Classic Look Quotes

If you ever looked at me once with what I know is in you, I would be your slave.

Some people could look at a mud puddle and see an ocean with ships.

Why do you sit there looking like an envelope without any address on it?

Temples are for the gods,” Thucydides said. “No city has the hubris to put her own citizens on a temple.” Phidias promised, “The Athenians will look like gods.

Ut haec ipsa qui non sentiat deorum vim habere is nihil omnino sensurus esse videatur." If any man cannot feel the power of God when he looks upon the stars, then I doubt whether he is capable of any feeling at all.

I love classic beauty. It’s an idea of beauty with no standard.

But I think the first real change in women’s body image came when JLo turned it butt-style. That was the first time that having a large-scale situation in the back was part of mainstream American beauty. Girls wanted butts now. Men were free to admit that they had always enjoyed them. And then, what felt like moments later, boom—Beyoncé brought the leg meat. A back porch and thick muscular legs were now widely admired. And from that day forward, women embraced their diversity and realized that all shapes and sizes are beautiful. Ah ha ha. No. I’m totally messing with you. All Beyonce and JLo have done is add to the laundry list of attributes women must have to qualify as beautiful. Now every girl is expected to have Caucasian blue eyes, full Spanish lips, a classic button nose, hairless Asian skin with a California tan, a Jamaican dance hall ass, long Swedish legs, small Japanese feet, the abs of a lesbian gym owner, the hips of a nine-year-old boy, the arms of Michelle Obama, and doll tits. The person closest to actually achieving this look is Kim Kardashian, who, as we know, was made by Russian scientists to sabotage our athletes.

Consider anything, only don’t cry!

He is simply a shiver looking for a spine to run up.

They too, knew this beautiful and harrowing landscape; they'd had the same experience of looking up from their books with fifth-century eyes and finding the world disconcertingly sluggish and alien, as if it were not their home.

She wasn't the only one to be physically morphed by reader expectation. Miss Havisham was now elderly whether she liked it or not, and Sherlock Holmes wore a deerstalker and smoked a ridiculously large pipe. The problem wasn't just confined to the classics. Harry Potter was seriously pissed off that he'd have to spend the rest of life looking like Daniel Radcliffe.

I have always thought that a wild animal never looks so well as when some obstacle of pronounced durability is between us. A personal experience has intensified rather than diminished that idea.

Sometimes it comes down to a choice," Magnus said. "Between saving one person and saving the whole world. I've seen it happen, and I'm selfish enough to want the person who loves me to choose me. But Nephilim wil always choose the world. I look at Alec and I feel like Lucifer in Paradise Lost. 'Abashed the Devil stood, And felt how awful goodness is.' He meant it in the classical sense. 'Awful' as in inspiring awe. And awe is well and good, but it's poison to love. Love has to be between equals." "He's just a boy," said Luke. "Alec--he's not perfect. And you're not fallen." "We're all fallen," said Magnus, and he wrapped himself up in his chains and was silent.

Oh! that look of love!" continued he, between his teeth, as he bolted himself into his own private room. "And that cursed lie; which showed some terrible shame in the background, to be kept from the light in which I thought she lived perpetually! Oh, Margaret, Margaret! Mother, how you have tortured me! Oh! Margaret, could you not have loved me? I am but uncouth and hard, but I would never have led you into any falsehood for me.

In reality, childhood is deep and rich. It's vital, mysterious, and profound. I remember my OWN childhood vividly; I knew terrible things, but I knew I mustn't let the adults *know* I knew... it would scare them.

When we look at asset protection from a natural perspective, we realize that in nature, assets are protected not with fences or walls but with internal and external immune systems. So the best way to protect an asset is with systems that self organize and self execute behaviors which function as protective to the asset.

... The person who, at any stage of a conversation, disagrees, should at least hope to reach agreement in the end. He should be as much prepared to have his own mind changed as seek to change the mind of another ... No one who looks upon disagreement as an occasion for teaching another should forget that it is also an occasion for being taught.

Now every girl is expected to have Caucasian blue eyes, full Spanish lips, a classic button nose, hairless Asian skin with a California tan, a Jamaican dance hall ass, long Swedish legs, small Japanese feet, the abs of a lesbian gym owner, the hips of a nine-year-old boy, the arms of Michelle Obama, and doll tits. The person closest to actually achieving this look is Kim Kardashian, who, as we know, was made by Russian scientists to sabotage our athletes.

Whenever the horse stopped (which it did very often), he fell off in front; and, whenever it went on again (which it generally did rather suddenly), he fell off behind. Otherwise he kept on pretty well, except that he had a habit of now and then falling off sideways; and, as he generally did this on the side on which Alice was walking, she soon found that it was the best plan not to walk quite close to the horse.

Like a girl, a baby running after her mother, begging to be picked up, and she tugs on her skirts, holding her back as she tries to hurry off—all tears, fawning up at her, till she takes her in her arms… That’s how you look, Patroclus, streaming live tears.

He looked up grinning. This one is Bluebelle and that one, he gestured at the one that smelled my leg, is Flower. I made a face. What is with you and the movie Bambi? He stood up fluidly. It's an American classic.

So ran the speech. Burdened and sick at heart, He feigned hope in his look, and inwardly Contained his anguish. […] Aeneas, more than any, secretly Mourned for them all

Look, suffering doesn’t make you better, it just makes you suffer!

I like to think that Henry James said his classic line, "A writer is someone on whom nothing is lost," while looking for his glasses, and that they were on top of his head.

We all look at Nature too much, and live with her too little.

What are the dead, anyway, but waves and energy? Light shining from a dead star? That, by the way, is a phrase of Julian's. I remember it from a lecture of his on the Iliad, when Patroklos appears to Achilles in a dream. There is a very moving passage where Achilles overjoyed at the sight of the apparition – tries to throw his arms around the ghost of his old friend, and it vanishes. The dead appear to us in dreams, said Julian, because that's the only way they can make us see them; what we see is only a projection, beamed from a great distance, light shining at us from a dead star… Which reminds me, by the way, of a dream I had a couple of weeks ago. I found myself in a strange deserted city – an old city, like London – underpopulated by war or disease. It was night; the streets were dark, bombed-out, abandoned. For a long time, I wandered aimlessly – past ruined parks, blasted statuary, vacant lots overgrown with weeds and collapsed apartment houses with rusted girders poking out of their sides like ribs. But here and there, interspersed among the desolate shells of the heavy old public buildings, I began to see new buildings, too, which were connected by futuristic walkways lit from beneath. Long, cool perspectives of modern architecture, rising phosphorescent and eerie from the rubble. I went inside one of these new buildings. It was like a laboratory, maybe, or a museum. My footsteps echoed on the tile floors.There was a cluster of men, all smoking pipes, gathered around an exhibit in a glass case that gleamed in the dim light and lit their faces ghoulishly from below. I drew nearer. In the case was a machine revolving slowly on a turntable, a machine with metal parts that slid in and out and collapsed in upon themselves to form new images. An Inca temple… click click click… the Pyramids… the Parthenon. History passing beneath my very eyes, changing every moment. 'I thought I'd find you here,' said a voice at my elbow. It was Henry. His gaze was steady and impassive in the dim light. Above his ear, beneath the wire stem of his spectacles, I could just make out the powder burn and the dark hole in his right temple. I was glad to see him, though not exactly surprised. 'You know,' I said to him, 'everybody is saying that you're dead.' He stared down at the machine. The Colosseum… click click click… the Pantheon. 'I'm not dead,' he said. 'I'm only having a bit of trouble with my passport.' 'What?' He cleared his throat. 'My movements are restricted,' he said. 'I no longer have the ability to travel as freely as I would like.' Hagia Sophia. St. Mark's, in Venice. 'What is this place?' I asked him. 'That information is classified, I'm afraid.' 1 looked around curiously. It seemed that I was the only visitor. 'Is it open to the public?' I said. 'Not generally, no.' I looked at him. There was so much I wanted to ask him, so much I wanted to say; but somehow I knew there wasn't time and even if there was, that it was all, somehow, beside the point. 'Are you happy here?' I said at last. He considered this for a moment. 'Not particularly,' he said. 'But you're not very happy where you are, either.' St. Basil's, in Moscow. Chartres. Salisbury and Amiens. He glanced at his watch. 'I hope you'll excuse me,' he said, 'but I'm late for an appointment.' He turned from me and walked away. I watched his back receding down the long, gleaming hall.

When Mary Lennox was sent to Misselthwaite Manor to live with her uncle everybody said she was the most disagreeable-looking child ever seen. It was true too . . . she was as tyrannical and selfish a little pig as ever lived.

Look for the clutter in your writing and prune it ruthlessly. Be grateful for everything you can throw away. Reexamine each sentence you put on paper. Is every word doing new work? Can any thought be expressed with more economy?

Those look like broken ribs," Hunt said wryly. "Definitely broken ribs, Athalar," Bryce replied, sitting back on her heels. "And a broken arm, from the way he's cradling it." "Skull fracture's healed," Hunt observed with equal distance, as if they were on one of his favorite Vanir crime show procedurals. Ithan's eyes flashed again. "I'm sensing hostility and a good dose of male pride," Bryce said. "Throw in some stubbornness and I'd say we've got a classic case of stupidity," Hunt answered. "What the fuck is wrong with you two?" Ithan demanded.

There is a perennial classical question that asks which part of the motorcycle, which grain of sand in which pile, is the Buddha. Obviously to ask that question is to look in the wrong direction, for the Buddha is everywhere. But just as obviously to ask the question is to look in the right direction, for the Buddha is everwhere.

