Colorful Buildings Quotes

She looked up at him with a smile. The smile broke what was left of his resistance - shattered it. He had let the walls down when he'd thought she was gone, and there was no time to build them back up. Helplessly he pulled her against him. For a moment she clung to him tightly, warm and alive in his arms. Her hair brushed his cheek. The color had come back into the world; he could breathe again, and for that moment he breathed her in - she smelled of salt, blood, tears, and Tessa.

The brain is locked in total darkness, of course, children, says the voice. It floats in a clear liquid inside the skull, never in the light. And yet the world it constructs in the mind is full of light. It brims with color and movement. So how, children, does the brain, which lives without a spark of light, build for us a world full of light?

I've apparently been the victim of growing up, which apparently happens to all of us at one point or another. It's been going on for quite some time now, without me knowing it. I've found that growing up can mean a lot of things. For me, it doesn't mean I should become somebody completely new and stop loving the things I used to love. It means I've just added more things to my list. Like for example, I'm still beyond obsessed with the winter season and I still start putting up strings of lights in September. I still love sparkles and grocery shopping and really old cats that are only nice to you half the time. I still love writing in my journal and wearing dresses all the time and staring at chandeliers. But some new things I've fallen in love with -- mismatched everything. Mismatched chairs, mismatched colors, mismatched personalities. I love spraying perfumes I used to wear when I was in high school. It brings me back to the days of trying to get a close parking spot at school, trying to get noticed by soccer players, and trying to figure out how to avoid doing or saying anything uncool, and wishing every minute of every day that one day maybe I'd get a chance to win a Grammy. Or something crazy and out of reach like that. ;) I love old buildings with the paint chipping off the walls and my dad's stories about college. I love the freedom of living alone, but I also love things that make me feel seven again. Back then naivety was the norm and skepticism was a foreign language, and I just think every once in a while you need fries and a chocolate milkshake and your mom. I love picking up a cookbook and closing my eyes and opening it to a random page, then attempting to make that recipe. I've loved my fans from the very first day, but they've said things and done things recently that make me feel like they're my friends -- more now than ever before. I'll never go a day without thinking about our memories together.

We are like children building a sand castle. We embellish it with beautiful shells, bits of driftwood, and pieces of colored glass. The castle is ours, off limits to others. We’re willing to attack if others threaten to hurt it. Yet despite all our attachment, we know that the tide will inevitably come in and sweep the sand castle away. The trick is to enjoy it fully but without clinging, and when the time comes, let it dissolve back into the sea.

It strikes Werner just then as wondrously futile to build splendid buildings, to make music, to sing songs, to print huge books full of colorful birds in the face of the seismic, engulfing indifference of the world - what pretensions humans have!

They never pried, but it took him weeks to realize they didn't have to. They didn't ask for secrets; they settled for the breadcrumb truths of day to day life. They knew he hated vegetables but loved fruit, that his favorite color was gray, and that he didn't like movies or loud music. They were things Neil understood only in terms of survival, but his teammates hoarded these insights like gold. They were piecing Neil together and building a real person around all of his lies. They found the parts of him no disguise could change.

Black is the color that is no color at all. Black is the color of a child's still, empty bedroom. The heaviest hour of night-the one that traps you in your bunk, suffocating in another nightmare. It is a uniform stretched over the broad shoulders of an angry young man. Black is the mud, the lidless eye watching your every breath, the low vibrations of the fence that stretches up to tear at the sky. It is a road. A forgotten night sky broken up by faded stars. It is the barrel of a new gun, leveled at your heart. The color of Chubs's hair, Liam's bruises, Zu's eyes. Black is a promise of tomorrow, bled dry from lies and hate. Betrayal. I see it in the face of a broken compass, feel it in the numbing grip of grief. I run, but it is my shadow. Chasing, devouring, polluting. It is the button that should never have been pushed, the door that shouldn't have opened, the dried blood that couldn't be washed away. It is the charred remains of buildings. The car hidden in the forest, waiting. It is the smoke. It is the fire. The spark. Black is the color of memory. It is our color. The only one they'll use to tell our story.

Because music, like color, or a cloud, is neither intelligent nor unintelligent - it just is. The chord, the simplest building block for even the tritest, silliest chart song, is a beautiful, perfect, mysterious thing, and when an ill-read, uneducated, uncultured, emotionally illiterate boor puts a couple of them together, he has every chance of creating something wonderful and powerful. All I ask of music is that is sounds good.

Mostly we just add to the piles of rainbow glass that's been blown off the exteriors of the cany-colored buildings.

To work and create 'for nothing', to sculpture in clay, to know that one's creation has no future, to see one's work destroyed in a day while being aware that fundamentally this has no more importance than building for centuries- this is the difficult wisdom that absurd thought sanctions. Performing these two tasks simultaneously, negating on one hand and magnifying on the other, is the way open to the absurd creator. He must give the void its colors.

I believe that white progressives cause the most daily damage to people of color. I define a white progressive as any white person who thinks he or she is not racist, or is less racist, or in the “choir,” or already “gets it.” White progressives can be the most difficult for people of color because, to the degree that we think we have arrived, we will put our energy into making sure that others see us as having arrived. None of our energy will go into what we need to be doing for the rest of our lives: engaging in ongoing self-awareness, continuing education, relationship building, and actual antiracist practice. White progressives do indeed uphold and perpetrate racism, but our defensiveness and certitude make it virtually impossible to explain to us how we do so.

If love makes you sad, you acquire a little depth, a little compassion. If it makes you happy, you learn how to be joyous. Every relationship should color your soul to a certain degree, don't you think? Every friendship, every love affair - each one should build up the chambers of your heart the way a sea creature builds the chamber of his shell.

I had the great idea of using markers to gently color the ants so I could tell them apart, but I learned that this is exactly like somebody trying to gently color on you with a thirty-story building. Without dwelling on the tragedy, I'd just like to say that I'm deeply sorry to Mr. Purple and the surviving Purple family.

Perhaps there is more understanding and beauty in life when the glaring sunlight is softened by the patterns of shadows. Perhaps there is more depth in a relationship that has weathered some storms. Experience that never disappoints or saddens or stirs up feeling is a bland experience with little challenge or variation of color. Perhaps it's when we experience confidence and faith and hope that we see materialize before our eyes this builds up within us a feeling of inner strength, courage, and security. We are all personalities that grow and develop as a result of our experiences, relationships, thoughts, and emotions. We are the sum total of all the parts that go into the making of a life.

It's no different from building stations. If something is important enough, a little mistake isn't going to ruin it all, or make it vanish. It might not be perfect, but the first step is actually building the station. Right? Otherwise trains won't stop there. And you can't meet the person who means so much to you. If you find some defect, you can adjust it later, as needed. First things first. Build the station. A special station just for her. The kind of station where trains want to stop, even if they have no reason to do so. Imagine that kind of station, and give it actual color and shape. Write your name on the foundation with a nail, and breathe life into it.

So build yourself as beautiful as you want your world to be. Wrap yourself in light then give yourself away with your heart, your brush, your march, your art, your poetry, your play. And for every day you paint the war, take a week and paint the beauty, the color, the shape of the landscape you’re marching towards. Everyone knows what you’re against; show them what you’re for.

Treat your relationship as if you are growing the most beautiful sacred flower. Keep watering it, tend to the roots, and always make sure the petals are full of color and are never curling. Once you neglect your plant, it will die, as will your relationship.

Dan's skin was beginning to lose color. "Oh, har-har. A library, right? Just to make me crazy. 'Cause there's no reason we would go to a library. Right? I mean, we don't need to research Peoria, do we?" Amy began heading for the building. "Not Peoria. Something else." "Not funny, Amy!" Dan called as she pushed open the heavy brass doors. "Amy...Amy?

It strikes Werner just then as wondrously futile to build splendid buildings, to make music, to sing songs, to print huge books full of colorful birds in the face of the seismic, engulfing indifference of the world—what pretensions humans have! Why bother to make music when the silence and wind are so much larger? Why light lamps when the darkness will inevitably snuff them?

We Afficans try raise our chillun right. When dey say we ign’nant we go together and build de school house. Den de county send us a teacher. We Afficky men doan wait lak de other colored people till de white folks gittee ready to build us a school. We build one for ourself den astee de county to send us de teacher.

wondrously futile to build splendid buildings, to make music, to sing songs, to print huge books full of colorful birds in the face of the seismic, engulfing indifference of the world—what pretensions humans have! Why bother to make music when the silence and wind are so much larger? Why light lamps when the darkness will inevitably snuff them?

He had become so caught up in building sentences that he had almost forgotten the barbaric days when thinking was like a splash of color landing on a page.

Every brush stroke on the canvas, every dab of color introduced, the fine textures impressed in the paint—this accumulation of many small acts combines to shape a final work of art.  And so it is with life; each step, each deed, each brief choice builds gradually, day by day, to shape both character and destiny.

Here is the chance for young women and young men of devotion to lift again the banner of humanity and to walk toward a civilization which will be free and intelligent; which will be healthy and unafraid, and build in the world a culture led by black folk and joined by peoples of all colors and all races - without poverty, ignorance and disease!

