Imagine Dragons “Let It Be Me” by Ray LaMontagne “Rocketship” by Guster “Don’t Drink The Water” by Dave Matthews Band “Blackbird” by The Beatles

When I saw them on the beach, perfectly tanned, or when I watched them twirling in the waves, I grasped the transcendental element in surf music. It was all about freedom from the rules of life, the whole of your being concentrated in the act of shooting the tube. For several years after that trip to L.A. I subscribed to Surfer magazine, and I practiced the Atlantic Ocean version of the sport, though only with my body and on rather tame waves. With my voice muffled by the water I would shout a line from “Surf City.” To me, this was the ultimate fantasy of plenty: “two girls for every boy,” except I sang it as “Two girls for every goy.” Fortunately, Brian has survived the schizoid tendencies that seemed close to the surface when I met him. He’s still performing and writing songs. But it was his emotional battle and the intersection of that struggle with the acid-dosed aesthetic of the sixties that produced his most astonishing music.

Before she could study the damage, Zane grabbed her by her arm and pulled her to her feet. He took her hand in his and examined the injury. Several things occurred to her at once. First--that they’d never stood this close together before. He was so big, tall and broad that he made her feel positively delicate by comparison. Second--for a man who had spent his morning on a horse, he smelled really good. All clean and woodsy. Third--the instant his fingers touched her, the pain miraculously vanished. Talk about amazing. “Skin’s not broken,” he said as he turned over her hand. “Tell me if this hurts.” He bent her fingers back and forth. His warmth sent sizzling jolts of awareness slip-sliding all through her body. Despite the heat filling her, something was wrong with her lungs because it was impossible to breathe. He touched her gently, as if he didn’t want to hurt her. The logical part of her brain turned cynical, announcing that he was simply concerned about a lawsuit by a goat-bitten city girl. The romantic side of her suddenly understood all those country songs about cowboys. What was it that country star Lacey Mills had sung? “Go ahead, cowboy. Rope me in.” It was a brief battle, with romance emerging victorious.

Melinda Pratt rides city bus number twelve to her cello lesson, wearing her mother's jean jacket and only one sock. Hallo, world, says Minna. Minna often addresses the world, sometimes silently, sometimes out loud. Bus number twelve is her favorite place for watching, inside and out. The bus passes cars and bicycles and people walking dogs. It passes store windows, and every so often Minna sees her face reflection, two dark eyes in a face as pale as a winter dawn. There are fourteen people on the bus today. Minna stands up to count them. She likes to count people, telephone poles, hats, umbrellas, and, lately, earrings. One girl, sitting directly in front of Minna, has seven earrings, five in one ear. She has wisps of dyed green hair that lie like forsythia buds against her neck. There are, Minna knows, a king, a past president of the United States, and a beauty queen on the bus. Minna can tell by looking. The king yawns and scratches his ear with his little finger. Scratches, not picks. The beauty queen sleeps, her mouth open, her hair the color of tomatoes not yet ripe. The past preside of the United States reads Teen Love and Body Builder's Annual. Next to Minna, leaning against the seat, is her cello in its zippered canvas case. Next to her cello is her younger brother, McGrew, who is humming. McGrew always hums. Sometimes he hums sentences, though most often it comes out like singing. McGrew's teachers do not enjoy McGrew answering questions in hums or song. Neither does the school principal, Mr. Ripley. McGrew spends lots of time sitting on the bench outside Mr. Ripley's office, humming. Today McGrew is humming the newspaper. First the headlines, then the sports section, then the comics. McGrew only laughs at the headlines. Minna smiles at her brother. He is small and stocky and compact like a suitcase. Minna loves him. McGrew always tells the truth, even when he shouldn't. He is kind. And he lends Minna money from the coffee jar he keeps beneath his mattress. Minna looks out the bus window and thinks about her life. Her one life. She likes artichokes and blue fingernail polish and Mozart played too fast. She loves baseball, and the month of March because no one else much likes March, and every shade of brown she has ever seen. But this is only one life. Someday, she knows, she will have another life. A better one. McGrew knows this, too. McGrew is ten years old. He knows nearly everything. He knows, for instance, that his older sister, Minna Pratt, age eleven, is sitting patiently next to her cello waiting to be a woman.