Now he looked at the classic parked on the street and admitted, “I bought it soon after we met. I… had hoped someday I might have this chance.” I pointed to the Galaxie. “You can’t possibly have felt like that for me then!” He turned to gaze into my eyes, laying his chin on my shoulder as he said softly, “I have loved you with everything in me from the moment I saw you.

By knowing what exist, you can know that which does not exist. That is the void. People in this world look at things mistakenly, and think that what they do not understand must be the void. This is not the true void. It is confusion.

The fact is that we look back on the ages entirely through the medium of Art, and Art, very fortunately, has never once told us the truth.

LONDON. Michaelmas Term lately over, and the Lord Chancellor sitting in Lincoln’s Inn Hall. Implacable November weather. As much mud in the streets as if the waters had but newly retired from the face of the earth, and it would not be wonderful to meet a Megalosaurus, forty feet long or so, waddling like an elephantine lizard up Holborn Hill. Smoke lowering down from chimney-pots, making a soft black drizzle, with flakes of soot in it as big as full-grown snow-flakes — gone into mourning, one might imagine, for the death of the sun. Dogs, undistinguishable in mire. Horses, scarcely better; splashed to their very blinkers. Foot passengers, jostling one another’s umbrellas in a general infection of ill-temper, and losing their foot-hold at street-corners, where tens of thousands of other foot passengers have been slipping and sliding since the day broke (if the day ever broke), adding new deposits to the crust upon crust of mud, sticking at those points tenaciously to the pavement, and accumulating at compound interest. Fog everywhere. Fog up the river, where it flows among green aits and meadows; fog down the river, where it rolls defiled among the tiers of shipping and the waterside pollutions of a great (and dirty) city. Fog on the Essex marshes, fog on the Kentish heights. Fog creeping into the cabooses of collier-brigs; fog lying out on the yards, and hovering in the rigging of great ships; fog drooping on the gunwales of barges and small boats. Fog in the eyes and throats of ancient Greenwich pensioners, wheezing by the firesides of their wards; fog in the stem and bowl of the afternoon pipe of the wrathful skipper, down in his close cabin; fog cruelly pinching the toes and fingers of his shivering little ’prentice boy on deck. Chance people on the bridges peeping over the parapets into a nether sky of fog, with fog all round them, as if they were up in a balloon, and hanging in the misty clouds. Gas looming through the fog in divers places in the streets, much as the sun may, from the spongey fields, be seen to loom by husbandman and ploughboy. Most of the shops lighted two hours before their time — as the gas seems to know, for it has a haggard and unwilling look. The raw afternoon is rawest, and the dense fog is densest, and the muddy streets are muddiest near that leaden-headed old obstruction, appropriate ornament for the threshold of a leaden-headed old corporation, Temple Bar. And hard by Temple Bar, in Lincoln’s Inn Hall, at the very heart of the fog, sits the Lord High Chancellor in his High Court of Chancery.

The object of our lives is to look at, listen to, touch, taste things. Without them—these sticks, stones, feathers, shells—there is no Deity.

His eyes that swam in death's dark night looked round For Athis, and he lay down by his side, Solaced among the shades to share his death.

The reason we are so controlled is not that we don't have the power to decide our own destiny, it is that we give that power away every minute of our lives. When something happens that we don't like, we look for someone else to blame. When there is a problem in the world, we say "What are they going to do about it". At which point they, who have secretly created the problem in the first place, respond to this demand by introducing a 'solution' - more centralisation of power and erosion of freedom. If you want to give more powers to the police, security agencies and military, and you want the public to demand you do it, then ensure there is more crime, violence and terrorism, and then it's a cinch to achieve your aims. Once the people are in fear of being burgled, mugged or bombed, they will demand that you take their freedom away to protect them from what they have been manipulated to fear. The Oklahoma bombing is a classic of this kind, as I detail in ..And The Truth Shall Set You Free. I call this technique problem-reaction-solution. Create the problem, encourage the reaction "something must be done", and then offer the solution. It is summed up by the Freemason motto 'Ordo Ab Chao' -order out of chaos. Create the chaos and then offer the way to restore order. Your order. The masses are herded and directed by many and varios forms of emotional and mental control. It is the only way it coud be done.

Your mother is probably right," Dad said. "Social services frowns on drunk ten-year-ols. Besides, when I dropped my drumsticks and puked onstage, it was punk. If you drop your bow and smell like a brewery, it will look gauche. You classical-music people are so snobby that way.

The Frays had never been a religiously observant family, but Clary loved Fifth Avenue at Christmas time. The air smelled like sweet roasted chestnuts, and the window displays sparkled with silver and blue, green and red. This year there were fat round crystal snowflakes attached to each lamppost, sending back the winter sunlight in shafts of gold. Not to mention the huge tree at Rockefeller Center. It threw its shadow across them as she and Simon draped themselves over the gate at the side of the skating rink, watching tourists fall down as they tried to navigate the ice. Clary had a hot chocolate wrapped in her hands, the warmth spreading through her body. She felt almost normal—this, coming to Fifth to see the window displays and the tree, had been a winter tradition for her and Simon for as long as she could remember. “Feels like old times, doesn’t it?” he said, echoing her thoughts as he propped his chin on his folded arms. She chanced a sideways look at him. He was wearing a black topcoat and scarf that emphasized the winter pallor of his skin. His eyes were shadowed, indicating that he hadn’t fed on blood recently. He looked like what he was—a hungry, tired vampire. Well, she thought. Almost like old times. “More people to buy presents for,” she said. “Plus, the always traumatic what-to-buy-someone-for-the-first-Christmas-after-you’ve-started-dating question.” “What to get the Shadowhunter who has everything,” Simon said with a grin. “Jace mostly likes weapons,” Clary sighed. “He likes books, but they have a huge library at the Institute. He likes classical music …” She brightened. Simon was a musician; even though his band was terrible, and was always changing their name—currently they were Lethal Soufflé—he did have training. “What would you give someone who likes to play the piano?” “A piano.” “Simon.” “A really huge metronome that could also double as a weapon?” Clary sighed, exasperated. “Sheet music. Rachmaninoff is tough stuff, but he likes a challenge.” “Now you’re talking. I’m going to see if there’s a music store around here.” Clary, done with her hot chocolate, tossed the cup into a nearby trash can and pulled her phone out. “What about you? What are you giving Isabelle?” “I have absolutely no idea,” Simon said. They had started heading toward the avenue, where a steady stream of pedestrians gawking at the windows clogged the streets. “Oh, come on. Isabelle’s easy.” “That’s my girlfriend you’re talking about.” Simon’s brows drew together. “I think. I’m not sure. We haven’t discussed it. The relationship, I mean.” “You really have to DTR, Simon.” “What?” “Define the relationship. What it is, where it’s going. Are you boyfriend and girlfriend, just having fun, ‘it’s complicated,’ or what? When’s she going to tell her parents? Are you allowed to see other people?” Simon blanched. “What? Seriously?” “Seriously. In the meantime—perfume!” Clary grabbed Simon by the back of his coat and hauled him into a cosmetics store that had once been a bank. It was massive on the inside, with rows of gleaming bottles everywhere. “And something unusual,” she said, heading for the fragrance area. “Isabelle isn’t going to want to smell like everyone else. She’s going to want to smell like figs, or vetiver, or—” “Figs? Figs have a smell?” Simon looked horrified; Clary was about to laugh at him when her phone buzzed. It was her mother. where are you? It’s an emergency.

He looked across the sea and knew how alone he was now. But he could see the prisms in the deep dark water and the line stretching ahead and the strange undulation of the calm. The clouds were building up now for the trade wind and he looked ahead and saw a flight of wild ducks etching themselves against the sky over the water, then blurring, then etching again and he knew no man was ever alone on the sea.

God did not make this person as I would have made him. He did not give him to me as a brother for me to dominate and control, but in order that I might find above him the Creator. Now the other person, in the freedom with which he was created, becomes the occasion of joy, whereas before he was only a nuisance and an affliction. God does not will that I should fashion the other person according to the image that seems good to me, that is, in my own image; rather in his very freedom from me God made this person in His image. I can never know beforehand how God's image should appear in others. That image always manifests a completely new and unique form that comes solely from God's free and sovereign creation. To me the sight may seem strange, even ungodly. But God creates every man in the likeness of His Son, the Crucified. After all, even that image certainly looked strange and ungodly to me before I grasped it.

He became fubar in the classic way, which is to say that he was the victim of a temporary arrangement that became permanent.

Have you ever felt you were born in the wrong decade, or came just a bit too late and missed out on all the good stuff when it was in its heyday?

…and they limp and halt, they’re all wrinkled, drawn, they squint to the side, can’t look you in the eyes, and always bent on duty, trudging after Ruin, maddening, blinding Ruin. But Ruin is strong and swift—She outstrips them all by far, stealing a march, leaping over the whole wide earth to bring mankind to grief.

The human soul enjoys these rare, classical periods, but, apart from them, we are seldom single or unique; we keep company in this world with a hoard of abstractions and reflections and counterfeits of ourselves - the sensual man, the economic man, the man of reason, the beast, the machine and the sleepwalker, and heaven knows what besides, all in our own image, indistinguishable from ourselves to the outside eye. We get borne along, out of sight in the press, unresisting, till we get the chance to drop behind unnoticed, or to dodge down a sides treet, pause, breathe freely and take our bearings, or to push ahead, outdistance our shadows, lead them a dance, so that when at length they catch up with us, they look at one another askance, knowing we have a secret we shall never share.