I saw a banner hanging next to city hall in downtown Philadelphia that read, "Kill them all, and let God sort them out." A bumper sticker read, "God will judge evildoers; we just have to get them to him." I saw a T-shirt on a soldier that said, "US Air Force... we don't die; we just go to hell to regroup." Others were less dramatic- red, white, and blue billboards saying, "God bless our troops." "God Bless America" became a marketing strategy. One store hung an ad in their window that said, "God bless America--$1 burgers." Patriotism was everywhere, including in our altars and church buildings. In the aftermath of September 11th, most Christian bookstores had a section with books on the event, calendars, devotionals, buttons, all decorated in the colors of America, draped in stars and stripes, and sprinkled with golden eagles. This burst of nationalism reveals the deep longing we all have for community, a natural thirst for intimacy... September 11th shattered the self-sufficient, autonomous individual, and we saw a country of broken fragile people who longed for community- for people to cry with, be angry with, to suffer with. People did not want to be alone in their sorrow, rage, and fear. But what happened after September 11th broke my heart. Conservative Christians rallies around the drums of war. Liberal Christian took to the streets. The cross was smothered by the flag and trampled under the feet of angry protesters. The church community was lost, so the many hungry seekers found community in the civic religion of American patriotism. People were hurting and crying out for healing, for salvation in the best sense of the word, as in the salve with which you dress a wound. A people longing for a savior placed their faith in the fragile hands of human logic and military strength, which have always let us down. They have always fallen short of the glory of God. ...The tragedy of the church's reaction to September 11th is not that we rallied around the families in New York and D.C. but that our love simply reflected the borders and allegiances of the world. We mourned the deaths of each soldier, as we should, but we did not feel the same anger and pain for each Iraqi death, or for the folks abused in the Abu Ghraib prison incident. We got farther and farther from Jesus' vision, which extends beyond our rational love and the boundaries we have established. There is no doubt that we must mourn those lives on September 11th. We must mourn the lives of the soldiers. But with the same passion and outrage, we must mourn the lives of every Iraqi who is lost. They are just as precious, no more, no less. In our rebirth, every life lost in Iraq is just as tragic as a life lost in New York or D.C. And the lives of the thirty thousand children who die of starvation each day is like six September 11ths every single day, a silent tsunami that happens every week.

I build worlds around us and solar systems and creatures that only exist in dreams. I manifest colors that have flavors and darkness that’s all encompassing. I go to a place unborn by man, created in a space where the natural law has no reach and the science of reason is washed away , replaced by the basic pure desire to exist, all of it coming from a place I never knew I had.

Ma was heavy, but not fat; thick with child-bearing and work. She wore a loose Mother Hubbard of gray cloth in which there had once been colored flowers, but the color was washed out now, so that the small flowered pattern was only a little lighter gray than the background. The dress came down to her ankles, and he strong, broad, bare feet moved quickly and deftly over the floor. Her thin, steel-gray hair was gathered in a sparse wispy knot at the back of her head. Strong, freckled arms were bare to the elbow, and her hands were chubby and delicate, like those of a plump little girl. She looked out into the sunshine. Her full face was not soft; it was controlled, kindly. Her hazel eyes seemed to have experienced all possible tragedy and to have mounted pain and suffering like steps into a high calm and a superhuman understanding. She seemed to know, to accept, to welcome her position, the citadel of the family, the strong place that could not be taken. And since old Tom and the children could not know hurt or fear unless she acknowledged hurt and fear, she had practiced denying them in herself. And since, when a joyful thing happened, they looked to see whether joy was on her, it was her habit to build up laughter out of inadequate materials. But better than joy was calm. Imperturbability could be depended upon. And from her great and humble position in the family she had taken dignity and a clean calm beauty. From her position as healer, her hands had grown sure and cool and quiet; from her position as arbiter she had become as remote and faultless in judgment as a goddess. She seemed to know that if she swayed the family shook, and if she ever really deeply wavered or despaired the family would fall, the family will to function would be gone.

Humans are capable of such wondrous things. Of cruelty, and war, but also art and invention. She will think this again and again over the years, when bombs are dropped, and buildings felled, when terror consumes whole countries. But also when the first images are impressed on film, when planes rise into the air, when movies go from black-and-white to color.

...we have to be aware of the power and importance of organizing not just around identity, but the materiality of daily life, which still, in many respects, is racialized for people of color. You build from that, but you have a grander social vision that transcends it and recognizes the strengths and limitations that are drawn from the particularity of identity.

And I go out of Father's house and I walk down the street, and it is very quiet even thought it is the middle of the day and I can't hear any noise except birds singing and wind and sometimes buildings falling down in the distance, and if I stand very close to traffic lights I can hear a little click as the colors change.

If you simply walk on the beach as we are doing, you have no special color. But if you travel with a purpose, it is different. When you go somewhere important or you return home from a long journey, you build a shape around you and it reaches out ahead to touch your destination.

If I could remove one thing from the world and replace it with something else, I would erase politics and put art in its place. That way, art teachers would rule the world. And since art is the most supreme form of love, beautiful colors and imagery would weave bridges for peace wherever there are walls. Artists, who are naturally heart-driven, would decorate the world with their love, and in that love — poverty, hunger, lines of division, and wars would vanish from the earth forever. Children of the earth would then be free to play, imagine, create, build and grow without bloodshed, terror and fear.

The variety of shape, pattern, and color found in the languages of the world is a testament to the wonder of nature, to the breathtaking array of possibilities that can emerge, tangled and wild, from the fertile human endowments of brain and larynx, intelligence and social skills.

Include and project the voices of underrepresented people in the spaces where their access is limited. Go love, and build, and restore, and speak, and engage, and create. Go be better and do better.

This is our world now... the world of the electron and the switch, the beauty of the baud. We make use of a service already existing without paying for what could be dirt-cheap if it wasn't run by profiteering gluttons, and you call us criminals. We explore... and you call us criminals. We seek after knowledge... and you call us criminals. We exist without skin color, without nationality, without religious bias... and you call us criminals. You build atomic bombs, you wage wars, you murder, cheat, and lie to us and try to make us believe it's for our own good, yet we're the criminals. Yes, I am a criminal. My crime is that of curiosity. My crime is that of judging people by what they say and think, not what they look like. My crime is that of outsmarting you, something that you will never forgive me for.

You see, love is strong. Stronger than hate even. Love is the only thing that can kill hate, nothing else. You see, hate destroys and that's why love is stronger. It builds. There is hope for all the colored people in this country while one white woman can love one colored man. Love keeps one alive. It makes you understan and fight...

Did you ever think our misfortune is directly related to your good fortune? Maybe the house your parents bought was on the market because the sellers didn't want my mama in the neighborhood. Maybe the good grades that eventually led you to law school were possible because your mama didn't have to work eighteen hours a day, and was there to read to you at night, or make sure you did your homework. How often do you remind yourself how lucky you are that you own your house, because you were able to build up equity through generations in a way families of color can't? How often do you open your mouth at work and think how awesome it is that no one's thinking you're speaking for everyone with the same skin color you have? How hard is it for you to find the greeting card for your baby's birthday with a picture of a child that has the same color skin as her? How many times have you seen a painting of Jesus that looks like you? Prejudice goes both ways, you know. There are people who suffer from it, and there are people who profit from it.

De man dat built things oughta boss it. Let colored folks build things too if dey wants to crow over somethin’.

Great is language . . . . it is the mightiest of the sciences, It is the fulness and color and form and diversity of the earth . . . . and of men and women . . . . and of all qualities and processes; It is greater than wealth . . . . it is greater than buildings or ships or religions or paintings or music.

She stood at the edge of a glassy river lined with impossibly tall trees, fanning out their wide emerald leaves among the puffy white clouds. Across the river, a row of crystal castles glittered in the sunlight in a way that would make Walt Disney want to throw rocks at his “Magic Kingdom.” To her right, a golden path led into a sprawling city, where the elaborate domed buildings seemed to be built from brick-size jewels—each structure a different color. Snowcapped mountains surrounded the lush valley, and the crisp, cool air smelled like cinnamon and chocolate and sunshine.

Women of color declaring to white women, I'm not here to clean up your mess, carry your spear, hold your hand, or cheer you on while I suffer in silence. I'm not here to raise your children, assuage your guilt, build your platforms, or fight your battles. I'm here for my community because no one else will stand up for us but us

When you're traumatized, your sense of self, your individuality, is beaten up. Your skin color, your background, your pain, your hope, your gender, your faith, it's all defiled. Those essential pieces of yourself are stolen. You, as a person, are emptied and flattened, and that violence, that theft, keeps you from embodying a life that feels like your own. To continue to exist, as a whole person, you need to re-create, for yourself, an identity untouched by everything that's been used against you. You need to imagine and build a self out of elements that are not tainted. You need to remake yourself on your own terms.

Children’s literature must build a bridge between the colorful dream world full of fantasy and illusion, and a tougher real world full of twists and turns. The child armed with the torch of knowledge, awareness and guidance must cross this bridge and set foot to the intense harshness of the bigger world.” An In-Depth Analysis of Educational Deadlock

Keira was surrounded by dozens of tiny orbs, each a unique shade of brilliant color. She was clasping her stomach with both arms, hunched over like she was freezing, trying to hold on to every bit of warmth she could. She looked up at Hoeru and her eyes were glowing with the light of all the magic she was struggling to contain. “Hoeru, close your eyes,” she said through gritted teeth. The wolf spirit realized the threat she posed and snapped its jaws at her. It probably saved Hoeru’s life. Keira exploded.

They knew he hated vegetables but loved fruit, that his favorite color was gray, and that he didn't like movies or loud music. They were things Neil understood only in terms of survival, but his teammates hoarded these insights like gold. They were piecing Neil together and building a real person around all of his lies. They found the parts of him no disguise could change.