Ever since the 1960s, upon the urging of Dr. T. Berry Brazelton and the all-knowing Dr. Spock,* mothers have been encouraged to read to their children at a very early age. For toddlers and preschoolers who relish this early diet of literacy, libraries become a second home, story hour is never long enough, and parents can’t finish a book without hearing a little voice beg, “Again… again.” For most literary geek girls, it’s at this age that they discover their passion for reading. Whether it’s Harold and the Purple Crayon or Strega Nona, books provide the budding literary she-geek with a glimpse into an all-new world of magic and make-believe—and once she visits, she immediately wants to apply for full-time citizenship. “We tell ourselves stories in order to live.” —author Joan Didion, in The White Album While some children spend their summers sweating on community sports teams or learning Indigo Girls songs at sleep-away camp, our beloved bookworms are more interested in joining their local library’s summer reading program, completing twenty-five books during vacation, and earning a certificate of recognition signed by their city’s mayor. (Plus, that Sony Bloggie Touch the library is giving away to the person who logs the most hours reading isn’t the worst incentive, either. It’ll come in handy for that book review YouTube channel she’s been thinking about starting!) When school starts back up again, her friends will inevitably show off their tan lines and pony bead friendship bracelets, and our geek girl will politely oblige by oohing and aahing accordingly. But secretly she’s bursting with pride over her summer’s battle scars—the numerous paper cuts she got while feverishly turning the pages of all seven Harry Potter books.

After the Grand Perhaps” After vespers, after the first snow has fallen to its squalls, after New Wave, after the anorexics have curled into their geometric forms, after the man with the apparition in his one bad eye has done red things behind the curtain of the lid & sleeps, after the fallout shelter in the elementary school has been packed with tins & other tangibles, after the barn boys have woken, startled by foxes & fire, warm in their hay, every part of them blithe & smooth & touchable, after the little vandals have tilted toward the impossible seduction to smash glass in the dark, getting away with the most lethal pieces, leaving the shards which travel most easily through flesh as message on the bathroom floor, the parking lots, the irresistible debris of the neighbor’s yard where he’s been constructing all winter long. After the pain has become an old known friend, repeating itself, you can hold on to it. The power of fright, I think, is as much as magnetic heat or gravity. After what is boundless: wind chimes, fertile patches of the land, the ochre symmetry of fields in fall, the end of breath, the beginning of shadow, the shadow of heat as it moves the way the night heads west, I take this road to arrive at its end where the toll taker passes the night, reading. I feel the cupped heat of his left hand as he inherits change; on the road that is not his road anymore I belong to whatever it is which will happen to me. When I left this city I gave back the metallic waking in the night, the signals of barges moving coal up a slow river north, the movement of trains, each whistle like a woodwind song of another age passing, each ambulance would split a night in two, lying in bed as a little girl, a fear of being taken with the sirens as they lit the neighborhood in neon, quick as the fire as it takes fire & our house goes up in night. After what is arbitrary: the hand grazing something too sharp or fine, the word spoken out of sleep, the buckling of the knees to cold, the melting of the parts to want, the design of the moon to cast unfriendly light, the dazed shadow of the self as it follows the self, the toll taker’s sorrow that we couldn’t have been more intimate. Which leads me back to the land, the old wolves which used to roam on it, the one light left on the small far hill where someone must be living still. After life there must be life.

it died away, Stu said: “This wasn’t on the agenda, but I wonder if we could start by singing the National Anthem. I guess you folks remember the words and the tune.” There was that ruffling, shuffling sound of people getting to their feet. Another pause as everyone waited for someone else to start. Then a girl’s sweet voice rose in the air, solo for only the first three syllables: “Oh, say can—” It was Frannie’s voice, but for a moment it seemed to Larry to be underlaid by another voice, his own, and the place was not Boulder but upstate Vermont and the day was July 4, the Republic was two hundred and fourteen years old, and Rita lay dead in the tent behind him, her mouth filled with green puke and a bottle of pills in her stiffening hand. A chill of gooseflesh passed over him and suddenly he felt that they were being watched, watched by something that could, in the words of that old song by The Who, see for miles and miles and miles. Something awful and dark and alien. For just a moment he felt an urge to run from this place, just run and never stop. This was no game they were playing here. This was serious business; killing business. Maybe worse. Then other voices joined in. “—can you see, by the dawn’s early light,” and Lucy was singing, holding his hand, crying again, and others were crying, most of them were crying, crying for what was lost and bitter, the runaway American dream, chrome-wheeled, fuel-injected, and stepping out over the line, and suddenly his memory was not of Rita, dead in the tent, but of he and his mother at Yankee Stadium—it was September 29, the Yankees were only a game and a half behind the Red Sox, and all things were still possible. There were fifty-five thousand people in the Stadium, all standing, the players in the field with their caps over their hearts, Guidry on the mound, Rickey Henderson was standing in deep left field (“—by the twilight’s last gleaming—”), and the light-standards were on in the purple gloaming, moths and night-fliers banging softly against them, and New York was around them, teeming, city of night and light. Larry joined the singing too, and when it was done and the applause rolled out once more, he was crying a bit himself. Rita was gone. Alice Underwood was gone. New York was gone. America was gone. Even if they could defeat Randall Flagg, whatever they might make would never be the same as that world of dark streets and bright dreams.

