Costume Change Quotes

If death meant just leaving the stage long enough to change costume and come back as a new character...Would you slow down? Or speed up?

Things Are Different: You never know the story By the cover of the book. You can’t tell what a dinner’s like By simply looking at the cook. It’s something everybody needs to know Way down deep inside That things are often different Than the way they look. When I put on a costume To play a fancy part That costume changes just my looks. It doesn’t change my heart. You cannot know what someone’s thinking By the picture you just took ‘Cause things are often different From the way they look.

To encapsulate the notion of Mardi Gras as nothing more than a big drunk is to take the simple and stupid way out, and I, for one, am getting tired of staying stuck on simple and stupid. Mardi Gras is not a parade. Mardi Gras is not girls flashing on French Quarter balconies. Mardi Gras is not an alcoholic binge. Mardi Gras is bars and restaurants changing out all the CD's in their jukeboxes to Professor Longhair and the Neville Brothers, and it is annual front-porch crawfish boils hours before the parades so your stomach and attitude reach a state of grace, and it is returning to the same street corner, year after year, and standing next to the same people, year after year--people whose names you may or may not even know but you've watched their kids grow up in this public tableau and when they're not there, you wonder: Where are those guys this year? It is dressing your dog in a stupid costume and cheering when the marching bands go crazy and clapping and saluting the military bands when they crisply snap to. Now that part, more than ever. It's mad piano professors converging on our city from all over the world and banging the 88's until dawn and laughing at the hairy-shouldered men in dresses too tight and stalking the Indians under Claiborne overpass and thrilling the years you find them and lamenting the years you don't and promising yourself you will next year. It's wearing frightful color combination in public and rolling your eyes at the guy in your office who--like clockwork, year after year--denies that he got the baby in the king cake and now someone else has to pony up the ten bucks for the next one. Mardi Gras is the love of life. It is the harmonic convergence of our food, our music, our creativity, our eccentricity, our neighborhoods, and our joy of living. All at once.

To them she wore the costume of the oppressed from distant lands and was the poster child of backwardness in a forward thinking world. To her, their faces bore the costume of the ignorant, and they were poster children for gross close-mindedness in an open-minded, ever changing world

I can put on a hat, or put on a coat, Or wear a pair of glasses or sail a boat. I can change all my names and find a place to hide. I can do most anything, but I'm still myself inside. I can go far away, or dream of anything, Or wear a scary costume or act like a king. I can change all my names and find a place to hide. I can do almost anything, but I'm still myself. I'm still myself. I'm still myself inside.

Somewhere in the back of my brain there exists this certainty: The body is no more than a costume, and can be changed at will. That the changing of bodies, like costumes, would make me into a different character, a character who might, finally, be all right.

That's the joy of a harlequinade, after all, isn't it? We change our costumes. We change our roles.

We think, sometimes, there's not a dragon left. Not one brave knight, not a single princess gliding through secret forests, enchanting deer and butterflies with her smile. What a pleasure to be wrong. Princesses, knights, enchantments and dragons, mystery and adventure ...not only are they here-and-now, they're all that ever lived on earth! Our century, they've changed clothes, of course. Dragons wear government-costumes, today, and failure-suits and disaster-outfits. Society's demons screech, whirl down on us should we lift our eyes from the ground, dare we turn right at corners we've been told to turn left. So crafty have appearances become that princesses and knights can be hidden from each other, can be hidden from themselves.

Teachers of children see gender equality mostly in terms of ensuring that girls get to have the same privileges and rights as boys within the existing social structure; they do not see it in terms of granting boys the same rights as girls—for instance, the right to choose not to engage in aggressive or violent play, the right to play with dolls, to play dress up, to wear costumes of either gender, the right to choose.

People do not change. It is just that they change the masks they wear and the acts they put on, with new costumes, new dialogues and new settings.That is human nature.

Esther changed into a costume of Wednesday Addams, and then they went, the three strangest teenagers in town: a ghost who couldn't speak, a boy who hated the dark, and a girl who dressed as someone else everywhere she went.

MOST PEOPLE think acting is make-believe. Like it’s a big game where people put on costumes and feign kisses or stab wounds and then pretend to gasp and die. They think it’s a show. They don’t understand that acting is becoming someone else, changing your thoughts and needs until you don’t remember your own anymore. You let the other person invade everything you are and then you turn yourself inside out, spilling their identity onto the stage like a kind of bloodletting.

It was not merely that Holmes changed his costume. His expression, his manner, his very soul seemed to vary with every fresh part that he assumed. The stage lost a fine actor, even as science lost an acute reasoner, when he became a specialist in crime.