An attachment grew up. What is an attachment? It is the most difficult of all the human interrelationships to explain, because it is the vaguest, the most impalpable. It has all the good points of love, and none of its drawbacks. No jealousy, no quarrels, no greed to possess, no fear of losing possession, no hatred (which is very much a part of love), no surge of passion and no hangover afterward. It never reaches the heights, and it never reaches the depths. As a rule it comes on subtly. As theirs did. As a rule the two involved are not even aware of it at first. As they were not. As a rule it only becomes noticeable when it is interrupted in some way, or broken off by circumstances. As theirs was. In other words, its presence only becomes known in its absence. It is only missed after it stops. While it is still going on, little thought is given to it, because little thought needs to be. It is pleasant to meet, it is pleasant to be together. To put your shopping packages down on a little wire-backed chair at a little table at a sidewalk cafe, and sit down and have a vermouth with someone who has been waiting there for you. And will be waiting there again tomorrow afternoon. Same time, same table, same sidewalk cafe. Or to watch Italian youth going through the gyrations of the latest dance craze in some inexpensive indigenous night-place-while you, who come from the country where the dance originated, only get up to do a sedate fox trot. It is even pleasant to part, because this simply means preparing the way for the next meeting. One long continuous being-together, even in a love affair, might make the thing wilt. In an attachment it would surely kill the thing off altogether. But to meet, to part, then to meet again in a few days, keeps the thing going, encourages it to flower. And yet it requires a certain amount of vanity, as love does; a desire to please, to look one's best, to elicit compliments. It inspires a certain amount of flirtation, for the two are of opposite sex. A wink of understanding over the rim of a raised glass, a low-voiced confidential aside about something and the smile of intimacy that answers it, a small impromptu gift - a necktie on the one part because of an accidental spill on the one he was wearing, or of a small bunch of flowers on the other part because of the color of the dress she has on. So it goes. And suddenly they part, and suddenly there's a void, and suddenly they discover they have had an attachment. Rome passed into the past, and became New York. Now, if they had never come together again, or only after a long time and in different circumstances, then the attachment would have faded and died. But if they suddenly do come together again - while the sharp sting of missing one another is still smarting - then the attachment will revive full force, full strength. But never again as merely an attachment. It has to go on from there, it has to build, to pick up speed. And sometimes it is so glad to be brought back again that it makes the mistake of thinking it is love. ("For The Rest Of Her Life")

I love you,” he repeated. “I love the way your mouth always slides into a smile, even when no one’s looking. I love the way you go out of your way for people you’ve barely met. I love how your hair always curls right here, at the nape of your neck”—and he ran his fingers along the side of my neck. “And I love how you make me want to see the world in color, and I love how I feel when I’m with you. And maybe we won’t work out, but maybe we will—and I’ll run across cities, and I’ll show up with boom boxes outside your window, and I’ll meet you at the tops of buildings, and I’ll kiss you in the rain just to remind you that you’re worth every moment.” He bent and kissed my cheeks, and I realized that he had kissed the tears off them. I was crying, and I couldn’t stop.

The dark sky. A hundred million stars. More stars than I’ve ever seen before. My eyes let me see farther, but they don’t show me the one thing I want to see. I would trade all the stars in the universe if I could just have him back again. Wind whistles through the trees nearby. Birdsong weaves in and out of the sound. The hybrids emerge from the communication building, heads tilted to the sky. And then we see the end. Godspeed’s engine was nuclear; who knows what fueled the biological weapons. But they explode together. In space, they don’t make the familiar mushroom cloud. They don’t make the boom! of an exploding bomb. There is, against the dark sky, a brief flash of light. It is filled with colors, like a nebula or the aurora borealis, bursting like a popped bubble. Nothing else—no sound of an explosion, no tremors in the earth, no smell of smoke. Not here, on the surface of the planet. Nothing else to signify Elder’s death. Just light. And then it’s gone. And then he’s gone.

When Your Life Looks Back, When your life looks back-- As it will, at itself, at you--what will it say? Inch of colored ribbon cut from the spool. Flame curl, blue-consuming the log it flares from. Bay leaf. Oak leaf. Cricket. One among many. Your life will carry you as it did always, With ten fingers and both palms, With horizontal ribs and upright spine, With its filling and emptying heart, That wanted only your own heart, emptying, filled, in return. You gave it. What else could do? Immersed in air or in water. Immersed in hunger or anger. Curious even when bored. Longing even when running away. "What will happen next?"-- the question hinged in your knees, your ankles, in the in-breaths even of weeping. Strongest of magnets, the future impartial drew you in. Whatever direction you turned toward was face to face. No back of the world existed, No unseen corner, no test. No other earth to prepare for. This, your life had said, its only pronoun. Here, your life had said, its only house. Let, your life had said, its only order. And did you have a choice in this? You did-- Sleeping and waking, the horses around you, the mountains around you, The buildings with their tall, hydraulic shafts. Those of your own kind around you-- A few times, you stood on your head. A few times, you chose not to be frightened. A few times, you held another beyond any measure. A few times, you found yourself held beyond any measure. Mortal, your life will say, As if tasting something delicious, as if in envy. Your immortal life will say this, as it is leaving.

She looked up at him with a smile. The smile broke what was left of his resistance—shattered it. He had let the walls down when he'd thought she was gone, and there was no time to build them back up. Helplessly he pulled her against him. For a moment she clung to him tightly, warm and alive in his arms. Her hair brushed his cheek. The color had come back into the world; he could breathe again, and for that moment he breathed her in—she smelled of salt, blood, tears, and Tessa.

The city lies at the galaxy's dust-stranded edge, enfolding a moon that used to be a world, or a world that used to be a moon; no one is certain anymore. In the mornings its skies are radiant with clouds like the plumage of a bird ever-rising, and in the evenings the stars scatter light across skies stitched and unstitched by the comings and goings of fire-winged starships. Its walls are made of metal the color of undyed silk, and its streets bloom with aleatory lights, small solemn symphonies, the occasional duel.

What are you thinking?” he asked in a disarmingly gentle tone. “That the city looks different depending on whom I’m seeing it with.” He nodded easily, as if this same thought had occurred to him. “I notice different things,” I continued. “Like with you, I pay more attention to the details of the buildings – the textures, the colors, the people standing in front of them. The reflections are different.” “Reflections?” he asked quietly. “They are.” I watched our bodies morph and distort in the window of an empty bank. “You’re there,” I said. “That’s how they’re different.

We take it for granted that life moves forward. You build memories; you build momentum.You move as a rower moves: facing backwards. You can see where you've been, but not where you’re going. And your boat is steered by a younger version of you. It's hard not to wonder what life would be like facing the other way. Avenoir. You'd see your memories approaching for years, and watch as they slowly become real. You’d know which friendships will last, which days are important, and prepare for upcoming mistakes. You'd go to school, and learn to forget. One by one you'd patch things up with old friends, enjoying one last conversation before you meet and go your separate ways. And then your life would expand into epic drama. The colors would get sharper, the world would feel bigger. You'd become nothing other than yourself, reveling in your own weirdness. You'd fall out of old habits until you could picture yourself becoming almost anything. Your family would drift slowly together, finding each other again. You wouldn't have to wonder how much time you had left with people, or how their lives would turn out. You'd know from the start which week was the happiest you’ll ever be, so you could relive it again and again. You'd remember what home feels like, and decide to move there for good. You'd grow smaller as the years pass, as if trying to give away everything you had before leaving. You'd try everything one last time, until it all felt new again. And then the world would finally earn your trust, until you’d think nothing of jumping freely into things, into the arms of other people. You'd start to notice that each summer feels longer than the last. Until you reach the long coasting retirement of childhood. You'd become generous, and give everything back. Pretty soon you’d run out of things to give, things to say, things to see. By then you'll have found someone perfect; and she'll become your world. And you will have left this world just as you found it. Nothing left to remember, nothing left to regret, with your whole life laid out in front of you, and your whole life left behind.

Reluctantly, he knew that he despised his fellow residents for the way in which they fit so willingly into their appointed slots in the apartment buildings, for their overdeveloped sense of responsibility and lack of flamboyance. Above all, he looked down on them for their good taste. The building was a monument to good taste, to the well-designed kitchen, to sophisticated utencils and fabrics, to elegant and never ostentatious furnishings. In short, to that whole aesthetic sensibility which these well-educated, professional people had inherited from all the schools of industrial design, all the award-winning schemes of interior decoration institutionalized by the last quarter of the century. Royal detested this orthodoxy of the intelligent. Visiting his neighbors’ apartments, he would find himself physically repelled by the contours of an award-winning coffee pot, but the well-modulated color schemes, by the good taste and intelligence that, Midas-like, had transformed everything in these apartments into an ideal marriage of function and design. In a sense, these people were the vanguard of a well-to-do and well-educated proletariat of the future, boxed up in these expensive apartments with their elegant furniture, and intelligent sensibilities, and no possibility of escape.

Instructions for a Broken Heart I will find a bare patch of earth, somewhere where the ruins have fallen away, somewhere where I can fit both hands, and I will dig a hole. And into that hole, I will scream you, I will dump all the shadow places of my heart—the times you didn’t call when you said you’d call, the way you only half listened to my poems, your eyes on people coming through the swinging door of the café—not on me—your ears, not really turned toward me. For all those times I started to tell you about the fight with my dad or when my grandma died, and you said something about your car, something about the math test you flunked, as an answer. I will scream into that hole the silence of dark nights after you’d kissed me, how when I asked if something was wrong—and something was obviously so very wrong—how you said “nothing,” how you didn’t tell me until I had to see it in the dim light of a costume barn—so much wrong. I will scream all of it. Then I will fill it in with dark earth, leave it here in Italy, so there will be an ocean between the hole and me. Because then I can bring home a heart full of the light patches. A heart that sees the sunset you saw that night outside of Taco Bell, the way you pointed out that it made the trees seem on fire, a heart that holds the time your little brother fell on his bike at the fairgrounds and you had pockets full of bright colored Band-Aids and you kissed the bare skin of his knees. I will take that home with me. In my heart. I will take home your final Hamlet monologue on the dark stage when you cried closing night and it wasn’t really acting, you cried because you felt the words in you and on that bare stage you felt the way I feel every day of my life, every second, the way the words, the light and dark, the spotlight in your face, made you Hamlet for that brief hiccup of a moment, made you a poet, an artist at your core. I get to take Italy home with me, the Italy that showed me you and the Italy that showed me—me—the Italy that wrote me my very own instructions for a broken heart. And I get to leave the other heart in a hole. We are over. I know this. But we are not blank. We were a beautiful building made of stone, crumbled now and covered in vines. But not blank. Not forgotten. We are a history. We are beauty out of ruins.