Moreover, Nancy Sinatra was afflicted, as the overwhelming majority of Americans were, with monolingualism. Lana’s richer, more textured version of “Bang Bang” layered English with French and Vietnamese. Bang bang, je ne l’oublierai pas went the last line of the French version, which was echoed by Pham Duy’s Vietnamese version, We will never forget. In the pantheon of classic pop songs from Saigon, this tricolor rendition was one of the most memorable, masterfully weaving together love and violence in the enigmatic story of two lovers who, regardless of having known each other since childhood, or because of knowing each other since childhood, shoot each other down. Bang bang was the sound of memory’s pistol firing into our heads, for we could not forget love, we could not forget war, we could not forget lovers, we could not forget enemies, we could not forget home, and we could not forget Saigon. We could not forget the caramel flavor of iced coffee with coarse sugar; the bowls of noodle soup eaten while squatting on the sidewalk; the strumming of a friend’s guitar while we swayed on hammocks under coconut trees; the football matches played barefoot and shirtless in alleys, squares, parks, and meadows; the pearl chokers of morning mist draped around the mountains; the labial moistness of oysters shucked on a gritty beach; the whisper of a dewy lover saying the most seductive words in our language, anh oi; the rattle of rice being threshed; the workingmen who slept in their cyclos on the streets, kept warm only by the memories of their families; the refugees who slept on every sidewalk of every city; the slow burning of patient mosquito coils; the sweetness and firmness of a mango plucked fresh from its tree; the girls who refused to talk to us and who we only pined for more; the men who had died or disappeared; the streets and homes blown away by bombshells; the streams where we swam naked and laughing; the secret grove where we spied on the nymphs who bathed and splashed with the innocence of the birds; the shadows cast by candlelight on the walls of wattled huts; the atonal tinkle of cowbells on mud roads and country paths; the barking of a hungry dog in an abandoned village; the appetizing reek of the fresh durian one wept to eat; the sight and sound of orphans howling by the dead bodies of their mothers and fathers; the stickiness of one’s shirt by afternoon, the stickiness of one’s lover by the end of lovemaking, the stickiness of our situations; the frantic squealing of pigs running for their lives as villagers gave chase; the hills afire with sunset; the crowned head of dawn rising from the sheets of the sea; the hot grasp of our mother’s hand; and while the list could go on and on and on, the point was simply this: the most important thing we could never forget was that we could never forget.

There is a story about a man who came to town during the plagues that were killing so many at the time. The rats were the problem and while people did not know this in a scientific way like they do now, it was their intuition that told them that the rats were bringing the disease. He claimed that he knew how to get rid of the rats, but most of all how to get rid of the fevers and the disease that were decimating the countryside. The town had to give him one hundred and thirty of their children for him to take back to his home in Transylvania. The population there were so few that it was becoming almost impossible to marry outside of family. The inbreeding was causing disease in the bloodlines --- primarily mental disease. So he promised to free the city of rats, and hence plague, in exchange for these children. He promised they would be healthy for much longer than any normal children in plague-ridden cities could hope for. The people were so desperate they agreed to the man’s request and within a fortnight the town was the only place for miles around which was miraculously free of rats. Soon the town was also unburdened of the former pestilence. When he came to collect his pay in the form of seventy girls and sixty boys under the age of ten, the town refused. They hung him in the town square, fearful of allowing him to leave in case he would rain the black plague down upon them. The people knew that he was a powerful sorcerer of some type and condemned him to death rather than hand their children over to him.             “It wasn’t until the following spring that people began to see the familiar form of the strange man on the roads leading out of town. He was said to be alive and playing a musical instrument that made people feel dizzy or hypnotized. Soon there was a panic. The woods, still devoid of all rats, were searched for the presumed dead traveler. Nothing was found. Then on the Ides of March, in the middle of the night, one hundred and thirty children disappeared from their beds. The adults spoke of an odd feeling that came over them, accompanied by the faint sound of music on the wind. It had put them to sleep and when they awoke all that was left of their children was a pile of bloody teeth resting on their pillows. The parents searched everywhere, pulling their hair and wailing their mournful cries, but the children had vanished. There are stories that these were the first vampire children who later populated the Carpathians, brought from Hamlin by a dark conjurer. Whatever happened in reality, the song was passed down for hundreds of years as a warning not to make deals that you know you will not uphold. It could be a deal with the devil, and he always gets his due.

I took a bus and then a train, and as soon as I saw that place, saw the girls in their uniforms and the huge library and the computer rooms, I knew I belonged there. The desks weren’t graffitied with “Fuck you.” The only drawings of anatomy were hanging on the wall. I sat at the station that afternoon feeding small birds, dreaming that I lived in the city. I let three trains leave before I took one home.

think: once, a white girl was kidnapped & that's the Trojan War. later, up the block, Troy got shot & that was Tuesday. are we not worthy of a city of ash? of 1,000 ships launched because we are missed? i demand a war to bring the dead child back. i at least demand a song. a head.