Are you going to put on your old cheer uniform?” Ryan was a little too excited by the thought of me in a costume, so I squashed that idea, and fast. “In your dreams.” “Not exactly.” Ryan grinned wickedly. “In my dreams you’re usually dressed like Wonder Woman.” Ugh. I wondered how long it would take for him to start in on the superhero crap. Obviously, not long. I was not amused, but Ryan seemed to think himself hilarious. I could also tell by the look on his face that he was quite confident he’d have me in costume one day. “Never gonna happen,” I assured him. “Ever.” And of course he responded with that classic, cocky smile. “Just like you were never gonna be my girlfriend, right?

He told me to not let my friends throw my clothes out of the window," she paused and looked pointedly at Sally, who had the good sense to look sheepish, "because he had to get my clothes back – which he called souvenirs – from the wolves who apparently found them." She chuckled to herself, knowing she was once again the color of a beet. "And from the tone in his voice, said souvenirs must've been my womanly garments." Jacque laughed. "Did you just call your bras and panties 'womanly garments'?" "That is classic." Sally laughed along. "Could you two Pollyannas focus, please?

What's this?" Dan said, pointing to a funny squiggly formation. Uh, an M," said Nellie. "Or if you look at it the other way, a W. Or sideways, kind of S-ish..." Maybe it's palm trees," Dan said. "Like in the movie It's a Mad, Mad, Mad, Mad World. You know? No? These guys need to find hidden money, and the only clue they have is it's under a big W? And no one sees what it means-but then, near the end of the movie, there's this grove of four palm trees rising up in the shape of... you-know-what! Classic!" Amy, Alistair, Natalie, Ian and Nellie all looked at him blankly. There is no W in the Korean language," Alistair replied. "Or palm trees in Korea. I might be maple trees..." Mrrp," said Saladin, rubbing his face against Dan's knee. I'll tell you the rest of the plot later," Dan whispered to the Mau.

If you want to study classical values such as courage or learn about stoicism, don’t necessarily look for classicists. One is never a career academic without a reason. Read the texts themselves: Seneca, Caesar, or Marcus Aurelius, when possible. Or read commentators on the classics who were doers themselves, such as Montaigne—people who at some point had some skin in the game, then retired to write books. Avoid the intermediary, when possible. Or fuhgetaboud the texts, just engage in acts of courage.

Men look at women. Women watch themselves being looked at. This determines not only the relations of men to women, but the relation of women to themselves.' Critic John Berger's well-known quote has been true throughout the history of Western culture, and it is more true now than ever.

Mallory, I lo—" "Wait!" This was from Amy, and she looked at Mallory. "I'm sorry, but don't you think you should tell him about the car before he finishes that sentence?" "No," Mallory said, giving Amy the evil eye. She wanted the rest of Ty's sentence, dammit! Ty frowned. "What's wrong with the Shelby?" "Nothing," Mallory said quickly. "Nothing," Amy agreed. "Except for the dinged door where she parked too close to the mailbox." "Oh my God," Mallory said to her. "What are you, the car police?" "The classic car police," Amy said smugly. "You parked the Shelby on the street?" Ty asked Mallory incredulously. She went brows-up. "Okay," he said, lifting his hands. "It's okay. Never mind about the car.

She looks at Meera’s honey-brown eyes—thick Kajol lining them with ends thinned and pointed. A black Bindu sits at the center of her forehead, and she’s wearing a comfortable Sari today—classic cotton, bought costing a fortune from this month’s Cultural Fair.

Simon looks over at me. “What?” “Nothing,” I say. “What?!” he shouts. He can’t hear a thing I’m saying over the wind and the engine and the classic rock. “I hate this fucking car!” I shout back. “The sun is burning me! I might actually catch fire, at any moment!” The wind is blowing Simon’s hair straight, and he’s squinting—from the sun and from all the smiling. “What!” he shouts at me again. “You’re so beautiful!” I shout back. He turns the radio down, so now there’s just the wind and the engine noise to shout over. “What’d you say?!” “Nothing!

Nothing about him looked particularly demonic, at least by classical standards. No horns, no wings. Admittedly he was listening to a Best of Queen tape, but no conclusions should be drawn from this because all tapes left in a car for more than about a fortnight metamorphose into Best of Queen albums.

In the Christian community thankfulness is just what it is anywhere else in the Christian life. Only he who gives thanks for little things receives the big things. We prevent God from giving us the great spiritual gifts He has in store for us, because we do not give thanks for daily gifts. We think we dare not be satisfied with the small measure of spiritual knowledge, experience, and love that has been given to us, and that we must constantly be looking forward eagerly for the highest good. Then we deplore the fact that we lack the deep certainty, the strong faith, and the rich experience that God has given to others, and we consider this lament to be pious. We pray for the big things and forget to give thanks for the ordinary, small (and yet really not small) gifts. How can God entrust great things to one who will not thankfully receive from Him the little things? If we do not give thanks daily for the Christian fellowship in which we have been placed, even where there is no great experience, no discoverable riches, but much weakness, small faith, and difficulty; if on the contrary, we only keep complaining to God that everything is so paltry and petty, so far from what we expected, then we hinder God from letting our fellowship grow according to the measure and riches which are there for us all in Jesus Christ.

Jacob wrote that the true poet ‘is like a man who is happy anywhere, in endless measure, if he is allowed to look at leaves and grass, to see the sun rise and set. The false poet travels abroad in strange countries and hopes to be uplifted by the mountains of Switzerland, the sky and sea of Italy. He comes to them and is dissatisfied. He is not as happy as the man who stays at home and sees the apple trees flower in spring, and hears the small birds singing among the branches

HANNAH: ....English landscape was invented by gardeners imitating foreign painters who were evoking classical authors. The whole thing was brought home in the luggage from the Grand Tour. Here, look -- Capability Brown doing Claude, who was doing Virgil. Arcadia! And here, superimposed by Richard Noakes, untamed nature in the style of Salvator Rosa. It's the Gothic novel expressed in landscape. Everything but vampires.

Be patient, darling, and try to trust both your heavenly and your earthly father. You know that no trial can come to you without your heavenly Father's will, and that He means this for your good. Look to Him and he will help you to bear it, and send relief in His own good time and way.

Money is better when you have more of it. With money, enough is not enough. You should always have more than enough money - an abundance of money. Look at nature, nature never only makes enough of a good thing. It always makes more than enough. And there’s no scarcity or lack. Everything in nature experiences more than enough.

Grow up with me,Let’s run in fields and through the dark together,Fall off swings and burn special things,And both play outside in bad weather,Let’s eat badly,Let’s watch adults drink wine and laugh at their idiocy,Let’s sit in the back of the car making eye contact with strangers driving past,Making them uncomfortable,Not caring, not swearing, don’t look,Let’s both reclaim our superpowers, The ones we all have and lose with our milk teeth,The ability not to fear social awkwardness,The panic when locked in the cellar, still sure there’s something down there,And while picking through pillows each feather,Let’s both stay away from the edge of the bed,Forcing us closer together,Let’s sit in public, with ice-cream all over both our faces,Sticking our tongues out at passers-by,Let’s cry, let’s swim, let’s everything,Let’s not find it funny, lest someone falls over,Classical music is boring,Poetry baffles us both,There’s nothing that’s said is what’s meant,Plays are long, tiresome, sullen and filled With hours that could be spent rolling down hills and grazing our knees on cement,Let’s hear stories and both lose our innocence,Learn about parents and forgiveness,Death and morality,Kindness and heart,Thus losing both of our innocent hearts,But at least we wont do it apart,Grow up with me.

I have always been interested in this man. My father had a set of Tom Paine's books on the shelf at home. I must have opened the covers about the time I was 13. And I can still remember the flash of enlightenment which shone from his pages. It was a revelation, indeed, to encounter his views on political and religious matters, so different from the views of many people around us. Of course I did not understand him very well, but his sincerity and ardor made an impression upon me that nothing has ever served to lessen. I have heard it said that Paine borrowed from Montesquieu and Rousseau. Maybe he had read them both and learned something from each. I do not know. But I doubt that Paine ever borrowed a line from any man... Many a person who could not comprehend Rousseau, and would be puzzled by Montesquieu, could understand Paine as an open book. He wrote with a clarity, a sharpness of outline and exactness of speech that even a schoolboy should be able to grasp. There is nothing false, little that is subtle, and an impressive lack of the negative in Paine. He literally cried to his reader for a comprehending hour, and then filled that hour with such sagacious reasoning as we find surpassed nowhere else in American letters - seldom in any school of writing. Paine would have been the last to look upon himself as a man of letters. Liberty was the dear companion of his heart; truth in all things his object. ...we, perhaps, remember him best for his declaration: 'The world is my country; to do good my religion.' Again we see the spontaneous genius at work in 'The Rights of Man', and that genius busy at his favorite task - liberty. Written hurriedly and in the heat of controversy, 'The Rights of Man' yet compares favorably with classical models, and in some places rises to vaulting heights. Its appearance outmatched events attending Burke's effort in his 'Reflections'. Instantly the English public caught hold of this new contribution. It was more than a defense of liberty; it was a world declaration of what Paine had declared before in the Colonies. His reasoning was so cogent, his command of the subject so broad, that his legion of enemies found it hard to answer him. 'Tom Paine is quite right,' said Pitt, the Prime Minister, 'but if I were to encourage his views we should have a bloody revolution.' Here we see the progressive quality of Paine's genius at its best. 'The Rights of Man' amplified and reasserted what already had been said in 'Common Sense', with now a greater force and the power of a maturing mind. Just when Paine was at the height of his renown, an indictment for treason confronted him. About the same time he was elected a member of the Revolutionary Assembly and escaped to France. So little did he know of the French tongue that addresses to his constituents had to be translated by an interpreter. But he sat in the assembly. Shrinking from the guillotine, he encountered Robespierre's enmity, and presently found himself in prison, facing that dread instrument. But his imprisonment was fertile. Already he had written the first part of 'The Age of Reason' and now turned his time to the latter part. Presently his second escape cheated Robespierre of vengeance, and in the course of events 'The Age of Reason' appeared. Instantly it became a source of contention which still endures. Paine returned to the United States a little broken, and went to live at his home in New Rochelle - a public gift. Many of his old companions in the struggle for liberty avoided him, and he was publicly condemned by the unthinking. {The Philosophy of Paine, June 7, 1925}

With managing a business, you need to Invest in good software and or good data mining systems. Run your numbers routinely. Take a look at your revenues - when is the money typically coming in, from where, can you identify any patterns in your revenues? Then take a look at your expenses - analyze the numbers and identify patterns. Why? Because Identifying patterns and extracting actionable items from your revenue and expense data will result in the clarity you need to make good business decisions.