Spare change. Can't imagine how it got there." She tipped her head in reproach. He exhaled, sounding resigned. "It's not what you think." She turned her hand palm-up between them, letting the coin serve as its own accusation. "I think I know a shilling when I see one." "Look again." She looked down at the coin in her gloved palm, where its embossed face stood out in sharp relief against white satin. Light glinted off the surface, revealing the color to be not the expected dull silver, but a coppery hue instead. Oh. A sharp pang of surprise caught her heart. He'd been telling the truth. It wasn't a shilling after all. It was a penny. A bright, newly minted penny. One he'd been keeping tucked in his breast pocket. Right next to his heart. She drew a shaky breath. "Gabriel." His hands went to her shoulders- but it was his low, husky voice that reached out and drew her close. "You know the squalor I was born to. And you know I promised myself I'd never be that barefoot, starving boy again." She nodded. "I have every luxury a man could desire. Hundreds of thousands of pounds in my accounts. I worked like hell to build a fortune, and yet..." His thumb met her cheek with a reverent caress. "Now I'd sell my soul for a Penny.

By the time the plan's wheels touched down on a desolate stretch of desert runway, the sun had cleared a ridge of mountains and revealed a land the color of dust. The single building that served as a terminal was squat and seemingly of the same dust. The Middle East? Eliza wondered. Tattooine? A sign, handpainted, was illegible in exotic, curling letters. Arabic, at a guess. That probably eliminated Tattooine.

Stories don’t change much across continents and centuries. Hearts are broken. Pride is wounded. Souls wander too far from home and become lost. The wrong roads are taken. The incorrect choice is made. Stories echo with loneliness. Grief. Longing. Redemption. Forgiveness. Hope. And love.” Now it was her turn to point at the bookstore. “That building is stuffed with books that, once opened, reveal our communal story. And, if you’re lucky, the words in those books will force you to grapple with the hardest truths of your life. After reducing you to a puddle of tears, they’ll raise you to your feet again. The words will pull you up, higher and higher, until you feel the sun on your face again. Until you’re suddenly humming on the way to the mailbox. Or you’re buying bouquets of gerbera daisies because you crave bright colors. And you’ll laugh again—as freely as champagne bubbling in a tall, glass flute. When’s the last time you laughed like that?

There is a bus station in Henry, but it isn't on Main Street. It's one block north - the town fathers hadn't wanted all the additional traffic. The station lost one-third of its roof to a tornado fifteen years ago. In the same summer, a bottle rocket brought the gift of fire to its restrooms. The damage has never been repaired, but the town council makes sure that the building is painted fresh every other year, and always the color of a swimming pool. There is never graffiti. Vandals would have to drive more than twenty miles to buy the spray paint. Every once in a long while, a bus creeps into town and eases to a stop beside the mostly roofed, bright aqua station with the charred bathrooms. Henry is always glad to see a bus. Such treats are rare.

Taking architecture seriously therefore makes some singular strenuous demands upon us. It requires that we open ourselves to the idea that we are affected by our surroundings even when they are made of vinyl and would be expensive and time-consuming to ameliorate. It means conceding that we are inconveniently vulnerable to the color of our wallpaper and that our sense of purpose may be derailed by an unfortunate bedspread. At the same time, it means acknowledging that buildings are able to solve no more than a fraction of our dissatisfactions or prevent evil from unfolding under their watch. Architecture, even at its most accomplished, will only ever constitute a small, and imperfect (expensive, prone to destruction, and morally unreliable), protest against the state of things. More awkwardly still, architecture asks us to imagine that happiness might often have an unostentatious, unheroic character to it, that it might be found in a run of old floorboards or in a wash of morning light over a plaster wall—in undramatic, frangible scenes of beauty that move us because we are aware of the darker backdrop against which they are set.

Life isn't about keeping score. It's not about how many people call you and it's not about who you've dated, are dating, or haven't dated at all. It isn't about who you've kissed, what sport you play, or which guy or girl likes you. It's not about your shoes or your hair or the color of your skin or where you live or go to school. In fact, it's not about grades, money, clothes, or colleges that accept you or not. Life isn't about if you have lots of friends, or if you are alone, and it's not about how accepted or unaccepted you are. Life just isn't about that. But life is about who you love and who you hurt. It's about how you feel about yourself. It's about trust, happiness, and compassion. Life is about avoiding jealousy, overcoming ignorance, and building confidence. It's about what you say and what you mean. It's about seeing people for who they are and not what they have. Most of all, it is about choosing to use your life to touch someone else's in a way that could never have been achieved otherwise. These choices are what life's about.

It was shameless how life made fun of one; it was a joke, a cause for weeping! Either one lived and let one's senses play, drank full at the primitive mother's breast—which brought great bliss but was no protection against death; then one lived like a mushroom in the forest, colorful today and rotten tomorrow. Or else one put up a defense, imprisoned oneself for work and tried to build a monument to the fleeting passage of life—then one renounced life, was nothing but a tool; one enlisted in the service of that which endured, but one dried up in the process and lost one's freedom, scope, lust for life... Ach, life made sense only if one achieved both, only if it was not split by this brittle alternative! To create, without sacrificing one's senses for it. To live, without renouncing the mobility of creating. Was that impossible?

Color—that’s another thing people don’t expect. In her imagination, in her dreams, everything has color. The museum buildings are beige, chestnut, hazel. Its scientists are lilac and lemon yellow and fox brown. Piano chords loll in the speaker of the wireless in the guard station, projecting rich blacks and complicated blues down the hall toward the key pound. Church bells send arcs of bronze careening off the windows. Bees are silver; pigeons are ginger and auburn and occasionally golden. The huge cypress trees she and her father pass on their morning walk are shimmering kaleidoscopes, each needle a polygon of light. She has no memories of her mother but imagines her as white, a soundless brilliance. Her father radiates a thousand colors, opal, strawberry red, deep russet, wild green; a smell like oil and metal, the feel of a lock tumbler sliding home, the sound of his key rings chiming as he walks. He is an olive green when he talks to a department head, an escalating series of oranges when he speaks to Mademoiselle Fleury from the greenhouses, a bright red when he tries to cook. He glows sapphire when he sits over his workbench in the evenings, humming almost inaudibly as he works, the tip of his cigarette gleaming a prismatic blue.

We imagine ourselves in complex ways, but oftentimes that can be distilled down into some core identities. And we imagine these identities as part of a story, and that that story is some intrinsically positive thing. It might be being part of a tradition, or breaking free of one. It might be your race or height or hair color. Your status as a child or a parent. Being a job creator or a Star Wars fan or a snowboarder. We create positive narratives around these things, and when we fit in them, we feel like we matter.

Rage is a powerful thing. People get upset over many things. Frustrating jobs, small paychecks, bad hours. People want things; people feel humiliated by others who have the things they want; people feel deprived and powerless. All this gives fuel to rage. The anger builds and builds and if there is no outlet for it, pretty soon it transforms the person. They walk around like a loaded gun, ready to go off if only they could find the right target. They want to hurt something. They need it.” He refilled his glass and topped mine off. “Humans tend to segregate the world: enemies on one side, friends on the other. Friends are people we know. Enemies are the Other. You can do just about anything to the Other. It doesn’t matter if this Other is actually guilty of any crimes, because it’s a matter of emotion, not logic. You see, angry people aren’t interested in justice. They just want an excuse to vent their rage.” Doolittle sighed. “And once you become their Other, you’re no longer a person. You’re just an idea, an abstraction of everything that’s wrong with their world. Give them the slightest excuse, and they will tear you down. And the easiest way for them to target you as this Other is to find something that’s different about you. Color of your skin. The way you speak. The place you’re from.

Take a look at the plants. They come together and thrive peacefully in the garden or park. They lean on each other without trying to outdo one another. They serve as a sign that we can see beyond our differences and embrace each other in love while allowing our uniqueness to add color to our world. If plants can live in harmony and show their beauty to the world, we as humans can do much more.

White progressives can be the most difficult for people of color because, to the degree that we think we have arrived, we will put our energy into making sure that others see us as having arrived. None of our energy will go into what we need to be doing for the rest of our lives: engaging in ongoing self-awareness, continuing education, relationship building, and actual antiracist practice. White progressives do indeed uphold and perpetrate racism, but our defensiveness and certitude make it virtually impossible to explain to us how we do so.

His life was absurd. He went all over the world accepting all kinds of bondage and escaping. He was roped to a chair. He escaped. He was chained to a ladder. He escaped. He was handcuffed, his legs were put in irons, he was tied up in a strait jacket and put in a locked cabinet. He escaped. He escaped from bank vaults, nailed-up barrels, sewn mailbags; he escaped from a zinc-lined Knabe piano case, a giant football, a galvanized iron boiler, a rolltop desk, a sausage skin. His escapes were mystifying because he never damaged or appeared to unlock what he escaped from. The screen was pulled away and there he stood disheveled but triumphant beside the inviolate container that was supposed to have contained him. He waved to the crowd. He escaped from a sealed milk can filled with water. He escaped from a Siberian exile van. From a Chinese torture crucifix. From a Hamburg penitentiary. From an English prison ship. From a Boston jail. He was chained to automobile tires, water wheels, cannon, and he escaped. He dove manacled from a bridge into the Mississippi, the Seine, the Mersey, and came up waving. He hung upside down and strait-jacketed from cranes, biplanes and the tops of buildings. He was dropped into the ocean padlocked in a diving suit fully weighted and not connected to an air supply, and he escaped. He was buried alive in a grave and could not escape, and had to be rescued. Hurriedly, they dug him out. The earth is too heavy, he said gasping. His nails bled. Soil fell from his eyes. He was drained of color and couldn't stand. His assistant threw up. Houdini wheezed and sputtered. He coughed blood. They cleaned him off and took him back to the hotel. Today, nearly fifty years since his death, the audience for escapes is even larger.

See him now, his face lit up with delight at the parade advancing on every side, of cart and carriage, delivery truck and spacious brougham, of ladies in their colorful crinoline and dandies dandier than the foppish fop astride boneshaker bicycles weaving between the vendors’ carts as expertly as rodeo barrel racers. Sunset was still almost two hours hence, but the buildings on the western side cast long engulfing shadows, between which the granite pavement glowed honey gold in smoky shafts of slanting light, the light painting the facades along the eastern side the same Hyblaean hue.