But let me explain my culture of origin to you, Angela, in case you have never been around White Anglo-Saxon Protestants. You need to understand that we have only one central rule of engagement, and here it is: This matter must never be spoken of again. We WASPS can apply this rule to anything -- from a moment of awkwardness at the dinner table to a relative's suicide. Asking no further questions is the song of my people.

How spacious are these squares, How resonant bridges and stark! Heavy, peaceful, and starless Is the covering of the dark. And we walk on the fresh snow As if we were mortal people. That we are together this hour Unseparable -- is it not a miracle? The knees go unwittingly weaker It seems there's no air -- so long! You are my life's only blessing, You are the sun of my song. Now the dark buildings are stirring And I'll fall on earth as they shake -- Inside of my village garden I do not fear to awake. Escape "My dear, if we could only Reach all the way to the seas" "Be quiet" and descended the stairs Losing breath and looking for keys. Past the buildings, where sometime We danced and had fun and drank wine Past the white columns of Senate Where it's dark, dark again. "What are you doing, you madman!" "No, I am only in love with thee! This evening is wide and noisy, Ship will have lots of fun at the sea!" Horror tightly clutches the throat, Shuttle took us at dusk on our turn. The tough smell of ocean tightrope Inside trembling nostrils did burn. "Say, you most probably know: I don't sleep? Thus in sleep it can be" Only oars splashed in measured manner Over Nieva's waves heavy. And the black sky began to get lighter, Someone called from the bridge to us, As with both hands I was clutching On my chest the rim of the cross. On your arms, as I lost all my power, Like a little girl you carried me, That on deck of a yacht alabaster Incorruptible day's light we'd meet.

I rode home from rehearsal that day on the 101 Freeway, and my sense of loss about John and the loneliness that I was feeling triggered memories of my time with Ione and how I’d had this beautiful angel of a girl who was willing to give me all of her love, and instead of embracing that, I was downtown with fucking gangsters shooting speedballs under a bridge. I felt I had thrown away so much in my life, but I also felt an unspoken bond between me and my city. I’d spent so much time wandering the streets of L.A. and hiking through the Hollywood Hills that I sensed there was a nonhuman entity, maybe the spirit of the hills and the city, who had me in her sights and was looking after me. Even if I was a loner in my own band, at least I still felt the presence of the city I lived in. I started freestyling some poetry in my car and putting the words to a melody and sang all the way down the freeway. When I got home, I got out my notebook and wrote the whole thing down in a song structure, even though it was meant to be a poem to deal with my own anguish. “Under the Bridge” Sometimes I feel like I don’t have a partner Sometimes I feel like my only friend Is the city I live in, the city of angels Lonely as I am, together we cry. I drive on her streets ’cause she’s my companion I walk through her hills ’cause she knows who I am She sees my good deeds and she kisses me windy I never worry, now that is a lie. I don’t ever want to feel like I did that day Take me to the place I love, take me all the way It’s hard to believe that there’s nobody out there It’s hard to believe that I’m all alone At least I have her love, the city she loves me Lonely as I am, together we cry. I don’t ever want to feel like I did that day Take me to the place I love, take me all the way Under the bridge downtown Is where I drew some blood Under the bridge downtown I could not get enough Under the bridge downtown Forgot about my love Under the bridge downtown I gave my life away

The city had so much to offer to those who dared to dream.