Do you remember what we were speaking of earlier, of how bloody, terrible things are sometimes the most beautiful?” he said. “It’s a very Greek idea, and a very profound one. Beauty is terror. Whatever we call beautiful, we quiver before it. And what could be more terrifying and beautiful, to souls like the Greeks or our own, than to lose control completely? To throw off the chains of being for an instant, to shatter the accident of our mortal selves? Euripides speaks of the Maenads: head thrown back, throat to the stars, ‘more like deer than human being.’ To be absolutely free! One is quite capable, of course, of working out these destructive passions in more vulgar and less efficient ways. But how glorious to release them in a single burst! To sing, to scream, to dance barefoot in the woods in the dead of night, with no more awareness of mortality than an animal! These are powerful mysteries. The bellowing of bulls. Springs of honey bubbling from the ground. If we are strong enough in our souls we can rip away the veil and look that naked, terrible beauty right in the face; let God consume us, devour us, unstring our bones. Then spit us out reborn.

Life was full for me. There were so many things to find out and a lot I had to prove to myself. The days were quick and challenging and they pressed on me with their very newness. But it all stopped here in the garden. Everything seemed to have stopped here a long time ago. I looked back before going through the door into the yard and it was like suddenly coming across a picture in an old book; the empty, wild garden and the tall, silent house beyond. I could never quite believe it was there and that I was a part of it.

There is no need to ”believe” in Jupiter or Wotan—something that is no more ridiculous then believing in Yahweh however—to be pagan. Contemporary paganism does not consist of erecting altars to Apollo or reviving the worship of Odin. Instead it implies looking behind religion and, according to a now classic itinerary, seeking for the “mental equipment” that produced it, the inner world it reflects, and how the world it depicts as apprehended. In short, it consists of viewing the gods as “centers of value” and the beliefs they generate as value systems: gods and beliefs may pass away, but the values remain.

Plus, I can't look at him the same since I ran into Mrs. Marino at our family reunion. It's not comforting to learn you've made out with your cousin." "Third cousin once removed," I argued. "It's hardly incest." "Life is like a box of chocolates, Lisa," Katie noted around a half-chewed carrot stick. "You never know what you're going to get." Lisa narrowed her eyes, confused. "Did she just quote Forrest Gump at me?" "It's Matt's fault," I said. "She lost a bet and now anytime his name gets mentioned, she has sixty seconds to drop a relevant movie quote." "That's insane." "Yup," Katie piped in, "insanity tuns in my family. Its practically gallops." "Classic." I high-fived her.

As far as I can see, Italy, for fifteen hundred years, has turned all her energies, all her finances, and all her industry to the building up of a vast array of wonderful church edifices, and starving half her citizens to accomplish it. She is today one vast museum of magnificence and misery. All the churches in an ordinary American city put together could hardly buy the jeweled frippery in one of her hundred cathedrals. And for every beggar in America, Italy can show a hundred - and rags and vermin to match. It is the wretchedest, princeliest land on earth. Look at the grande Doumo of Florence - a vast pile that has been sapping the purses of her citizens for five hundred years, and is not nearly finished yet. Like all other men, I fell down and worshiped it, but when the filthy beggars swarmed around me the contrast was too striking, too suggestive, and I said. "Oh, sons of classic Italy, is the spirit of enterprise, of self-reliance, of noble endeavor, utterly dead within ye? Curse your indolent worthlessness, why don't you rob your church?

To Helen I saw thee once-once only-years ago; I must not say how many-but not many. It was a july midnight; and from out A full-orbed moon, that, like thine own soul, soaring, Sought a precipitate pathway up through heaven, There fell a silvery-silken veil of light, With quietude, and sultriness, and slumber Upon the upturn'd faces of a thousand Roses that grew in an enchanted garden, Where no wind dared to stir, unless on tiptoe- Fell on the upturn'd faces of these roses That gave out, in return for the love-light Thier odorous souls in an ecstatic death- Fell on the upturn'd faces of these roses That smiled and died in this parterre, enchanted by thee, by the poetry of thy prescence. Clad all in white, upon a violet bank I saw thee half reclining; while the moon Fell on the upturn'd faces of the roses And on thine own, upturn'd-alas, in sorrow! Was it not Fate that, on this july midnight- Was it not Fate (whose name is also sorrow) That bade me pause before that garden-gate, To breathe the incense of those slumbering roses? No footstep stirred; the hated world all slept, Save only thee and me. (Oh Heaven- oh, God! How my heart beats in coupling those two worlds!) Save only thee and me. I paused- I looked- And in an instant all things disappeared. (Ah, bear in mind this garden was enchanted!) The pearly lustre of the moon went out; The mossy banks and the meandering paths, The happy flowers and the repining trees, Were seen no more: the very roses' odors Died in the arms of the adoring airs. All- all expired save thee- save less than thou: Save only the divine light in thine eyes- Save but the soul in thine uplifted eyes. I saw but them- they were the world to me. I saw but them- saw only them for hours- Saw only them until the moon went down. What wild heart-histories seemed to lie enwritten Upon those crystalline, celestial spheres! How dark a woe! yet how sublime a hope! How silently serene a sea of pride! How daring an ambition!yet how deep- How fathomless a capacity for love! But now, at length, dear Dian sank from sight, Into western couch of thunder-cloud; And thou, a ghost, amid the entombing trees Didst glide away. Only thine eyes remained. They would not go- they never yet have gone. Lighting my lonely pathway home that night, They have not left me (as my hopes have) since. They follow me- they lead me through the years. They are my ministers- yet I thier slave Thier office is to illumine and enkindle- My duty, to be saved by thier bright light, And purified in thier electric fire, And sanctified in thier Elysian fire. They fill my soul with Beauty (which is Hope), And are far up in heaven- the stars I kneel to In the sad, silent watches of my night; While even in the meridian glare of day I see them still- two sweetly scintillant Venuses, unextinguished by the sun!

What does it mean to be truly educated? I think I can do no better about answering the question of what it means to be truly educated than to go back to some of the classic views on the subject. For example the views expressed by the founder of the modern higher education system, Wilhelm von Humboldt, leading humanist, a figure of the enlightenment who wrote extensively on education and human development and argued, I think, kind of very plausibly, that the core principle and requirement of a fulfilled human being is the ability to inquire and create constructively independently without external controls. To move to a modern counterpart, a leading physicist who talked right here [at MIT], used to tell his classes it's not important what we cover in the class, it's important what you discover. To be truly educated from this point of view means to be in a position to inquire and to create on the basis of the resources available to you which you've come to appreciate and comprehend. To know where to look, to know how to formulate serious questions, to question a standard doctrine if that's appropriate, to find your own way, to shape the questions that are worth pursuing, and to develop the path to pursue them. That means knowing, understanding many things but also, much more important than what you have stored in your mind, to know where to look, how to look, how to question, how to challenge, how to proceed independently, to deal with the challenges that the world presents to you and that you develop in the course of your self education and inquiry and investigations, in cooperation and solidarity with others. That's what an educational system should cultivate from kindergarten to graduate school, and in the best cases sometimes does, and that leads to people who are, at least by my standards, well educated.

Crowley was currently doing 110 mph somewhere east of Slough. Nothing about him looked particularly demonic, at least by classical standards. No horns no wings. Admittedly he was listening to a Best of Queen tape, but no conclusions should be drawn from this because all tapes left in a car for more than about a fortnight metamorphose into Best of Queen albums

You both love Tolstoy and Dostoyevsky, Hawthorne and Melville, Flaubert and Stendahl, but at that stage of your life you cannot stomach Henry James, while Gwyn argues that he is the giant of giants, the colossus who makes all other novelists look like pygmies. You are in complete harmony about the greatness of Kafka and Beckett, but when you tell her that Celine belongs in their company, she laughs at you and calls him a fascist maniac. Wallace Stevens yes, but next in line for you is William Carlos Williams, not T.S. Eliot, whose work Gwyn can recite from memory. You defend Keaton, she defends Chaplin, and while you both howl at the sight of the Marx Brothers, your much-adored W.C. Fields cannot coax a single smile from her. Truffaut at his best touches you both, but Gwyn finds Godard pretentious and you don't, and while she lauds Bergman and Antonioni as twin masters of the universe, you reluctantly tell her that you are bored by their films. No conflicts about classical music, with J.S. Bach at the top of the list, but you are becoming increasingly interested in jazz, while Gwyn still clings to the frenzy of rock and roll, which has stopped saying much of anything to you. She likes to dance, and you don't. She laughs more than you do and smokes less. She is a freer, happier person than you are, and whenever you are with her, the world seems brighter and more welcoming, a place where your sullen, introverted self can almost begin to feel at home.