Dear Young Black Males, Show respect for our young sistas. They are young Queens, and you’re young Kings. Black is beautiful, period. If you’re one of those young men who put light-skinned women on a pedestal, but look down on dark-skinned young ladies, stop it! Black women come in all shades, and all black families have all shades within their families. It’s one thing to have a preference, and that’s okay, but don’t belittle the other. Respect, appreciate, and protect our sistas. In closing: We already have to deal with race related crap from other ethnic groups, so why add to it amongst our own? We need to build each other up and be united as one, no matter what our skin tone is. Don’t physically or mentally abuse your young Queen. Respect her just like you’d like your mother, grandmother, or sister to be respected by another male. There’s nothing attractive or cool about mistreating a woman. Nothing at all!

Have I added to their building blocks, shoring them up with strength and their own magnificence? Have I shown them enough color? Did I let them have enough ice cream and leave them alone enough without my anxieties? How can we know which is the right way? We have to go with our inner instincts and the feeling in our bones. But I can contribute to their growing cells, show them some foods that are better than others, walk with them, and encourage their own tastes. I can teach them to love and appreciate food, help them treat their bodies like gold, listen to them wanting more or less. The rest I have to trust.

Color blindness has become a powerful weapon against progress for people of color, but as a denial mindset, it doesn’t do white people any favors, either. A person who avoids the realities of racism doesn’t build the crucial muscles for navigating cross-cultural tensions or recovering with grace from missteps. That person is less likely to listen deeply to unexpected ideas expressed by people from other cultures or to do the research on her own to learn about her blind spots. When that person then faces the inevitable uncomfortable racial reality—an offended co-worker, a presentation about racial disparity at a PTA meeting, her inadvertent use of a stereotype—she’s caught flat-footed. Denial leaves people ill-prepared to function or thrive in a diverse society. It makes people less effective at collaborating with colleagues, coaching kids’ sports teams, advocating for their neighborhoods, even chatting with acquaintances at social events.

I often see teams that maniacally focus on their metrics around customer acquisition and retention. This usually works well for customer acquisition, but not so well for retention. Why? For many products, metrics often describe the customer acquisition goal in enough detail to provide sufficient management guidance. In contrast, the metrics for customer retention do not provide enough color to be a complete management tool. As a result, many young companies overemphasize retention metrics and do not spend enough time going deep enough on the actual user experience. This generally results in a frantic numbers chase that does not end in a great product.

Where are you?” she shouted. “Don’t you see us?” taunted the woman’s voice. “I thought Hecate chose you for your skill.” Another bout of queasiness churned through Hazel’s gut. On her shoulder, Gale barked and passed gas, which didn’t help. Dark spots floated in Hazel’s eyes. She tried to blink them away, but they only turned darker. The spots consolidated into a twenty-foot-tall shadowy figure looming next to the Doors. The giant Clytius was shrouded in the black smoke, just as she’d seen in her vision at the crossroads, but now Hazel could dimly make out his form—dragon-like legs with ash-colored scales; a massive humanoid upper body encased in Stygian armor; long, braided hair that seemed to be made from smoke. His complexion was as dark as Death’s (Hazel should know, since she had met Death personally). His eyes glinted cold as diamonds. He carried no weapon, but that didn’t make him any less terrifying. Leo whistled. “You know, Clytius…for such a big dude, you’ve got a beautiful voice.” “Idiot,” hissed the woman. Halfway between Hazel and the giant, the air shimmered. The sorceress appeared. She wore an elegant sleeveless dress of woven gold, her dark hair piled into a cone, encircled with diamonds and emeralds. Around her neck hung a pendant like a miniature maze, on a cord set with rubies that made Hazel think of crystallized blood drops. The woman was beautiful in a timeless, regal way—like a statue you might admire but could never love. Her eyes sparkled with malice. “Pasiphaë,” Hazel said. The woman inclined her head. “My dear Hazel Levesque.” Leo coughed. “You two know each other? Like Underworld chums, or—” “Silence, fool.” Pasiphaë’s voice was soft, but full of venom. “I have no use for demigod boys—always so full of themselves, so brash and destructive.” “Hey, lady,” Leo protested. “I don’t destroy things much. I’m a son of Hephaestus.” “A tinkerer,” snapped Pasiphaë. “Even worse. I knew Daedalus. His inventions brought me nothing but trouble.” Leo blinked. “Daedalus…like, the Daedalus? Well, then, you should know all about us tinkerers. We’re more into fixing, building, occasionally sticking wads of oilcloth in the mouths of rude ladies—” “Leo.” Hazel put her arm across his chest. She had a feeling the sorceress was about to turn him into something unpleasant if he didn’t shut up. “Let me take this, okay?

challenges arose, a capacity for personal resilience. My hope is that the trials and triumphs of my journey as a daughter, sister, wife, mother, litigator, and friend will stand as a testament for young women, people of color, and strivers everywhere, especially those who nourish outsized ambitions and believe with stubborn faith in the possibility of achieving them. I want to encourage these bold dreamers not to be turned aside by adversity, because life will always present challenges. We must allow them to teach and fortify us, and help us build confidence in our ability to find a way through. In the end, we must trust the path we choose to walk, anchored by a firm sense of our potential, inspired by the people with whom we surround ourselves, and bolstered by our willingness to keep on.

He paused a moment, gazing in awe at the huge mass of buildings composing the castle. It stood close to the river, on either side and to the rear stretched the extensive park and gardens, filled with splendid trees, fountains and beds of brilliant flowers in shades of pink, crimson, and scarlet. The castle itself was built of pink granite, and enclosed completely a smaller, older building which the present Duke's father had considered too insignificant for his town residence. The new castle had taken forty years to build; three architects and hundreds of men had worked day and night, and the old Duke had personally selected every block of sunset-colored stone that went to its construction. 'I want it to look like a great half-open rose,' he declared to the architects, who were fired with enthusiasm by this romantic fancy. It was begun as a wedding present to the Duke's wife, whose name was Rosamond, but unfortunately she died some nine years before it was completed. 'never mind, it will do for her memorial instead,' said the grief-stricken but practical widower. The work went on. At last the final block was laid in place. The Duke, by now very old, went out in his barouche and drove slowly along the opposite riverbank to consider the effect. He paused midway for a long time, then gave his opinion. 'It looks like a cod cutlet covered in shrimp sauce,' he said, drove home, took to his bed, and died.

It so happens I am sick of being a man. And it happens that I walk into tailorshops and movie houses dried up, waterproof, like a swan made of felt steering my way in a water of wombs and ashes. The smell of barbershops makes me break into hoarse sobs. The only thing I want is to lie still like stones or wool. The only thing I want is to see no more stores, no gardens, no more goods, no spectacles, no elevators. It so happens that I am sick of my feet and my nails and my hair and my shadow. It so happens I am sick of being a man. Still it would be marvelous to terrify a law clerk with a cut lily, or kill a nun with a blow on the ear. It would be great to go through the streets with a green knife letting out yells until I died of the cold. I don't want to go on being a root in the dark, insecure, stretched out, shivering with sleep, going on down, into the moist guts of the earth, taking in and thinking, eating every day. I don't want so much misery. I don't want to go on as a root and a tomb, alone under the ground, a warehouse with corpses, half frozen, dying of grief. That's why Monday, when it sees me coming with my convict face, blazes up like gasoline, and it howls on its way like a wounded wheel, and leaves tracks full of warm blood leading toward the night. And it pushes me into certain corners, into some moist houses, into hospitals where the bones fly out the window, into shoeshops that smell like vinegar, and certain streets hideous as cracks in the skin. There are sulphur-colored birds, and hideous intestines hanging over the doors of houses that I hate, and there are false teeth forgotten in a coffeepot, there are mirrors that ought to have wept from shame and terror, there are umbrellas everywhere, and venoms, and umbilical cords. I stroll along serenely, with my eyes, my shoes, my rage, forgetting everything, I walk by, going through office buildings and orthopedic shops, and courtyards with washing hanging from the line: underwear, towels and shirts from which slow dirty tears are falling

America, you whitewash history, literally, and leave out much of its meaning and discovery. And, as we try to get better at uncovering these truths, so many who want to pretend otherwise fight and legislate to push them back underground, to once again bury them. There are so many discoveries that have been found and made, and then buried and left for us to re-find (or not)--discoveries about autonomy and equality and peace and compromise and respect for all the creatures who inhabit the planet and the planet itself. Our written history has destroyed the voices of the people from whom we stole this land and the voices of those whose lives we stole to build it, the voices of women and children and people whose skin color or language or belief system did not fit the status quo of the time and place where they lived. All were destroyed because it did not serve some lust for power or control or just because the people in charge of such things really did not believe they were very important, or refused to believe that they should be.

To prevent lower-income African Americans from living in neighborhoods where middle-class whites resided, local and federal officials began in the 1910s to promote zoning ordinances to reserve middle-class neighborhoods for single-family homes that lower-income families of all races could not afford. Certainly, an important and perhaps primary motivation of zoning rules that kept apartment buildings out of single-family neighborhoods was a social class elitism that was not itself racially biased. But there was also enough open racial intent behind exclusionary zoning that it is integral to the story of de jure segregation.

The softly flowing, white, and parched clouds passed by. I, colored gray, merely kept staring at them as they slowly vanished out of my sight. Onto the sand castle that I'm building from the stars I've been collecting, my faint prayer spills and drips down, as the ocean waves lying in waiting sweep and trip you up. a world of darkness. a world of silence. Although my disappearing prayer is being stirred up by the wind, I will not let that fire go out. No matter how many times I rebuild the sand castle with my frosting hands tangled up in busyness, the ocean waves lying in waiting just keep sweeping it away... ...towards you.