The menu: legendary deep-fried Turkeyzilla, gravy, stuffing, mashed potatoes, cranberry sauce, and green beans. The theme: dysfunction. “So,” Elysia said to Lex’s parents with her ever-friendly grin, “how are you?” “How do you think they are?” Ferbus whispered. She kicked him under the table. “I mean—um—what do you do? For a living?” Lex’s mother, who hadn’t said much, continued to stare down the table at the sea of black hoodies while picking at her potatoes. Lex’s father cleared his throat. “I’m a contractor,” he said. “And she’s a teacher.” “Omigod! I wanted to be a teacher!” Elysia turned to Mrs. Bartleby. “Do you love it?” “Hmm?” She snapped back to attention and smiled vacantly at Elysia. “Oh, yes. I do. The kids are a nice distraction.” “From what?” Pip asked. Bang smacked her forehead. Lex squeezed Driggs’s hand even tighter, causing him to choke on his stuffing. He coughed and hacked until the offending morsel flew out of his mouth, landing in Sofi’s glass of water. “Ewww!” she squealed. “Drink around it,” Pandora scolded. “So! I hear New York City is lovely this time of year.” Well, it looks nice, I guess,” Mr. Bartleby said. “But shoveling out the driveway is a pain in the neck. The girls used to help, but now . . .” Sensing the impending awkwardness, Corpp jumped in. “Well, Lex has been a wonderful addition to our community. She’s smart, friendly, a joy to be around—” “And don’t you worry about the boyfriend,” Ferbus said, pointing to Driggs. “I keep him in line.” Mrs. Bartleby’s eyes widened, looking at Lex and then Driggs. “You have a—” she sputtered. “He’s your—” Ferbus went white. “They didn’t know?” “Oops!” said Uncle Mort in a theatrical voice, getting up from the table. “Almost forgot the biscuits!” “Let me help you with those,” Lex said through clenched teeth, following him to the counter. A series of pained hugs and greetings had ensued when her parents arrived—but the rest of the guests showed up so soon thereafter that Lex hadn’t gotten a chance to talk to them, much to her relief. Still, she hadn’t stopped seething. “What were you thinking?” Uncle Mort gave her a reproachful look. “I was thinking that your parents were probably going to feel more lonely and depressed this Thanksgiving than they’ve ever felt in their lives, and that maybe we could help alleviate some of that by hosting a dinner featuring the one and only daughter they have left.” “A dinner of horrors? You know my track record with family gatherings!” He ignored her. “Here we are!” he said, turning back to the table with a giant platter. “Biscuits aplenty!” Lex grunted and took her seat. “I’m not sure how much longer I can do this,” she whispered to Driggs. “Me neither,” he replied. “I think my hand is broken in three places.” “Sorry.” “And your dad seems to be shooting me some sort of a death stare.” Lex glanced at her father. “That’s bad.” “Think he brought the shotgun?” “It’s entirely possible.” “All I’m saying,” Ferbus went on, trying to redeem himself and failing, “is that we all look out for one another here.” Mr. Bartleby looked at him. Ferbus began to sweat. “Because, you know. We all need somebody. Uh, to lean on.” “Stop talking,” Bang signed. Elysia gave Lex’s parents a sympathetic grin. “I think what my idiot partner is trying to say—through the magic of corny song lyrics, for some reason—is that you don’t need to worry about Lex. She’s like a sister to me.” She realized her poor choice of words as a pained look came to Mrs. Bartleby’s face. “Or an especially close cousin.” She shut her mouth and stared at her potatoes. “Frig.” Lex was now crushing Driggs’s hand into a fine paste. Other than the folding chairs creaking and Pip obliviously scraping the last bits of food off his plate, the table was silent. “Good beans!” Pip threw in.

All I’m saying is that Paris is a lot more than what you say in your song. Paris isn’t just a beauty queen. She’s full of passion. She’s the city of the French Revolution. And every other revolution as a matter of fact. Paris is also today the epicenter of every important strike. Never take the subway on a strike day. Or you’ll be crammed in with hundreds of other people wishing you could be anywhere else in the world. Paris is a city full of life, like every big city. Paris can be a very dirty city too. There’s lots of pollution. All I’m trying to say is that you should describe Paris as she really is, its different layers. Not some soapy, postcard version of it. Put more emotion in it.

Everyone reading this must believe me when I say Prince possessed genius. Unprecedented genius. Think back to Elvis, the cat some folk say invented rock and roll. Elvis was cool. Elvis had a look. He sang. Worked his pelvis. Drove the girls crazy. Would never dis Elvis for borrowing from black music 'cause he publicly acknowledged his masters. He loved him some B.B. King. He respected Ray Charles. He covered Ray's songs. But if they call Elvis the King, they're gonna have to call Prince the World Emperor. I say that cause, unlike Prince, Elvis did not write. Elvis did not arrange. Elvis did not play killer guitar. And when I say that Prince wrote and arranged, I mean he wrote and arranged literally thousands of songs under so many different names that he forgot half of them. And when I say Prince played guitar, I mean he blended the styles of all the guitar gurus and then added a fantastic flair all his own. He did more than arrange. He created a sound that, nearly half a century later, sounds as fresh as it did when Grand Central was tearing the roofs of every school auditorium in the Twin Cities.