It is a great thing to start life with a small number of really good books which are your very own. You may not appreciate them at first. You may pine for your novel of crude and unadulterated adventure. You may, and will, give it the preference when you can. But the dull days come, and the rainy days come, and always you are driven to fill up the chinks of your reading with the worthy books which wait so patiently for your notice. And then suddenly, on a day which marks an epoch in your life, you understand the difference. You see, like a flash, how the one stands for nothing, and the other for literature. From that day onwards you may return to your crudities, but at least you do so with some standard of comparison in your mind. You can never be the same as you were before. Then gradually the good thing becomes more dear to you; it builds itself up with your growing mind; it becomes a part of your better self, and so, at last, you can look, as I do now, at the old covers and love them for all that they have meant in the past.

Let me begin with a heartfelt confession. I admit it. I am a biblioholic, one who loves books and whose life would seem incomplete without them. I am an addict, with a compulsive need to stop by nearly any bookstore I pass in order to get my fix. Books are an essential part of my life, the place where I have spent many unforgettable moments. For me, reading is one of the most enjoyable ways to pass a rainy afternoon or a leisurely summer day. I crave the knowledge and insights that truly great books bring into my life and can spend transported hours scouring used book stores for volumes which "I simply must have". I love the smell and feel of well-loved books and the look of a bookcase full of books waiting to be taken down and read.

You must come to Lockleigh again," said Miss Molyneux, very sweetly, to Isabel, ignoring this remark of Isabel's friend. Isabel looked into her quiet eyes a moment, and for that moment seemed to see in their grey depths the reflexion of everything she had rejected in rejecting Lord Warburton—the peace, the kindness, the honour, the possessions, a deep security and a great exclusion. She kissed Miss Molyneux and then she said: "I'm afraid I can never come again.

The days are passing so quickly. This is the only time of year when I want to slow time down. I spend the entire year trying to get here as fast as I can, then once I'm here I want to slam on the brakes. I'm beginning to have those moments when the feel of autumn is so strong it drowns out everything else. Lately it's been making me think about the perfect soundtrack for a Halloween party. The top of any Halloween music list as to be the theme song from the movie Halloween; right on its heels is "Pet Sematary" by the Ramones. For some reason I've always equated the old Van Morrison song "Moondance" with Halloween, too. I love that song. "Bela Lugosi's Dead" by Bauhaus is an October classic, as well as anything by Type O Negative. And Midnight Syndicate. If you've never heard anything by Midnight Syndicate, look them up right this moment. If you distilled the raw essence of every spooky story you ever heard, you would have Midnight Syndicate. I have a friend who swears by them, believing them to be a vital element of any Halloween party. To finish off the list you must have "The Lyre of Orpheus" by Nick Cave and "I Feel Alright" by Steve Earle.

Politicians in our times feed their clichés to television, where even those who wish to disagree repeat them. Television purports to challenge political language by conveying images, but the succession from one frame to another can hinder a sense of resolution. Everything happens fast, but nothing actually happens. Each story on televised news is ”breaking” until it is displaced by the next one. So we are hit by wave upon wave but never see the ocean. The effort to define the shape and significance of events requires words and concepts that elude us when we are entranced by visual stimuli. Watching televised news is sometimes little more than looking at someone who is also looking at a picture. We take this collective trance to be normal. We have slowly fallen into it. More than half a century ago, the classic novels of totalitarianism warned of the domination of screens, the suppression of books, the narrowing of vocabularies, and the associated difficulties of thought. In Ray Bradbury’s Fahrenheit 451, published in 1953, firemen find and burn books while most citizens watch interactive television. In George Orwell’s 1984, published in 1949, books are banned and television is two-way, allowing the government to observe citizens at all times. In 1984, the language of visual media is highly constrained, to starve the public of the concepts needed to think about the present, remember the past, and consider the future. One of the regime’s projects is to limit the language further by eliminating ever more words with each edition of the official dictionary. Staring at screens is perhaps unavoidable, but the two-dimensional world makes little sense unless we can draw upon a mental armory that we have developed somewhere else. When we repeat the same words and phrases that appear in the daily media, we accept the absence of a larger framework. To have such a framework requires more concepts, and having more concepts requires reading. So get the screens out of your room and surround yourself with books. The characters in Orwell’s and Bradbury’s books could not do this—but we still can.

It's not good, is it?" Galen's reply was convincingly nonchalant. "I've seen worse." "Yes-on a dead man." Galen averted his eyes for a moment before giving a reply. "Don't talk like that." "Sorry." "Don't apologize, either." Steldor gave a wry laugh. "Would you mind telling me what I am allowed to do?" Galen couldn't suppress a smirk, thought it was laced with sadness, as he recognized the beginning of one of their classic bickering contests. "Sure-you can shut your trap." Steldor was smirking, too, then he grimaced, arching his back as unexpected pain shot through him, and new drops of sweat materialized on his forehead. "Steldor-" Galen started, humor lost, reaching toward him with undetermined intent. Steldor smacked his hand away with as much vigor as he could muster. "No," he growled, gritting his teeth. "Ignore it.I don't want to think about it." Galen nodded, thought he looked uneasy. "Just tell me what to do," he said in a small voice. "Tell me to shut my trap again.

You changed Iggy’s color?” she asked, heading over to his cage, where, sure enough, the tiny imp had yet another new look. His neatly trimmed, gold, sparkly fur was now a much poofier ice blue with tiny crimps. “Huh, I figured he’d be pink and purple,” Sophie admitted, pointing to Ro’s colorful pigtails. Ro tossed her head, swishing her hair in the process. “Uh, no, I’m not sharing my fabulous style with anyone—much less a creature who spent the last hour eating his own toenails. But I thought it was only right to save your imp from being sparkle-fied—and I was going to be nice and turn him your favorite color. But apparently your favorite color is teal—and yeah, yeah, we all know why. But, um, do you realize how many of the nastiest little microbes are in that color?" She shuddered. "I couldn't do that to you—or the little dude. So I went with a nice ice blue. The kind of color you can't help but love. Classic. Reliable—

The Puffer Fish: Wherein the author flaunts his vocabulary. His father was IRA and his mother was Quebecois, and they had reliquished their mortal coils in the internecine conflagration that ended their conjoined separatist movement, IRA-Q. The appellation he was given by his progenitors was Ray O'Vaque ("Like the battery," he'd elucidate, with an adamantine stare that proscribed any mirth). In his years of incarceration, however, he had earned the sobriquet "Uncle Milty" for his piscine amatory habits. He had been emancipated from the penitentiary for three weeks, and now his restless peregrinations had conveyed him to this liminal place, seeking compurgation in the permafrost of the hyperborean tundra, which was an apt analogue of the permafrost in his heart. He insinuated himself into the caravansary with nugatory expectations, which were confirmed by the exiguous provisions for comfort. But then the bartender looked up from laving the begrimed bar, his eyes growing luminous as he ejactulated, "Milt!

My theme is memory, that winged host that soared about me one grey morning of war-time. These memories, which are my life--for we possess nothing certainly except the past--were always with me. Like the pigeons of St. Mark's, theywere everywhere, under my feet, singly, in pairs, in little honey-voiced congregations, nodding, strutting, winking, rolling the tender feathers of their necks, perching sometimes, if I stood still, on my shoulder or pecking a broken biscuit from between my lips; until, suddenly, the noon gun boomed and in a moment, with a flutter and sweep of wings, the pavement was bare and the whole sky above dark with a tumult of fowl. Thus it was that morning. These memories are the memorials and pledges of the vital hours of a lifetime. These hours of afflatus in the human spirit, the springs of art, are, in their mystery, akin to the epochs of history, when a race which for centuries has lived content, unknown, behind its own frontiers, digging, eating, sleeping, begetting, doing what was requisite for survival and nothing else, will, for a generation or two, stupefy the world; commit all manner of crimes, perhaps; follow the wildest chimeras, go down in the end in agony, but leave behind a record of new heights scaled and new rewards won for all mankind; the vision fades, the soul sickens, and the routine of survival starts again. The human soul enjoys these rare, classic periods, but, apart from them, we are seldom single or unique; we keep company in this world with a hoard of abstractions and reflections and counterfeits of ourselves -- the sensual man, the economic man, the man of reason, the beast, the machine and the sleep-walker, and heaven knows what besides, all in our own image, indistinguishable from ourselves to the outward eye. We get borne along, out of sight in the press, unresisting, till we get the chance to drop behind unnoticed, or to dodge down a side street, pause, breathe freely and take our bearings, or to push ahead, out-distance our shadows, lead them a dance, so that when at length they catch up with us, they look at one another askance, knowing we have a secret we shall never share.

I will tell you why; so shall my anticipation Prevent your discovery, and your secrecy to the king And queen moult no feather. I have of late--but Wherefore I know not--lost all my mirth, forgone all Custom of exercises; and indeed it goes so heavily With my disposition that this goodly frame, the Earth, seems to me a sterile promontory, this most Excellent canopy, the air, look you, this brave O'erhanging firmament, this majestical roof fretted With golden fire, why, it appears no other thing to Me than a foul and pestilent congregation of vapours. What a piece of work is a man! how noble in reason! How infinite in faculty! in form and moving how Express and admirable! in action how like an angel! In apprehension how like a god! the beauty of the World! the paragon of animals! And yet, to me, What is this quintessence of dust? man delights not Me: no, nor woman neither, though by your smiling You seem to say so.

The belief that a person has a share in an unknown life to which his or her love may win us admission is, of all the prerequisites of love, the one which it values most highly and which makes it set little store by all the rest. Even those women who claim to judge a man by his looks alone, see in those looks the emanation of a special way of life. That is why they fall in love with soldiers or with firemen; the uniform makes them less particular about the face; they feel they are embracing beneath the gleaming breastplate a heart different from the rest, more gallant, more adventurous, more tender; and so it is that a young king or a crown prince may make the most gratifying conquests in the countries that he visits, and yet lack entirely that regular and classic profile which would be indispensable, I dare say, for a stockbroker.