Where mermaids live looks a bit like your pool.' said Bernard. 'Except they build houses out of whale bones and the wreckage of sunken ships. They play chess with seahorses. They wear capes of fish scales and sleep on beds made from seaweed.' As we listened, I thought I heard a slight splashing from the far end of the pool. 'At night,' Bernard continued, 'they turn on an electric eel for a night-light, and they light a fire, and the smoke goes up a chimney made from coral.' 'Wait a minute,' interupted Zoe, clearly immersed in Bernard's description. 'If they live underwater, how could they have a fire?' 'You should ask them,' said Bernard. Zoe and I open our eyes. Now, look, I know the light was just playing tricks on us. And I know we'd all probably inhaled too much sequin glue. But for the briefest moment, the blue of Zoe's pool gave way to deeper, darker aqua-colored water. The few plants and rocks were replaced with a lagoon and a waterfall where several mermaids lounged half in the water, half in the sun. They splashed and dove, their laughter making the same sound as the water.

Let's stop making the same old mistakes. Here are a few, but I trust that you will silently add your own: Projecting messianic fantasies onto politicians. Thinking the market will fix it. Building a movement made up entirely of upper-middle-class white people and wondering why people of color don't want to join 'our movement.' Tearing each other to bloody shreds because it's easier to do that than go after the forces most responsible for this mess. These are social change clichés, and they are getting really boring. We don't have the right to demand perfection from each other. But we do have the right to expect progress. To demand evolution. So, let's make some new mistakes. Let's make new mistakes as we break through our silos and build the kind of beautifully diverse and justice-hungry movement that actually has a chance of winning - winning against the powerful interests that want us to keep failing.

My paintings are the result of countless small brushstrokes, each one shaded with a different blend of colors, each one with a single, deliberate purpose. Every moment, every day, we are all making something - whether it's science or art, a relationship or a destiny - building it choice by choice, moment by moment. Our decisions shape other people's worlds as well as our own. We are all the center of our own universe and all of use in someone else's orbit. It's a paradox, but sometimes paradoxes are where truth begins. My father would point out that the Beatles told us all of this decades ago. They one sang that in the end, the love we take is equal to the love we make. No, we can never be in complete control of our fates - we're all vulnerable to accidents, to cruelty, and to the random misfortune of life. But I try to think about how much of it is up to us. We decide what emotions serve as our building blocks, which feelings we'll use to shape our universe.

What does it mean to be Indigenous and to have ties to the person of Jesus without being tied to the destructive, colonizing institution of the church? It is a constant decolonizing. It is a constant longing for interaction with others who, following the Universal Christ, as Richard Rohr calls it, can take on the hope of a decolonizing faith. It is sharing space with Black people, Indigenous people, and other people of color, and letting our experiences shape each other. It means interacting with my white friends, having really difficult conversations, and facing my own privilege in that conversation as well. Deconstruction and decolonization can be partners, along with grief and truth-telling. May we learn from this community that we are called to the bigger work ahead of us, so that, together, we know what it means to return to Mystery that has always wanted all of us. May we do this work together so that, each day that we move on, we are building a future that is made for everyone.

From around the corner's edge a grotesque light was trickling out, the first intimations of an ominous sunrise over a dark horizon. I dimly recognized this colored light, though not from my waking memory. It grew more intense, now pouring out in weird streams from beyond the solid margin of the building. And the more intense it grew, the more clearly I could hear the screaming voice that had called out to me in a dream. I shouted his name, but the swelling colored brightness was a field of fear which kept me from making any move toward it. It was no amalgam of colors comparable to anything in mortal experience. It was as if all natural colors had been mutated into a painfully lush iridescence by some prism fantastically corrupted in its form; it was a rainbow staining the sky after a poison deluge; it was an aurora painting the darkness with a blaze of insanity, a blaze that did not burn vigorously but shimmered with an insect-jeweled frailness. And, in actuality, it was nothing like these color-filled effusions, which are merely a feeble means of partially fixing a reality uncommunicable to those not initiated to it, a necessary resorting to the makeshift gibberish of the mystic isolated by his experience and left without a language to describe it. ("The Dreaming In Nortown")

Ever since I was young I enjoyed solving puzzles and having the pleasure to see the bigger picture afterwards. But even after all that, I found that life could be the most challenging puzzle we have to face. It's one of those things that even if you have all the pieces and could see the whole picture, it still takes time and patience to solve it. At times, we feel more at ease not knowing the whole picture, not knowing the whole level of difficulty or number of pieces that we're missing, but just building up one piece at a time. The problem with this approach is that the only clues that we have for matching two pieces are the shape and a small glimpse of the image. We so often find comfort in building up the corners and the borders but very rarely do we adventure in the middle of the puzzle. We'd rather work little by little holding on to our safe border and only move towards the center when the pieces are still in touch with our borders or roots. On the other hand, you could be one of those people that just jumps in the middle and builds up on every piece you have in order to get small portions of the truth of the bigger picture every now and then. Not having your borders or corners in place might mean that you don't need to know your limits in order to realize that the puzzle will one day come to an end. Nevertheless, every piece is equally important and it gets handed to you at a time where you have at least some matching piece. That doesn't mean you should only focus on one point or piece and limit your possible connections. Spread out and you will find even more connections. The truth of the puzzle information comes in different shapes and colors but in the end it's all connected. Information might be divided, spread out in different areas, different people, different experiences. What's important to remember is that every piece is meant for you. You might throw it on the side now and use it later, but it will forever remain a part of your bigger picture. Work on your puzzle, with patience and care in moving forward and with a hopeful spirit that it will all work out in the end for your highest good!

Too often we sit back and speak platitudes of the nitty-gritty bits of writing; the editing, the story structure, the verbal sparring vs. banter, the character development, the world-building become more important to us than the tune rhythm of the tale. And when you lose the music of the story, all the footwork in the world is not going to make up for the loss of continuity and heart. We need to take a step back in our souls and conjure the image of what this story is: the notes and beats and things woven into it's fullness. See, that's what is so easy to lose sight of as we write. We forget that, in a way, this story is a full story in itself. We tend to try to build the story piece by piece, line upon line, precept upon precept, but that--as any true writer knows--is not entirely practical. A story does have its own identity. To some extent, the story exists in your mind as a whole. Its own being. To chance sounding sappy: Your story is a full piece of music waiting for you to dance it into existence. Don't make the mistake of leaving out all the music. It is tempting to want to have everything arranged to perfection so that little editing will be done. But if you are keeping in mind the way your story needs to run--feeling it and dwelling in the beauty of its passion and color and vibe--the footwork will take care of itself. Certainly it will require practice and your technicalities will need a little work--everyone's does. But you will have captured the essence and blood of the tale, and really that's the prettiest part of a dance.

Speaking to a foreigner was the dream of every student, and my opportunity came at last. When I got back from my trip down the Yangtze, I learned that my year was being sent in October to a port in the south called Zhanjiang to practice our English with foreign sailors. I was thrilled. Zhanjiang was about 75 miles from Chengdu, a journey of two days and two nights by rail. It was the southernmost large port in China, and quite near the Vietnamese border. It felt like a foreign country, with turn-of-the-century colonial-style buildings, pastiche Romanesque arches, rose windows, and large verandas with colorful parasols. The local people spoke Cantonese, which was almost a foreign language. The air smelled of the unfamiliar sea, exotic tropical vegetation, and an altogether bigger world. But my excitement at being there was constantly doused by frustration. We were accompanied by a political supervisor and three lecturers, who decided that, although we were staying only a mile from the sea, we were not to be allowed anywhere near it. The harbor itself was closed to outsiders, for fear of 'sabotage' or defection. We were told that a student from Guangzhou had managed to stow away once in a cargo steamer, not realizing that the hold would be sealed for weeks, by which time he had perished. We had to restrict our movements to a clearly defined area of a few blocks around our residence. Regulations like these were part of our daily life, but they never failed to infuriate me. One day I was seized by an absolute compulsion to get out. I faked illness and got permission to go to a hospital in the middle of the city. I wandered the streets desperately trying to spot the sea, without success. The local people were unhelpful: they did not like non-Cantonese speakers, and refused to understand me. We stayed in the port for three weeks, and only once were we allowed, as a special treat, to go to an island to see the ocean. As the point of being there was to talk to the sailors, we were organized into small groups to take turns working in the two places they were allowed to frequent: the Friendship Store, which sold goods for hard currency, and the Sailors' Club, which had a bar, a restaurant, a billiards room, and a ping-pong room. There were strict rules about how we could talk to the sailors. We were not allowed to speak to them alone, except for brief exchanges over the counter of the Friendship Store. If we were asked our names and addresses, under no circumstances were we to give our real ones. We all prepared a false name and a nonexistent address. After every conversation, we had to write a detailed report of what had been said which was standard practice for anyone who had contact with foreigners. We were warned over and over again about the importance of observing 'discipline in foreign contacts' (she waifi-lu). Otherwise, we were told, not only would we get into serious trouble, other students would be banned from coming.

Where did Grizel go?” Sandor asked as they turned to leave. “She’s supposed to stay by your side.” “I’m right here,” a husky female voice said as a lithe gray goblin in a fitted black jumpsuit seemed to melt out of the shadows. Fitz’s bodyguard was just as tall as Sandor, but far leaner—and what she lacked in bulk she made up for in stealth and grace. “I swear,” she said, tapping Sandor on the nose. “It’s almost too easy to evade you.” “Anyone can hide in this chaos,” Sandor huffed. “And now is not the time for games!” “There’s always time for games.” Grizel tossed her long ponytail in a way that almost seemed . . . Was it flirty? Sandor must’ve noticed too, because his gray skin tinted pink. He cleared his throat and turned to Sophie. “Weren’t we heading to the cafeteria?” She nodded and followed Fitz into the mazelike halls, where the colorful crystal walls shimmered in the afternoon sunlight. The cafeteria was on the second floor of the campus’s five-story glass pyramid, which sat in the center of the courtyard framed by the U-shaped main building. Sophie spent most of the walk wondering how long it would take Dex to notice her new accessories. The answer was three seconds—and another after that to notice the matching rings on Fitz’s thumbs. His periwinkle eyes narrowed, but he kept his voice cheerful as he said, “I guess we’re all giving rings this year.” Biana held out her hand to show Sophie a ring that looked familiar—probably because Sophie had a less sparkly, slightly more crooked, definitely less pink version on her own finger. “I also made one for you,” Dex told Fitz. “It’s in your thinking cap. And I have some for Tam and Linh, whenever we see them again. That way we’ll all have panic switches—and I added stronger trackers, so I can home in on the signal even if you don’t press your stone. Just in case anything weird happens.” “Your Technopath tricks aren’t necessary,” Sandor told him, pointing to their group of bodyguards—four goblins in all. “But it’s still good to have a backup plan, right?” Biana asked, admiring her ring from another angle. The pink stone matched the glittery shadow she’d brushed around her teal eyes, as well as the gloss on her

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!