Vienna's reputation as a city of luxury, merrymaking and indulgence actually lies much further in the past, in the time of the Babenbergs at whose courts the Minnesinger were prestigious guests, similar to publicity-seeking pop stars of today. the half-censorious, half-envious comments of foreigners often reflect the ambivalence that so many have felt about a city that was both seductive and dangerous. Such was indeed how Grillparzer described the city he loved and hated in his "Farewell to Vienna"(1843) though he had more in mind than simply the temptations of the flesh. But if Vienna was insidiously threatening under its hedonistic surface for a Grillparzer, others have simply regarded it as cheerfully, even shamelessly, immoral. 'lhe humanist scholar Enea Silvio Piccolomini, private secretary to Friedrich III and subsequently elected Pope Pius II, expressed his astonishment at the sexual freedom of the Viennese in a letter to a fellow humanist in Basel written in 1450: "'lhe number of whores is very great, and wives seem disinclined to confine their affections to a single man; knights frequently visit the wives of burghers. 'lhe men put out some wine for them and leave the house. Many girls marry without the permission of their fathers and widows don't observe the year of mourning." 'the local equivalent of the Roman cicisbeo is an enduring feature of Viennese society, and the present author remembers a respectable middle-class intellectual (now dead) who habitually went on holiday with both wife and mistress in tow. Irregular liaisons are celebrated in a Viennese joke about two men who meet for the first time at a party. By way of conversation one says to the other: "You see those two attractive ladies chatting to each other over there? Well, the brunette is my wife and the blonde is my mistress." "that's funny," says his new friend; "I was just about to say the same thing, only the other way round." In Biedermeier Vienna (1815-48), menages d trois seem not to have been uncommon, since the gallant who became a friend of the family was officially known as the Hausfreund. 'the ambiguous status of such a Hausfreund features in a Wienerlied written in 1856 by the usually non-risque Johann Baptist Moser. It con-terns a certain Herr von Hecht, who is evidently a very good friend of the family of the narrator. 'lhe first six lines of the song innocently praise the latter's wife, who is so delightful and companionable that "his sky is always blue"; but the next six relate how she imported a "friend", Herr von Hecht, and did so "immediately after the wedding". This friend loves the children so much "they could be his own." And indeed, the younger one looks remarkably like Herr von Hecht, who has promised that the boy will inherit from him, "which can't be bad, eh?" the faux-naivete with which this apparently commonplace situation is described seems to have delighted Moser's public-the song was immensely popular then and is still sung today.

Kiss me.” That’s her saying it, not me.  “Go on a date with me.”  I feel her chest rise with a deep inhale. “Take me home with you.” I can’t believe I’m about to say this, but instead of saying yes, I plead, “Go on a date with me.”  “Zee.” She pulls back, and just like that, the song is over as well as the night. Immediately I’m swarmed with people, shaking my hand, saying good night. It’s overwhelming, to say the least, but all I want is a different answer from the girl who seems to be drifting further away from me as tonight’s guests bombard my space. My gaze continues to flicker to the beauty in blue, but eventually, my attention is pulled to the mass of people I have to thank for coming out tonight. And when I look back to where she was standing, she’s gone.

This is when I let each girl in on secret: It can be yours. No different from falling in love with a song, one may fall in love with a work of art and claim it as one's own. Ownership does not come free. One must spend time with it; visit at different times of the day or evening; and bring to it one's full attention. The investment will be repaid as one discovers something new with each viewing... [...] Stay awhile. Spend some time with it. Give it a proper name: Yours.

Asking no further questions is the song of my people.

was commanded, in a dream naturally, to begin the epitaphs of thirty-three friends without using grand words like love pity pride sacrifice doom honor heaven hell earth: 1. O you deliquescent flower 2. O you always loved long naps 3. O you road-kill Georgia possum 4. O you broken red lightbulb 5. O you mosquito smudge fire 6. O you pitiless girl missing a toe 7. O you big fellow in pale-blue shoes 8. O you poet without a book 9. O you lichen without tree or stone 10. O you lion without a throat 11. O you homeless scholar with dirty feet 12. O you jungle bird without a jungle 13. O you city with a single street 14. O you tiny sun without an earth 15. Forgive me for saying good-night quietly 16. Forgive me for never answering the phone 17. Forgive me for sending too much money 18. Pardon me for fishing during your funeral 19. Forgive me for thinking of your lovely ass 20. Pardon me for burning your last book 21. Forgive me for making love to your widow 22. Pardon me for never mentioning you 23. Forgive me for not knowing where you’re buried 24. O you forgotten famous person 25. O you great singer of banal songs 26. O you shrike in the darkest thicket 27. O you river with too many dams 28. O you orphaned vulture with no meat 29. O you who sucked a shotgun to orgasm 30. Forgive me for raising your ghost so often 31. Forgive me for naming a bird after you 32. Forgive me for keeping a nude photo of you 33. We’ll all see God but not with our eyes

In Navashtra, in Saypur, a young girl obeys a strange impulse and sings a song to the stones in a nearby quarry. She and the rest of her family, who are picnicking nearby, stare in fear and confusion as the stones slowly roll down the slopes to spell the words: THANK YOU, THAT WAS LOVELY.