It’s going to work.” “Classic,” Roarke said. “What’s going to work? What’s classic? I want my jacket.” “Forget it. You’re going to walk right up to Milo the Mole’s front door, and he’s going to answer.” “I am? He is?” “Damsel in distress, right?” Eve said to Roarke. “A very alluring damsel. Clever, Lieutenant.” “Oh, okay. I get it. I look like I’m in trouble—all alone, unarmed. Harmless. Girl. He opens up to find out what’s what. You should do it,” Peabody told Eve. “You’re the one with the tits. Men are stupid for tits.” “Harsh,” Roarke observed. “But largely true.” “Plus, you’re the type, obviously, who appeals to skinny geeks.” “Oh yeah,” McNab confirmed. “Completely.

The witnesses for the state, with the exception of the sheriff of Maycomb County, have presented themselves to you gentlemen, to this court, in the cynical confidence that their testimony would not be doubted, confident that you gentlemen would go along with them on the assumption—the evil assumption—that all Negroes lie, that all Negroes are basically immoral beings, that all Negro men are not to be trusted around our women, an assumption one associates with minds of their caliber. Which, gentlemen, we know is in itself a lie as black as Tom Robinson’s skin, a lie I do not have to point out to you. You know the truth, and the truth is this: some Negroes lie, some Negroes are immoral, some Negro men are not to be trusted around women—black or white. But this is a truth that applies to the human race and to no particular race of men. There is not a person in this courtroom who has never told a lie, who has never done an immoral thing, and there is no man living who has never looked upon a woman without desire.

Most Western Christians—and most Western non-Christians, for that matter—in fact suppose that Christianity was committed to at least a soft version of Plato’s position. A good many Christian hymns and poems wander off unthinkingly in the direction of Gnosticism. The “just passing through” spirituality (as in the spiritual “This world is not my home, / I’m just a’passin’ through”), though it has some affinities with classical Christianity, encourages precisely a Gnostic attitude: the created world is at best irrelevant, at worst a dark, evil, gloomy place, and we immortal souls, who existed originally in a different sphere, are looking forward to returning to it as soon as we’re allowed to. A massive assumption has been made in Western Christianity that the purpose of being a Christian is simply, or at least mainly, to “go to heaven when you die,” and texts that don’t say that but that mention heaven are read as if they did say it, and texts that say the opposite, like Romans 8:18–25 and Revelation 21–22, are simply screened out as if they didn’t exist.13

[...]finché non siamo arrivati al cancello, al, al cancello, ho visto un treno e binari. Ma non un treno come ho visto quando arrivavo qui a Dachau, ma un treno con...per passeggeri, per gente [cane guaisce in sottofondo]. Non per, ehm, per cani o per ehm, cavalli. Ma questo, questo non può essere per noi, forse Gestapo arriva anche. No...il treno era per noi! E lì, prima di entrare su treno, tutti ricevevano una scatola. Una scatola da Croce rossa svizzera, e io l'ho acchiappata, e sono entrato su treno. Ho aperto la scatola; c'era molte cose, qualche sigaretta, un pezzo di pane, un pezzo di cioccolata. Marmellata. Oh, era un grande, grande tesoro per me. E questo, e il treno ha cominciato a muoversi. Un treno...la prima volta che entravo in un treno dove sta la gente. Persone viventi. E il treno ci ha preso; siamo andati per qualche giorno, non ricordo quanto, mi sentivo molto male, qualche volta un poco meglio, ma questo mi aiutava, quello che avevo. Ma io...dovevamo stare molto attenti; di notte potevo dormire, ma non dormivo per causa del mio tesoro quale avevo. Perché rubavano. Altra gente finiva tutto in una notte, o in un giorno, così non avevano; hanno rubato ad altri. Io stavo sdraiato sopra e tenevo. E qualche volta di notte acchiappavo qualcuno che voleva rubare il mio, il mio tesoro. Certo, se avevo molto più da dormir, mi sentirei molto meglio. Ma non potevo dormire, perché questo era più per me che dormire. Sapevo che con questo posso sopravvivere. Metamaus, Art Spiegelman

Supposing We Really Found Him? It is always shocking to meet life where we thought we were alone. ‘Look out!’ we cry, ‘it’s alive’. And therefore this is the very point at which so many draw back—I would have done so myself if I could—and proceed no further with Christianity. An ‘impersonal God’—well and good. A subjective God of beauty, truth and goodness, inside our own heads—better still. A formless life-force surging through us, a vast power which we can tap—best of all. But God Himself, alive, pulling at the other end of the cord, perhaps approaching at an infinite speed, the hunter, king, husband—that is quite another matter. There comes a moment when the children who have been playing at burglars hush suddenly: was that a real footstep in the hall? There comes a moment when people who have been dabbling in religion (‘Man’s search for God!’) suddenly draw back. Supposing we really found Him? We never meant it to come to that! Worse still, supposing He had found us?

According to the biographical notes, Monsieur Julian Carax was twenty-seven, born with the century in Barcelona, and currently living in Paris; he wrote in French and worked at night as a professional pianist in a hostess bar. The blurb, written in the pompous, moldy style of the age, proclaimed that this was a first work of dazzling courage, the mark of a protean and trailblazing talent, and a sign of hope for the future of all of European letters. In spite of such solemn claims, the synopsis that followed suggested that the story contained some vaguely sinister elements slowly marinated in saucy melodrama, which, to the eyes of Monsieur Roquefort, was always a plus: after the classics what he most enjoyed were tales of crime, boudoir intrigue, and questionable conduct. One of the pitfalls of childhood is that one doesn't have to understand something to feel it. By the time the mind is able to comprehend what has happened, the wounds of the heart are already too deep. She laughed nervously. She had around her a burning aura of loneliness. "You remind me a bit of Julian," she said suddenly. "The way you look and your gestures. He used to do what you are doing now. He would stare at you without saying a word, and you wouldn't know what he was thinking, and so, like an idiot, you'd tell him things it would have been better to keep to yourself." "Someone once said that the moment you stop to think about whether you love someone, you've already stopped loving that person forever." I gulped down the last of my coffee and looked at her for a few moments without saying anything. I thought about how much I wanted to lose myself in those evasive eyes. I thought about the loneliness that would take hold of me that night when I said good-bye to her, once I had run out of tricks or stories to make her stay with me any longer. I thought about how little I had to offer her and how much I wanted from her. "You women listen more to your heart and less to all the nonsense," the hatter concluded sadly. "That's why you live longer." But the years went by in peace. Time goes faster the more hollow it is. Lives with no meaning go straight past you, like trains that don't stop at your station.

There are two kinds of people in the world, those who re-read and those who don’t. No, don’t be silly, there are far more than two kinds of people in the world. There are even people who don’t read at all. (What do they think about on buses?) But there are two kinds of readers in the world, though, those who re-read and those who don’t. Sometimes people who don’t re-read look at me oddly when I mention that I do. “There are so many books,” they say, “and so little time. If I live to be a mere Methuselah of 800, and read a book a week for 800 years, I will only have the chance to read 40,000 books, and my readpile is already 90,000 and starting to topple! If I re-read, why, I’ll never get through the new ones.” This is in fact true, they never will. And my readpile is also, well, let’s just say it’s pretty large, and that’s just the pile of unread books in my house, not the list of books I’d theoretically like to read someday, many of which have not even been written yet.

Many people in this room have an Etsy store where they create unique, unreplicable artifacts or useful items to be sold on a small scale, in a common marketplace where their friends meet and barter. I and many of my friends own more than one spinning wheel. We grow our food again. We make pickles and jams on private, individual scales, when many of our mothers forgot those skills if they ever knew them. We come to conventions, we create small communities of support and distributed skills--when one of us needs help, our village steps in. It’s only that our village is no longer physical, but connected by DSL instead of roads. But look at how we organize our tribes--bloggers preside over large estates, kings and queens whose spouses’ virtues are oft-lauded but whose faces are rarely seen. They have moderators to protect them, to be their knights, a nobility of active commenters and big name fans, a peasantry of regular readers, and vandals starting the occasional flame war just to watch the fields burn. Other villages are more commune-like, sharing out resources on forums or aggregate sites, providing wise women to be consulted, rabbis or priests to explain the world, makers and smiths to fashion magical objects. Groups of performers, acrobats and actors and singers of songs are traveling the roads once more, entertaining for a brief evening in a living room or a wheatfield, known by word of mouth and secret signal. Separate from official government, we create our own hierarchies, laws, and mores, as well as our own folklore and secret history. Even my own guilt about having failed as an academic is quite the crisis of filial piety--you see, my mother is a professor. I have not carried on the family trade. We dwell within a system so large and widespread, so disorganized and unconcerned for anyone but its most privileged and luxurious members, that our powerlessness, when we can summon up the courage to actually face it, is staggering. So we do not face it. We tell ourselves we are Achilles when we have much more in common with the cathedral-worker, laboring anonymously so that the next generation can see some incremental progress. We lack, of course, a Great Work to point to and say: my grandmother made that window; I worked upon the door. Though, I would submit that perhaps the Internet, as an object, as an aggregate entity, is the cathedral we build word by word and image by image, window by window and portal by portal, to stand taller for our children, if only by a little, than it does for us. For most of us are Lancelots, not Galahads. We may see the Grail of a good Classical life, but never touch it. That is for our sons, or their daughters, or further off. And if our villages are online, the real world becomes that dark wood on the edge of civilization, a place of danger and experience, of magic and blood, a place to make one’s name or find death by bear. And here, there be monsters.