Help you?” he said without looking up. I glanced at Meg, silently double-checking that we were in the right building. She nodded. “We’re here to surrender,” I told the guard. Surely this would make him look up. But no. He could not have acted less interested in us. I was reminded of the guest entrance to Mount Olympus, through the lobby of the Empire State Building. Normally, I never went that way, but I knew Zeus hired the most unimpressible, disinterested beings he could find to guard the desk as a way to discourage visitors. I wondered if Nero had intentionally done the same thing here. “I’m Apollo,” I continued. “And this is Meg. I believe we’re expected? As in…hard deadline at sunset or the city burns?” The guard took a deep breath, as if it pained him to move. Keeping one finger in his novel, he picked up a pen and slapped it on the counter next to the sign-in book. “Names. IDs.” “You need our IDs to take us prisoner?” I asked. The guard turned the page in his book and kept reading. With a sigh, I pulled out my New York State junior driver’s license. I suppose I shouldn’t have been surprised that I’d have to show it one last time, just to complete my humiliation. I slid it across the counter. Then I signed the logbook for both of us. Name(s): Lester (Apollo) and Meg. Here to see: Nero. Business: Surrender. Time in: 7:16 p.m. Time out: Probably never. Since Meg was a minor, I didn’t expect her to have an ID, but she removed her gold scimitar rings and placed them next to my license. I stifled the urge to shout, Are you insane? But Meg gave them up as if she’d done this a million times before. The guard took the rings and examined them without comment. He held up my license and compared it to my face. His eyes were the color of decade-old ice cubes. He seemed to decide that, tragically, I looked as bad in real life as I did in my license photo. He handed it back, along with Meg’s rings. “Elevator nine to your right,” he announced. I almost thanked him. Then I thought better of it.

The religious scholar and Muslim Brotherhood ideologist Sayyid Qutb articulated perhaps the most learned and influential version of this view. In 1964, while imprisoned on charges of participating in a plot to assassinate Egyptian President Nasser, Qutb wrote Milestones, a declaration of war against the existing world order that became a foundational text of modern Islamism. In Qutb’s view, Islam was a universal system offering the only true form of freedom: freedom from governance by other men, man-made doctrines, or “low associations based on race and color, language and country, regional and national interests” (that is, all other modern forms of governance and loyalty and some of the building blocks of Westphalian order). Islam’s modern mission, in Qutb’s view, was to overthrow them all and replace them with what he took to be a literal, eventually global implementation of the Quran. The culmination of this process would be “the achievement of the freedom of man on earth—of all mankind throughout the earth.” This would complete the process begun by the initial wave of Islamic expansion in the seventh and eighth centuries, “which is then to be carried throughout the earth to the whole of mankind, as the object of this religion is all humanity and its sphere of action is the whole earth.” Like all utopian projects, this one would require extreme measures to implement. These Qutb assigned to an ideologically pure vanguard, who would reject the governments and societies prevailing in the region—all of which Qutb branded “unIslamic and illegal”—and seize the initiative in bringing about the new order.

I have something to show you." He sank down next to me and handed me a sketchbook. I opened it. And saw the mermaid. She was drawn in colored ink, exquisitely detailed; each scale had a little picture in it: a pyramid, a rocket, a peacock, a lamp. Her torso was patterened red, like a tattoo, like coral. She had a thin strand of seaweed around her neck, with a starfish holding on to the center. Her hair was a tumble of loose black curls. She had my face. I turned the page.And another and another. There she was fighting a creature that was half human, half octopus. Exploring a cave. Riding a shark. Laughing and petting a stingray that rested on her lap. "I'm calling her Cora Lia for the moment," Alex told me. "I thought about Corella, but it sounded like cheap dishware." "She's...amazing." "She's fierce. Fighting the Evil Sea-Dragon King and his minions." I traced the red tattoo on her chest. "This is beautiful." Alex reached into my sweater, pulled the loose neck of the T-shirt away from my shoulder. I didn't stop him. "It looks like coral to me." He touched me, then,the pad of his thumb tracing the outline of the scar. It felt strange, partly because of the difference in the tissue, but more because in the last few years, the only hands that had touched me there were mine. I set the book aside carefully. "Guess I don't see what you do." "That's too bad, because I see you perfectly." I curved myself into him. "Maybe you're exactly what I need." "Like there's any doubt?" He buried his face in my neck.I didn't stop him. "So." "So?" "We'll kill a few hours, watch the sunrise, have pancakes, and you'll drive home." "What?" I felt him smile against my skin. "I got you swimming with sharks. Next on the Conquer Your Fears list is driving a stick shift.Right?" "One thing at a time," I said. Then, "Oh. Do that again." In another story, the intrepid heroine would have gone running out and splashed in the surf, hypothermia be damned. She would have driven the Mustang home, booked a haircut, taken up stand-up comedy, and danced on the observation deck of the Empire State Building. But this was me, and I was moving at my own pace. Truth: My story started a hundred years ago. There's time.

That week—the week of the rain—was one of my dad’s bad times. So I went out to the site a lot. One day, I was just picking around one of the foundations. It was all cinder block and pits; hardly any of the building had actually gotten done. And then I saw this little box. A shoe box.” She sucks in a breath, and even in the dark I see her tense. The rest of her story comes out in a rush: “Someone must have left it there, wedged in the space underneath a part of the foundation. Except the rain was so bad it had caused a miniature mudslide. The box had rolled out into the open. I don’t know why I decided to look inside. It was filthy. I thought I might find a pair of shoes, maybe some jewelry.” I know, now, where the story is going. I am walking toward the muddy box alongside her; I am lifting the water-warped cover. The horror and disgust is a mud too: It is rising, black and choking, inside of me. Raven’s voice drops to a whisper. “She was wrapped in a blanket. A blue blanket with yellow lambs on it. She wasn’t breathing. I—I thought she was dead. She was … she was blue. Her skin, her nails, her lips, her fingers. Her fingers were so small.” The mud is in my throat. I can’t breathe. “I don’t know what made me try to revive her. I think I must have gone a little crazy. I was working as a junior lifeguard that summer, so I’d been certified in CPR. I’d never had to do it, though. And she was so tiny—probably a week, maybe two weeks old. But it worked. I’ll never forget how I felt when she took a breath, and all that color came rushing into her skin. It was like the whole world had split open. And everything I’d felt was missing—all that feeling and color—all of it came to me with her first breath. I called her Blue so I would always remember that moment, and so I would never regret.

Like here it was that I entered that stage when a child overcomes naivite enough to realize an adult's emotional reaction as somethimes freakish for its inconsistencies, so can, on his own reasoning canvas, paint those early pale colors of judgement, resulting from initial moments of ability to critically examine life's perplexities, in tentative little brain-engine stirrings, before they faded to quickly join that train of remembered experience carrying signals indicating existence which itself far outweighs traction effort by thinking's soon slipping drivers to effectively resist any slack-action advantage, for starting so necessitates continual cuts on the hauler - performed as if governed lifelong by the tagwork of a student-green foreman who, crushed under on rushing time always building against his excessive load of emotional contents, is forever a lost ball in the high weeds of personal developments - until, with ever changing emphasis through a whole series of grades of consciousness (leading up from root-beginnings of obscure childish inconscious soul within a world), early lack - for what child sustains logic? - reaches a point of late fossilization, resultant of repeated wrong moves in endless switching of dark significances crammed inside the cranium, where, through such hindering habits, there no longer is the flexibility for thought transfer and unloading of dead freight that a standard gauge would afford and thus, as Faustian Destiny dictates, is an inept mink, limited, being in existence firmly tracked just above the constant "T" biased ballast supporting wherever space yearnings lead the worn rails of civilized comprehension, so henceforth is restricted to mere pickups and setouts of drab distortion, while traveling wearily along its familiar Western Thinking right-of-way. But choo-choo nonsense aside, ...

....It was to complete his marriage with Maimuna, the daughter of Al Hareth, the Helalite. He had become betrothed to her on his arrival at Mecca, but had post-poned the nuptials until after he had concluded the rites of pilgrimage. This was doubtless another marriage of policy, for Maimuna was fifty-one years of age, and a widow, but the connection gained him two powerful proselytes. One was Khaled Ibn al Waled, a nephew of the widow, an intrepid warrior who had come near destroy- ing Mahomet at the battle of Ohod. He now became one of the most victorious champions of Islamism, and by his prowess obtained the appellation of " The Sword of God." The other proselyte was Khaled's friend, Amru Ibn al Aass ; the same who assailed Mahomet with poetry and satire at the commencement of his prophetic career ; who had been an ambassador from the Koreishites to the king of Abyssinia, to obtain the surrender of the fugitive Moslems, and who was henceforth destined with his sword to carry victoriously into foreign lands the faith he had once so strenuously opposed. Note.— Maimuna was the last spouse of the prophet, and, old as she was at her marriage, survived all his other wives. She died many years after him, in a pavilion at Serif, under the same tree in the shade of which her nuptial tent had been pitched, and was there interred. The pious historian, Al Jannabi, who styles himself "a poor servant of Allah, hoping for the pardon of his sins through the mercy of God," visited her tomb on returning from a pilgrimage to Mecca, in the year of the Hegira 963, a.d. 1555. "I saw there," said he, "a dome of black marble erected in memory of Maimuna, on the very spot on which the apostle of God had reposed with her. God knows the truth ! and also the reason of the black color of the stone. There is a place of ablution, and an oratory ; but the building has fallen to decay.