RAINBOW VOICES I ask people of the world and children of light to start reflecting the stories of their souls to vibrate wisdom around the earth. Pick up a paintbrush or microphone. Press the inks of your pens to paper or tap words onto your screens, and start sharing what you know and have learned with the masses. Turn your personal painting into a piece of the earth's puzzle so that our unified assemblage of thoughts, experiences and lessons reveal common truths that cannot be denied. Imagine the changes that could happen if everyone suddenly stopped acting like someone else, became true to themselves, and celebrated the beauty of their uniqueness. Only after people have willingly removed their masks and costumes, and have begun pouring light from their hearts to reveal their vulnerability, dreams and pains, will we be able to see that beneath the surface we are all the same. After all, how can the world collectively fight for truth, if soldiers in its army are void of truth? We must first all be true by putting truth in our words and actions. And to do so, everyone must learn to think and react with their conscience. Imagine what Truth could do to neutralize the clutches of evil once this black and white world suddenly became embraced by a strong rainbow of loud powerful voices. We could put color back into every home, every school, every industry, every nation, and every garden on earth where flowers have been crushed by corruption.

You can put on a mask and a costume for the rest of the world, but you can't hide from the people who changed your diapers.

In books there are chapters to separate out the moments, to show that time is going by and things are changing, and sometimes the parts even have titles that are full of promise—'The Meeting', 'Hope', 'Downfall'—like paintings do. But in life there's nothing like that, no titles or signs or warnings, nothing to say 'Beware, danger!' or 'Frequent landslides' or 'Disillusion ahead'. In life you stand all alone in your costume, and too bad if it's in tatters.

Uncle Bob chuckled. “What the Hell Spawn of Satan are you wearing?” What Ubie was so indelicately referring to was the outfit I’d changed into, carefully picking out my most comfortable black-on-black attire and meticulously applying black greasepaint to my face to complement a desert-at-midnight look. Naturally, I had to struggle through several costume changes as Garrett sat out in his leather-seated truck waiting for me. I sure hoped my time-consuming endeavor didn’t annoy him.

Either you’re standing under your halos, eyes up to heaven, or you’re munching apples in their faces and flashing your bush. I’m not even sure they know which they prefer. The best you can do is choose when you change your costume.

Madame LaFleur would say that you're more of a classical ballet dancer instead of a jazz dancer. But sometimes all you have to do is change costumes to become something different.

Maybe someone would write a play just for me, one where a real woman could fight with her sword, and had many fine adventures and changes of costume.

I’m not trying to impress you,” he replied, glancing up at the front of the room. “Gads,” he said, blinking in surprise. “What is that ?” Hyacinth followed his gaze. Several of the Pleinsworth progeny, one of whom appeared to be costumed as a shepherdess, were milling about. “Now that’s an interesting coincidence,” Gareth murmured. “It might be time to start bleating,” she agreed. “I thought this was meant to be a poetry recitation.” Hyacinth grimaced and shook her head. “An unexpected change to the program, I’m afraid.” “From iambic pentameter to Little Bo Peep?” he asked doubtfully. “It does seem a stretch.” Hyacinth gave him a rueful look. “I think there will still be iambic pentameter.” His mouth fell open. “From Peep?” She nodded, holding up the program that had been resting in her lap. “It’s an original composition,” she said, as if that would explain everything. “By Harriet Pleinsworth.The Shepherdess, the Unicorn, and Henry VIII .” “All of them? At once?” “I’m not jesting,” she said, shaking her head. “Of course not. Even you couldn’t have made this up.” Hyacinth decided to take that as a compliment. “Why didn’t I receive one of these?” he asked, taking the program from her. “I believe it was decided not to hand them out to the gentlemen,” Hyacinth said, glancing about the room. “One has to admire Lady Pleinsworth’s foresight, actually. You’d surely flee if you knew what was in store for you.

The fat lady never really sings her last song. She only changes costumes and goes on to the next

The sun still hadn't risen. Maybe it never would. Maybe the sky was sick of these endless costume changes: Casting off cloak after cloak, but never revealing what it wore under all those cloaks.

Crime doesn’t take a holiday. It changes costume for the season, and Christmas is the season for domestic violence. Too much pressure to deliver the perfect gift, and not enough money. Too little to say, and too much alcohol encouraging confessions. Never enough love or imagination to deliver the dream.

That seduction or initiation into evil can be understood by recognizing that most actors are not solitary figures improvising on the empty stage of life. Rather, they are often an ensemble of different players, on a stage with various props and changing costumes, scripts, and stage directions from producers and directors.

Either you’re standing under your haloes, eyes up to heaven, or you’re munching apples in their faces and flashing your bush. I’m not even sure they know which one they prefer. The best you can do is choose when you change your costume

But what have Cortes and Pizarro or the others to do with me? You carry them in your blood as I carry the blood of Montezume; expeditions of them are harbored by your heart and your mind carries their supply trains. You've changed your helmet for a frontier hat while I have changed my robes for overalls and a black leather jacket. The costumes may have changed but the blood is still the same, gringo.

History, we know, is apt to repeat herself, and to foist very old incidents upon us with only a slight change of costume.

People change.” “No, they don’t,” Eleanor said. “They simply change costumes. Underneath, they’re who they always were.

It was not merely that Holmes changed his costume. His expression, his manner, his very soul seemed to vary with every fresh part that he assumed. The stage lost a fine

Don't you love fall?" Stacey asked. "All the little festivals, the changing leaves, kids in Halloween costumes, the dead spewing up out of their graves to haunt the living...