…he is invariably a kind of super-size but unmistakably ‘classical’ neurotic, an aberrant who only occasionally, and never deeply, wishes to surrender his aberration; or, in English, a Sick Man who not at all seldom, though he’s reported to childishly deny it, gives out terrible cries of pain, as if he would wholeheartedly let go of both his art and soul to experience what passes in other people for wellness, and yet (the rumor continues) when his unsalutary-looking little room is broken into and someone - not infrequently, at that, someone who actually loves him - passionately asks him where the pain is, he either declines or seems unable to discuss it an any constructive critical length, and in the morning, when even great poets and painters presumably feel a bit more chipper than usual, he looks more perversely determined than ever to see his sickness run its course, as though by the light of another, presumably working day he had remembered that all men, the healthy ones included, eventually die, but that he, lucky man, is at least being done in by the most stimulating companion, disease or no, he has ever known.

Picture it. Nineteenth-century man with his horses, dogs, carts, slow motion. Then, in the twentieth century, speed up your camera. Books cut shorter. Condensations. Digests, Tabloids. Everything boils down to the gag, the snap ending.” “Snap ending.” Mildred nodded. “Classics cut to fit fifteen-minute radio shows, then cut again to fill a two-minute book column, winding up at last as a ten- or twelve-line dictionary resume. I exaggerate, of course. The dictionaries were for reference. But many were those whose sole knowledge of Hamlet (you know the title certainly, Montag; it is probably only a faint rumor of a title to you, Mrs. Montag), whose sole knowledge, as I say, of Hamlet was a one-page digest in a book that claimed: now at last you can read all the classics; keep up with your neighbors. Do you see? Out of the nursery into the college and back to the nursery; there’s your intellectual pattern for the past five centuries or more.” Mildred arose and began to move around the room, picking things up and putting them down. Beatty ignored her and continued: “Speed up the film, Montag, quick. Click, Pic, Look, Eye, Now, Flick, Here, There, Swift, Pace, Up, Down, In, Out, Why, How, Who, What, Where, Eh? Uh! Bang! Smack! Wallop, Bing, Bong, Boom! Digest-digests, digest-digest-digests. Politics? One column, two sentences, a headline! Then, in mid-air, all vanishes! Whirl man’s mind around about so fast under the pumping hands of publishers, exploiters, broadcasters that the centrifuge flings off all unnecessary, time-wasting thought!” Mildred smoothed the bedclothes. Montag felt his heart jump and jump again as she patted his pillow. Right now she was pulling at his shoulder to try to get him to move so she could take the pillow out and fix it nicely and put it back. And perhaps cry out and stare or simply reach down her hand and say, “What’s this?” and hold up the hidden book with touching innocence. “School is shortened, discipline relaxed, philosophies, histories, languages dropped, English and spelling gradually gradually neglected, finally almost completely ignored. Life is immediate, the job counts, pleasure lies all about after work. Why learn anything save pressing buttons, pulling switches, fitting nuts and bolts?

Let us look one another in the face. We are Hyperboreans—we know well enough how much out of the way we live. 'Neither by land nor sea shalt thou find the road to the Hyperboreans': Pindar already knew that of us. Beyond the North, beyond the ice, beyond death—our life, our happiness.... We have discovered happiness, we know the road, we have found the exit out of whole millennia of labyrinth. Who else has found it? Modern man perhaps? 'I know not which way to turn; I am everything that knows not which way to turn,' sighs modern man.... It was from this modernity that we were ill—from lazy peace, from cowardly compromise, from the whole virtuous uncleanliness of modern Yes and No. This tolerance and largeur of heart which 'forgives' everything because it 'Understands' everything is sirocco to us. Better to live among ice than among modern virtues and other south winds! ...We were brave enough, we spared neither ourselves nor others: but for long we did not know where to apply our courage. We became gloomy, we were called fatalists. Our fatality—was the plenitude, the tension, the blocking-up of our forces. We thirsted for lightning and action, of all things we kept ourselves furthest from the happiness of the weaklings, from 'resignation'.... There was a thunderstorm in our air, the nature which we are grew dark—for we had no road. Formula of our happiness: a Yes, a No, a straight line, a goal...

Dad was standing in front of the big windows when I got to the library, his hands clasped behind his back in the classic "I am so disappointed in my offspring" pose. "Dad? Um,Lara said you wanted to see me." He turned around, his mouth a hard line. "Yes.Did you have a nice time with Daisy and Nick last night?" I fought the urge to reach into my pocket and touch the coin. "Not particularly." He didn't say anything, so we just stared at each other until I started feeling fidgety. "Look, if you're going to punish me, I'd really rather just get it over with." Dad kept staring. "Would you like to know how I spent my evening? Well, not evening, really, so much as very early morning hours." Inwardly, I groaned. Mrs. Casnoff sometimes pulled this maneuver: she'd say she wasn't mad, and then proceeded to list all the ways my screwup had inconvenience her. Maybe they taught it at those fancy schools nonreject Prodigium got to go to. "Sure." "I spent those hours on the phone. Do you know with whom?" "One of those psychic hotlines?" Dad gritted his teeth. "If only. No, I was busy assuring no less than thiry influential witches, warlocks, shifters, and faeries that surely, my daughter-the future head of the Council, I should add-had not injured over a dozen innocent Prodigum while attempting to escape a nightclub during a raid by L'Occhio di Dio." "I didn't hurt them!" I exclaimed. Then I remembered just how hard they had hit the wall, and winced. "Well, not on purpose," I amended.

A murmur ran through the crowd, and I looked around to see what all the fuss was about. Then I saw him, walking past table after table as if everybody weren't stopping to stare at him. Loki had ventured down from where he'd been hiding in the servants' quarters. Since I'd granted him amnesty, he was no longer being guarded and was free to roman as he pleased, but I hadn't exactly invited him to the wedding. As Tove and I danced, I didn't take my eyes off Loki. He walked around the dance floor toward the refreshments, but he kept watching me. He got a glass of champagne from the table, and even as he drank his eyes never left me. Another Markis came over and cut in to dance with me, but I barely noticed when I switched partners. I tried to focus on the person I was dancing with. But there was something about the way Loki looked at me, and I couldn't shake it. The song had switched to something contemporary, probably the sheet music that Willa had slipped the orchestra. She'd insisted the whole thing would be far too dull if they only played classical. The murmur died down, and people returned to dancing and talking. Loki took another swig of his champagne, then set the glass down and walked across the dance floor. Everyone parted around him, and I wasn't sure if it was out of fear or respect. He wore all black, even his shirt. I had no idea where he'd gotten the clothes, but he did look debonair. "May I have this dance?" Loki asked my dance partner, but his eyes were on me. "Um, I don't know if you should," the Markis fumbled, but I was already moving away from him. "No, it's all right," I said. Uncertainly, the Markis stepped back, and Loki took my hand. When he placed his hand on my back, a shiver ran up my spine, but I tried to hide it and put my hand on his shoulder. "You know, you weren't invited to this," I told him, but he merely smirked as we began dancing. "So throw me out." "I might." I raised my head defiantly, and that only made him laugh. "If it's as the Princess wishes," he said, but he made no move to step away, and for some odd reason, I felt relieved.

And I thought how many satisfied, happy people really do exist in this world! And what a powerful force they are! Just take a look at this life of ours and you will see the arrogance and idleness of the strong, the ignorance and bestiality of the weak. Everywhere there's unspeakable poverty, overcrowding, degeneracy, drunkenness, hypocrisy and stupid lies... And yet peace and quiet reign in every house and street. Out of fifty thousand people you won't find one who is prepared to shout out loud and make a strong protest. We see people buying food in the market, eating during the day, sleeping at night-time, talking nonsense, marrying, growing old and then contentedly carting their dead off to the cemetery. But we don't hear or see those who suffer: the real tragedies of life are enacted somewhere behind the scenes. Everything is calm and peaceful and the only protest comes from statistics - and they can't talk. Figures show that so many went mad, so many bottles of vodka were emptied, so many children died from malnutrition. And clearly this kind of system is what people need. It,s obvious that the happy man feels contented only because the unhappy ones bear their burden without saying a word: if it weren't for their silence, happiness would be quite impossible. It's a kind of mass hypnosis. Someone ought to stand with a hammer at the door of every contented man, continually banging on it to remind him that there are unhappy people around and that however happy he may be at that time, sooner or later life will show him its claws and disaster will overtake him in the form of illness, poverty, bereavement and there will be no one to hear or see him. But there isn't anyone holding a hammer, so our happy man goes his own sweet way and is only gently ruffled by life's trivial cares, as an aspen is ruffled by the breeze. All's well as far as he's concerned

"If you prefer it, Your Excellency, a private room will be free directly: Prince Golitsin with a lady. Fresh oysters have come in." "Ah, oysters!" Stepan Arkadyevich became thoughtful. "How if we were to change our program, Levin?" he said, keeping his finger on the bill of fare. And his face expressed serious hesitation. "Are the oysters good? Mind, now!" "They're Flensburg, Your Excellency. We've no Ostend." "Flensburg will do -- but are they fresh?" "Only arrived yesterday." "Well, then, how if we were to begin with oysters, and so change the whole program? Eh?" "It's all the same to me. I should like cabbage soup and porridge better than anything; but of course there's nothing like that here." "Porridge a la Russe, Your Honor would like?" said the Tatar, bending down to Levin, like a nurse speaking to a child. "No, joking apart, whatever you choose is sure to be good. I've been skating, and I'm hungry. And don't imagine," he added, detecting a look of dissatisfaction on Oblonsky's face, "that I shan't appreciate your choice. I don't object to a good dinner." "I should hope so! After all, it's one of the pleasures of life," said Stepan Arkadyevich. "Well, then, my friend, you give us two -- or better say three-dozen oysters, clear soup with vegetables..." "Printaniere," prompted the Tatar. But Stepan Arkadyevich apparently did not care to allow him the satisfaction of giving the French names of the dishes. "With vegetables in it, you know. Then turbot with thick sauce, then... roast beef; and mind it's good. Yes, and capons, perhaps, and then stewed fruit." The Tatar, recollecting that it was Stepan Arkadyevich's way not to call the dishes by the names in the French bill of fare, did not repeat them after him, but could not resist rehearsing the whole menu to himself according to the bill: "Soupe printaniere, turbot sauce Beaumarchais, poulard a l'estragon, Macedoine de fruits..." and then instantly, as though worked by springs, laying down one bound bill of fare, he took up another, the list of wines, and submitted it to Stepan Arkadyevich. "What shall we drink?" "What you like, only not too much. Champagne," said Levin. "What! to start with? You're right though, I dare say. Do you like the white seal?" "Cachet blanc," prompted the Tatar. "Very well, then, give us that brand with the oysters, and then we'll see." "Yes, sir. And what table wine?" "You can give us Nuits. Oh, no -- better the classic Chablis." "Yes, sir. And your cheese, Your Excellency?" "Oh, yes, Parmesan. Or would you like another?" "No, it's all the same to me," said Levin, unable to suppress a smile.