I love the way the rain melts the colors together, like a chalk drawing on the sidewalk. There is a moment, just after sunset, when the shops turn on their lights and steam starts to fog up the windows of the cafés. In French, this twilight time implies a hint of danger. It's called entre chien et loup, between the dog and the wolf. It was just beginning to get dark as we walked through the small garden of Palais Royal. We watched as carefully dressed children in toggled peacoats and striped woolen mittens finished the same game of improvised soccer we had seen in the Place Sainte Marthe. Behind the Palais Royal the wide avenues around the Louvre gave way to narrow streets, small boutiques, and bistros. It started to drizzle. Gwendal turned a corner, and tucked in between two storefronts, barely wider than a set of double doors, I found myself staring down a corridor of fairy lights. A series of arches stretched into the distance, topped with panes of glass, like a greenhouse, that echoed the plip-plop of the rain. It was as if we'd stepped through the witch's wardrobe, the phantom tollbooth, what have you, into another era. The Passage Vivienne was nineteenth-century Paris's answer to a shopping mall, a small interior street lined with boutiques and tearooms where ladies could browse at their leisure without wetting the bustles of their long dresses or the plumes of their new hats. It was certainly a far cry from the shopping malls of my youth, with their piped-in Muzak and neon food courts. Plaster reliefs of Greek goddesses in diaphanous tunics lined the walls. Three-pronged brass lamps hung from the ceiling on long chains. About halfway down, there was an antique store selling nothing but old kitchenware- ridged ceramic bowls for hot chocolate, burnished copper molds in the shape of fish, and a pewter mold for madeleines, so worn around the edges it might have belonged to Proust himself. At the end of the gallery, underneath a clock held aloft by two busty angels, was a bookstore. There were gold stencils on the glass door. Maison fondée en 1826.

Corn is what feeds the steer that becomes the steak. Corn feeds the chicken and the pig, the turkey, and the lamb, the catfish and the tilapia and, increasingly, even the salmon, a carnivore by nature that the fish farmers are reengineering to tolerate corn. The eggs are made of corn. The milk and cheese and yogurt, which once came from dairy cows that grazed on grass, now typically comes from Holsteins that spend their working lives indoors tethered to machines, eating corn. Head over to the processed foods and you find ever more intricate manifestations of corn. A chicken nugget, for example, piles up corn upon corn: what chicken it contains consists of corn, of course, but so do most of a nugget's other constituents, including the modified corn starch that glues the things together, the corn flour in the batter that coats it, and the corn oil in which it gets fried. Much less obviously, the leavenings and lecithin, the mono-, di-, and triglycerides, the attractive gold coloring, and even the citric acid that keeps the nugget "fresh" can all be derived from corn. To wash down your chicken nuggets with virtually any soft drink in the supermarket is to have some corn with your corn. Since the 1980s virtually all the sodas and most of the fruit drinks sold in the supermarket have been sweetened with high-fructose corn syrup (HFCS) -- after water, corn sweetener is their principal ingredient. Grab a beer for you beverage instead and you'd still be drinking corn, in the form of alcohol fermented from glucose refined from corn. Read the ingredients on the label of any processed food and, provided you know the chemical names it travels under, corn is what you will find. For modified or unmodified starch, for glucose syrup and maltodextrin, for crystalline fructose and ascorbic acid, for lecithin and dextrose, lactic acid and lysine, for maltose and HFCS, for MSG and polyols, for the caramel color and xanthan gum, read: corn. Corn is in the coffee whitener and Cheez Whiz, the frozen yogurt and TV dinner, the canned fruit and ketchup and candies, the soups and snacks and cake mixes, the frosting and candies, the soups and snacks and cake mixes, the frosting and gravy and frozen waffles, the syrups and hot sauces, the mayonnaise and mustard, the hot dogs and the bologna, the margarine and shortening, the salad dressings and the relishes and even the vitamins. (Yes, it's in the Twinkie, too.) There are some forty-five thousand items in the average American supermarket and more than a quarter of them now contain corn. This goes for the nonfood items as well: Everything from the toothpaste and cosmetics to the disposable diapers, trash bags, cleansers, charcoal briquettes, matches, and batteries, right down to the shine on the cover of the magazine that catches your eye by the checkout: corn. Even in Produce on a day when there's ostensibly no corn for sale, you'll nevertheless find plenty of corn: in the vegetable wax that gives the cucumbers their sheen, in the pesticide responsible for the produce's perfection, even in the coating on the cardboard it was shipped in. Indeed, the supermarket itself -- the wallboard and joint compound, the linoleum and fiberglass and adhesives out of which the building itself has been built -- is in no small measure a manifestation of corn.

Sheepwalking I define “sheepwalking” as the outcome of hiring people who have been raised to be obedient and giving them a brain-dead job and enough fear to keep them in line. You’ve probably encountered someone who is sheepwalking. The TSA “screener” who forces a mom to drink from a bottle of breast milk because any other action is not in the manual. A “customer service” rep who will happily reread a company policy six or seven times but never stop to actually consider what the policy means. A marketing executive who buys millions of dollars’ worth of TV time even though she knows it’s not working—she does it because her boss told her to. It’s ironic but not surprising that in our age of increased reliance on new ideas, rapid change, and innovation, sheepwalking is actually on the rise. That’s because we can no longer rely on machines to do the brain-dead stuff. We’ve mechanized what we could mechanize. What’s left is to cost-reduce the manual labor that must be done by a human. So we write manuals and race to the bottom in our search for the cheapest possible labor. And it’s not surprising that when we go to hire that labor, we search for people who have already been trained to be sheepish. Training a student to be sheepish is a lot easier than the alternative. Teaching to the test, ensuring compliant behavior, and using fear as a motivator are the easiest and fastest ways to get a kid through school. So why does it surprise us that we graduate so many sheep? And graduate school? Since the stakes are higher (opportunity cost, tuition, and the job market), students fall back on what they’ve been taught. To be sheep. Well-educated, of course, but compliant nonetheless. And many organizations go out of their way to hire people that color inside the lines, that demonstrate consistency and compliance. And then they give these people jobs where they are managed via fear. Which leads to sheepwalking. (“I might get fired!”) The fault doesn’t lie with the employee, at least not at first. And of course, the pain is often shouldered by both the employee and the customer. Is it less efficient to pursue the alternative? What happens when you build an organization like W. L. Gore and Associates (makers of Gore-Tex) or the Acumen Fund? At first, it seems crazy. There’s too much overhead, there are too many cats to herd, there is too little predictability, and there is way too much noise. Then, over and over, we see something happen. When you hire amazing people and give them freedom, they do amazing stuff. And the sheepwalkers and their bosses just watch and shake their heads, certain that this is just an exception, and that it is way too risky for their industry or their customer base. I was at a Google conference last month, and I spent some time in a room filled with (pretty newly minted) Google sales reps. I talked to a few of them for a while about the state of the industry. And it broke my heart to discover that they were sheepwalking. Just like the receptionist at a company I visited a week later. She acknowledged that the front office is very slow, and that she just sits there, reading romance novels and waiting. And she’s been doing it for two years. Just like the MBA student I met yesterday who is taking a job at a major packaged-goods company…because they offered her a great salary and promised her a well-known brand. She’s going to stay “for just ten years, then have a baby and leave and start my own gig.…” She’ll get really good at running coupons in the Sunday paper, but not particularly good at solving new problems. What a waste. Step one is to give the problem a name. Done. Step two is for anyone who sees themselves in this mirror to realize that you can always stop. You can always claim the career you deserve merely by refusing to walk down the same path as everyone else just because everyone else is already doing it.

If government had declined to build racially separate public housing in cities where segregation hadn’t previously taken root, and instead had scattered integrated developments throughout the community, those cities might have developed in a less racially toxic fashion, with fewer desperate ghettos and more diverse suburbs. If the federal government had not urged suburbs to adopt exclusionary zoning laws, white flight would have been minimized because there would have been fewer racially exclusive suburbs to which frightened homeowners could flee. If the government had told developers that they could have FHA guarantees only if the homes they built were open to all, integrated working-class suburbs would likely have matured with both African Americans and whites sharing the benefits. If state courts had not blessed private discrimination by ordering the eviction of African American homeowners in neighborhoods where association rules and restrictive covenants barred their residence, middle-class African Americans would have been able gradually to integrate previously white communities as they developed the financial means to do so. If churches, universities, and hospitals had faced loss of tax-exempt status for their promotion of restrictive covenants, they most likely would have refrained from such activity. If police had arrested, rather than encouraged, leaders of mob violence when African Americans moved into previously white neighborhoods, racial transitions would have been smoother. If state real estate commissions had denied licenses to brokers who claimed an “ethical” obligation to impose segregation, those brokers might have guided the evolution of interracial neighborhoods. If school boards had not placed schools and drawn attendance boundaries to ensure the separation of black and white pupils, families might not have had to relocate to have access to education for their children. If federal and state highway planners had not used urban interstates to demolish African American neighborhoods and force their residents deeper into urban ghettos, black impoverishment would have lessened, and some displaced families might have accumulated the resources to improve their housing and its location. If government had given African Americans the same labor-market rights that other citizens enjoyed, African American working-class families would not have been trapped in lower-income minority communities, from lack of funds to live elsewhere. If the federal government had not exploited the racial boundaries it had created in metropolitan areas, by spending billions on tax breaks for single-family suburban homeowners, while failing to spend adequate funds on transportation networks that could bring African Americans to job opportunities, the inequality on which segregation feeds would have diminished. If federal programs were not, even to this day, reinforcing racial isolation by disproportionately directing low-income African Americans who receive housing assistance into the segregated neighborhoods that government had previously established, we might see many more inclusive communities. Undoing the effects of de jure segregation will be incomparably difficult. To make a start, we will first have to contemplate what we have collectively done and, on behalf of our government, accept responsibility.