When we reached the last room, I asked Katy which picture was her favorite. She led me back to the one that had stumped her in the synonym department. Her sister, Emily, who’s fourteen and had been off wandering through the Met’s collection of European paintings, then showed me her favorite piece in the museum: a Monet water lily (the first she’d ever seen) from 1919. This is when I let each girl in on a secret: It can be yours. No different from falling in love with a song, one may fall in love with a work of art and claim it as one’s own. Ownership does not come free. One must spend time with it; visit at different times of the day or evening; and bring to it one’s full attention. The investment will be repaid as one discovers something new with each viewing—say, a detail in the background, a person nearly cropped from the picture frame, or a tiny patch of canvas left unpainted, deliberately so, one may assume, as if to remind you not to take all the painted parts for granted. This is true not just for New Yorkers but for anyone anywhere with art to be visited—art being a relative term, in my definition. Your Monet may, in fact, be an unpolished gemstone or mineral element. Natural history museums are filled with beauties fairly begging to be adopted. Stay alert. Next time a tattered Egyptian mummy speaks to you across the ages, don’t walk away. Stay awhile. Spend some time with it. Give it a proper name: Yours. But don’t be hasty. You must be sure you are besotted. When it happens, you will know.

Music is in the air Rhythm is everywhere Dancing in Moulin Rouge Beats New Year’s in Times Square MATT SANG: Paris is the place to see New York is the place to be Paris versus New York City Maude sang: New York’s the place to see Paris is the place to be I’d choose Paris over New York any day So just give up and walk away MAUDE PAUSED AND SANG slowly: Let’s agree to disagree My heart belongs to Paris You love New York City Come to Paris some time I’m sure I’ll change your mind Matt walked towards Maude and ended the song softly: Paris versus New York City Where you are is where I’ll be Forget Paris versus New York City You’re all that matters to me Then they sang together softly: Forget Paris versus New York City You’re all that matters to me

Moreover, Nancy Sinatra was afflicted, as the overwhelming majority of Americans were, with monolingualism. Lana’s richer, more textured version of “Bang Bang” layered English with French and Vietnamese. Bang bang, je ne l’oublierai pas went the last line of the French version, which was echoed by Pham Duy’s Vietnamese version, We will never forget. In the pantheon of classic pop songs from Saigon, this tricolor rendition was one of the most memorable, masterfully weaving together love and violence in the enigmatic story of two lovers who, regardless of having known each other since childhood, or because of knowing each other since childhood, shoot each other down. Bang bang was the sound of memory’s pistol firing into our heads, for we could not forget love, we could not forget war, we could not forget lovers, we could not forget enemies, we could not forget home, and we could not forget Saigon. We could not forget the caramel flavor of iced coffee with coarse sugar; the bowls of noodle soup eaten while squatting on the sidewalk; the strumming of a friend’s guitar while we swayed on hammocks under coconut trees; the football matches played barefoot and shirtless in alleys, squares, parks, and meadows; the pearl chokers of morning mist draped around the mountains; the labial moistness of oysters shucked on a gritty beach; the whisper of a dewy lover saying the most seductive words in our language, anh oi; the rattle of rice being threshed; the workingmen who slept in their cyclos on the streets, kept warm only by the memories of their families; the refugees who slept on every sidewalk of every city; the slow burning of patient mosquito coils; the sweetness and firmness of a mango plucked fresh from its tree; the girls who refused to talk to us and who we only pined for more; the men who had died or disappeared; the streets and homes blown away by bombshells; the streams where we swam naked and laughing; the secret grove where we spied on the nymphs who bathed and splashed with the innocence of the birds; the shadows cast by candlelight on the walls of wattled huts; the atonal tinkle of cowbells on mud roads and country paths; the barking of a hungry dog in an abandoned village; the appetizing reek of the fresh durian one wept to eat; the sight and sound of orphans howling by the dead bodies of their mothers and fathers; the stickiness of one’s shirt by afternoon, the stickiness of one’s lover by the end of lovemaking, the stickiness of our situations; the frantic squealing of pigs running for their lives as villagers gave chase; the hills afire with sunset; the crowned head of dawn rising from the sheets of the sea; the hot grasp of our mother’s hand; and while the list could go on and on and on, the point was simply this: the most important thing we could never forget was that we could never forget. When Lana was finished, the audience clapped, whistled, and stomped, but I sat silent and stunned as she bowed and gracefully withdrew, so disarmed I could not even applaud.