I smile at my friends, but Mer and Rashmi and Josh are distracted, arguing about something that happened over dinner. St. Clair sees me and smiles back. "Good?" I nod.He looks pleased and ducks into the row after me. I always sit four rows up from the center, and we have perfectseats tonight.The chairs are classic red. The movie begins,and the title screen flashes up. "Ugh,we have to sit through the credits?" Rashmi asks. They roll first,like in all old films. I read them happily. I love credits. I love everything about movies. The theater is dark except for the flicker of blacks and whites and grays on-screen. Clark Gable pretends to sleep and places his hand in the center of an empty bus seat. After a moment of irritation,Claudette Colbert gingerly plucks it aside and sits down. Gable smiles to himself,and St. Clair laughs. It's odd,but I keep finding myself distracted. By the white of his teeth through the darkness.By a wavy bit of his hair that sticks straight out to the side. By the soft aroma of his laundry detergent. He nudges me to silently offer the armrest,but I decline and he takes it.His arm is close to mine,slightly elevated. I glance at his hands.Mine are tiny compared to his large,knuckly boy hands. And,suddenly,I want to touch him. Not a push,or a shove,or even a friendly hug. I want to feel the creases in his skin,connect his freckles with invisible lines,brush my fingers across the inside of his wrist. He shifts. I have the strangest feeling that he's as aware of me as I am of him. I can't concentrate. The characters on the screen are squabbling, but for the life of me, I don't know what about. How long have I not been paying attention? St. Clair coughs and shifts again. His leg brushes against mine.It stays there. I'm paralyzed. I should move it; it feels too unnatural.How can he not notice his leg is touching my leg? From the corner of my eye,I see the profile of his chin and nose,and-oh,dear God-the curve of his lips. There.He glanced at me. I know he did. I bore my eyes into the screen, trying my best to prove that I am Really Interested in this movie.St. Clair stiffens but doesn't move his leg.Is he holding his breath? I think he is.I'm holding mine. I exhale and cringe-it's so loud and unnatural. Again.Another glance. This time I turn, automatically,just as he's turning away. It's a dance,and now there's a feeling in the air like one of us should say something.Focus,Anna. Focus. "Do you like it?" I whisper. He pauses. "The film?" I'm thankful the shadows hide my blush. "I like it very much," he says. I risk a glance,and St. Clair stares back. Deeply.He has not looked at me like this before.I turn away first, then feel him turn a few beats later. I know he is smiling,and my heart races.

No more peeping through keyholes! No more mas turbating in the dark! No more public confessions! Unscrew the doors from their jambs! I want a world where the vagina is represented by a crude, honest slit, a world that has feeling for bone and contour, for raw, primary colors, a world that has fear and respect for its animal origins. I’m sick of looking at cunts all tickled up, disguised, deformed, idealized. Cunts with nerve ends exposed. I don’t want to watch young virgins masturbating in the privacy of their boudoirs or biting their nails or tearing their hair or lying on a bed full of bread crumbs for a whole chapter. I want Madagascan funeral poles, with animal upon animal and at the top Adam and Eve, and Eve with a crude, honest slit between the legs. I want hermaphrodites who are real hermaphrodites, and not make-believes walking around with an atrophied penis or a dried-up cunt. I want a classic purity, where dung is dung and angels are angels. The Bible a la King James, for example. Not the Bible of Wycliffe, not the Vulgate, not the Greek, not the Hebrew, but the glorious, death-dealing Bible that was created when the English language was in flower, when a vocabulary of twenty thousand words sufficed to build a monument for all time. A Bible written in Svenska or Tegalic, a Bible for the Hottentots or the Chinese, a Bible that has to meander through the trickling sands of French is no Bible-it is a counterfeit and a fraud. The King James Version was created by a race of bone-crushers. It revives the primitive mysteries, revives rape, murder, incest, revives epilepsy, sadism, megalomania, revives demons, angels, dragons, leviathans, revives magic, exorcism, contagion, incantation, revives fratricide, regicide, patricide, suicide, revives hypnotism, anarchism, somnambulism, revives the song, the dance, the act, revives the mantic, the chthonian, the arcane, the mysterious, revives the power, the evil, and the glory that is God. All brought into the open on a colossal scale, and so salted and spiced that it will last until the next Ice Age. A classic purity, then-and to hell with the Post Office authorities! For what is it enables the classics to live at all, if indeed they be living on and not dying as we and all about us are dying? What preserves them against the ravages of time if it be not the salt that is in them? When I read Petronius or Apuleius or Rabelais, how close they seem! That salty tang! That odor of the menagerie! The smell of horse piss and lion’s dung, of tiger’s breath and elephant’s hide. Obscenity, lust, cruelty, boredom, wit. Real eunuchs. Real hermaphrodites. Real pricks. Real cunts. Real banquets! Rabelais rebuilds the walls of Paris with human cunts. Trimalchio tickles his own throat, pukes up his own guts, wallows in his own swill. In the amphitheater, where a big, sleepy pervert of a Caesar lolls dejectedly, the lions and the jackals, the hyenas, the tigers, the spotted leopards are crunching real human boneswhilst the coming men, the martyrs and imbeciles, are walking up the golden stairs shouting Hallelujah!

Everyone's here except for St. Clair." Meredith cranes her neck around the cafeteria. "He's usually running late." "Always," Josh corrects. "Always running late." I clear my throat. "I think I met him last night. In the hallway." "Good hair and an English accent?" Meredith asks. "Um.Yeah.I guess." I try to keep my voice casual. Josh smirks. "Everyone's in luuurve with St. Clair." "Oh,shut up," Meredith says. "I'm not." Rashmi looks at me for the first time, calculating whether or not I might fall in love with her own boyfriend. He lets go of her hand and gives an exaggerated sigh. "Well,I am. I'm asking him to prom. This is our year, I just know it." "This school has a prom?" I ask. "God no," Rashmi says. "Yeah,Josh. You and St. Clair would look really cute in matching tuxes." "Tails." The English accent makes Meredith and me jump in our seats. Hallway boy. Beautiful boy. His hair is damp from the rain. "I insist the tuxes have tails, or I'm giving your corsage to Steve Carver instead." "St. Clair!" Josh springs from his seat, and they give each other the classic two-thumps-on-the-back guy hug. "No kiss? I'm crushed,mate." "Thought it might miff the ol' ball and chain. She doesn't know about us yet." "Whatever," Rashi says,but she's smiling now. It's a good look for her. She should utilize the corners of her mouth more often. Beautiful Hallway Boy (Am I supposed to call him Etienne or St. Clair?) drops his bag and slides into the remaining seat between Rashmi and me. "Anna." He's surprised to see me,and I'm startled,too. He remembers me. "Nice umbrella.Could've used that this morning." He shakes a hand through his hair, and a drop lands on my bare arm. Words fail me. Unfortunately, my stomach speaks for itself. His eyes pop at the rumble,and I'm alarmed by how big and brown they are. As if he needed any further weapons against the female race. Josh must be right. Every girl in school must be in love with him. "Sounds terrible.You ought to feed that thing. Unless..." He pretends to examine me, then comes in close with a whisper. "Unless you're one of those girls who never eats. Can't tolerate that, I'm afraid. Have to give you a lifetime table ban." I'm determined to speak rationally in his presence. "I'm not sure how to order." "Easy," Josh says. "Stand in line. Tell them what you want.Accept delicious goodies. And then give them your meal card and two pints of blood." "I heard they raised it to three pints this year," Rashmi says. "Bone marrow," Beautiful Hallway Boy says. "Or your left earlobe." "I meant the menu,thank you very much." I gesture to the chalkboard above one of the chefs. An exquisite cursive hand has written out the morning's menu in pink and yellow and white.In French. "Not exactly my first language." "You don't speak French?" Meredith asks. "I've taken Spanish for three years. It's not like I ever thought I'd be moving to Paris." "It's okay," Meredith says quickly. "A lot of people here don't speak French." "But most of them do," Josh adds. "But most of them not very well." Rashmi looks pointedly at him. "You'll learn the lanaguage of food first. The language of love." Josh rubs his belly like a shiny Buddha. "Oeuf. Egg. Pomme. Apple. Lapin. Rabbit." "Not funny." Rashmi punches him in the arm. "No wonder Isis bites you. Jerk." I glance at the chalkboard again. It's still in French. "And, um, until then?" "Right." Beautiful Hallway Boy pushes back his chair. "Come along, then. I haven't eaten either." I can't help but notice several girls gaping at him as we wind our way through the crowd.