Smiling to myself, I pictured our family one sunny afternoon last fall. It had been a warm day, and we were on our way to the city aquarium. Dad had the car windows rolled down, and I recalled the feel of the wind in my hair and the scent of Mom’s perfume wafting from the seat in front of me. Mom and Dad were chatting and I was scrolling through my Instagram feed. But the moment the song sounded on the radio, I squealed. “Turn it up!” I said, leaning forward in my seat, enough that the belt tightened across my chest. As soon as Dad reached over and turned the knob, I started singing the lyrics aloud. Both Mom and Dad joined in. With the wind in my hair and the music filling the car, a warmth had filled my insides, almost as if I were wrapped in my favorite fuzzy blanket. The memory was fresh in my mind and I could still see Mom’s head bob up and down as she sang while Dad tapped his fingers on the steering wheel. “Come on, Dad!” I said, giggling. “Sing with us.” He glanced over his shoulder at me. “I’m waiting for my favorite part. I don’t want to stretch my singing muscles.” “What singing muscles?” Mom smiled at him. He put a finger in the air for her to wait. “Here we go.” When the chorus of the song began, Dad screeched out the lyrics in a really high voice. He was trying to mimic the singer’s voice but he wasn’t even close and the sound he made was terrible. I burst out laughing. He ignored me and continued to sing, all the while, waving a hand through the air with wide flourishes, as if conducting an orchestra. He tilted his head back and belted out the high notes. When we pulled up at a red traffic light and the car slowed to a stop, Dad was oblivious of the carload of people alongside us watching him. The passengers of the other car had their windows open too and I stared at them in horror. Their eyes were glued to Dad and they shook their heads and rolled their eyes. “Dad!” I called to him. “Those people are watching you.” But he didn’t hear me and continued to sing. I sank into my seat, my cheeks flushing. He finally realized he had an audience but instead of being embarrassed, he waved to them. “Hello, there!” he said. “Did you enjoy my singing?” The light turned green, and the carload of people cracked up laughing as their car lurched forward in their hurry to escape the weird man in the car next to theirs. Dad shrugged. “I guess not.’ Mom and I burst out laughing too, unable to hold it in any longer. Dad waved a dismissive hand. “They wouldn’t know good music if it hit them in the face.” Tears sprang from my eyes because I was laughing so hard. My dad could be so embarrassing sometimes, but that day, it didn’t bother me at all. Dad had always managed to make me laugh at the silliest things. He had a way of making me feel happy, regardless of what mood I was in. Deep down I thought he was a really cool dad. My friends thought so too. He wasn’t boring and super strict like their dads. He was fun to be around and everyone loved him for it, including my friends. Our little family was perfect, and I wouldn’t have changed it for the world.

...I am sitting on the wall of the castle, looking out over the city, the river, the dish of sea beyond. Oleander, frangipani, laurel, great elm trees. A girl is sitting nearby, writing. The word "goodbye" is drifting in the air around me and I can't seem to catch hold of it. This entire city is a goodbye. The fringe of Europe, the last shore of the first world, it is there that the corroded continent sinks into the sea, dissolves into the infinite mist which the ocean resembles today. This city does not belong to the present, it is earlier here because it is later. The banal has not yet arrived. Lisbon is reluctant. That must be the word, this city puts off the moment of parting, this is where Europe says goodbye to itself. Lethargic songs, gentle decay, great beauty. Memory, postponement of metamorphosis. Not one of those things would find its way into Dr Strabo's Travel Guide. I send the fools to the fado taverns, for their dose of processed saudade. Slauerhoff and Pessoa I keep to myself...

favorite places to go when she had been a girl, and an opportunity had arisen, like a church youth group trip. The place had a beach where anyone could come and hang out, and the restaurant sat right on the water with a clear view of passing skiers and fishing boats. “There’s music on the iPod,” Grier said. “Pick something.” Andy scrolled through the song list and punched play. “I can’t believe you like country,” she said. Grier smiled. “Oh, yeah. From way back.” The song was just right for a sunny day cruising for the lake with the top down. It was something Grier almost never did. City life didn’t exactly allow for it often. Sebbie sat on Andy’s lap with his paws on the doorframe and his face pointed joyfully into the wind. They were silent until they reached the entrance to Arrowhead Point. Grier lowered the volume as they rolled down the short gravel drive to the back of the restaurant where a line of pickups and cars sat parked in the nearly full lot. Andy stared hard at one particular truck and then said, “Maybe we ought to go somewhere else.

I always thought we’d have our song. About the small town girl and the big city snob. The song would be about our first date, first fight, and our first kiss. Then maybe you’d leave, but you’d come back, because there’d be something about me, you’d miss. It would be about the late night drives, busy streets and traffic lights. You’d look at me eye to eye, then you’d kiss me a deep sorry for the big fight last night We’d sing our song even in our seventies. In the front porch, under the maple tree. The song would be about our mini-van, Where you’d play the guitar with your old wrinkly hands. It’d be about our fortieth anniversary night, Our extraordinary love might have become ordinary over time. But trust me, we’d be fine, and I’d desperately fall for your smile, Not only in our seventies, even when you’d be as old as eighty-five.

I always thought we’d have our song. About the small town girl and the big city snob.