They were better, even angry Honorata. Roza could have been any of them, every one of them. The story hadn’t changed. Only the costumes. Only the players.

Tipsy actress Vera Charles (who had 'more changes of costume than facial expression,' according to one critic to whom she never spoke again) ...

If death meant just leaving the stage long enough to change costume and come back as a new character... Would you slow down? Or speed up?

Superman and Spiderman don't wear your costume and character, they have their own costume and character

I had spent so much of my life costumed and posing, turning and changing myself, like changing the channels on a television set, that sometimes when I was caught as I was now, in a silent moment, just waiting, nothing to do but sit and wait and think in a white and airless room, I felt like a blank screen. I felt like a dead teleision. I was myself. I was nothing.

Knowing someone's story helps to make the patient more real, and it makes the job more personal. The shared narratives of others' lives incorporate and become stories about us. I feel myself to be a part of a stranger's story, when it is shared with me, and passing it on feels like my sharing of a parable we've all heard- we know the plot, even the climax and the ending. Only the names have changed, or the costumes, or the settings, but the story is the same and is this: we are all vulnerable; we are all a little bit crazy; we are all funny, entertaining, delicate, bold, horrible, and fantastic. We are all, in our unique and individual ways, as equally and universally fucked up as the next person. Every one of us. Theres comfort in knowing this.

What I fault newspapers for is that day after day they draw our attention to insignificant things whereas only three or four times in our lives do we read a book in which there is something really essential. Since we tear the band off the newspaper so feverishly every morning, they ought to change things and put into the paper, oh, I don’t know, perhaps…Pascal’s Pensees! …and then, in a gilt-edged volume that we open only once in ten years…we would read that the Queen if Greece has gone to Cannes or that the Princesses de Leon has given a costume ball. This way the proper proportions would be established.

I love the word 'fashion.' That's why I'm using it in the title of this book. Fashion is about change and about creating clothes within a historical context. To me, dismissing fashion as silly or unimportant seems like a denial of history and frequently a show of sexism—as if something that's traditionally a concern of women isn't valid as a field of academic inquiry. When the Parsons fashion department was founded in 1906, it was called 'costume design,' because fashion was then a verb: to fashion. But the word 'fashion' has evolved to mean something much more profound, and those who resist it seem to me to be on the wrong side of history.

Gay,” Harry says wearily. “We call them gay now.” He is still trying to keep up with America, as it changes styles and costumes and vocabulary, as it dances ahead ever young, ever younger. “And what did Lyle say then?

Not a trace of emotion on her face. Not a flicker of a change in expression. Did she not care, or was she wearing an exceptional mask? Funny, just how easily those masks came to people. Costumes were nothing in the grand scheme of things. Cloth or kevlar, spider silk or steel. It was the false faces we wore, the layers of defenses, the lies we told ourselves, that formed the real barriers between us and the hostile world around us.

You are taking bath. A bad memory comes in your mind. You keep pouring water. Water running on your body gives you so much relief because it seems to be washing off a thin dark layer that you don’t want. Similarly, a new costume is nothing but a new layer of cloth that you add to yourself. It makes you feel so good. To bring a massive change in your life, you don’t have to become like someone else. You have to become yourself plus and minus a thin ayer. Permanent change will happen only if that plus and minus happens to your soul, not body: Plus and minus of Karma and Desires accumulated on your soul. Your soul knows how to bathe itself. You just have to give it some room by creating wall of detachment.

it would go and hung in front of three fans, drying the sweat-soaked interior. At least I could remove the fur by myself; by then I’d discovered the secret. Howie’s right paw was actually a glove, and when you knew the trick, pulling down the zipper to the neck of the costume was a cinch. Once you had the head off, the rest was cake. This was good, because I could change by myself behind a pull-curtain. No more displaying my sweaty, semi-transparent undershorts to the costume ladies.

In the morning it was raining. A fog had come over the mountains from the sea. You could not see the tops of the mountains. The plateau was dull and gloomy, and the shapes of the trees and the houses were changed. I walked out beyond the town to look at the weather. The bad weather was coming over the mountains from the sea. The flags in the square hung wet form the with poles and the banners were wet and hung damp against the front of the houses, and in between the steady drizzle the rain came down and drove every one under the arcades and made pools of water in the square, and the streets were dark and deserted; yet the fiesta kept up without any pause. It was only driven under covers. The covered seats of the bull-ring had been crowded with people sitting out of the rain watching the concourse of Basque and Navarrais dancers and singers, and afterward the Val Carlos dancers in their costumes danced down the street in the rain, the drums sounding hallow and damp, and the chiefs of the bands riding ahead of their big, heavy-footed horse, their costumes wet, the horses’ coats wet in the rain. The crowd was in the cafés and the dancers came in, too, and sat, their tight-wound white legs under the tables, shaking the water from their belled caps, and spreading their red and purple jackets over the chairs to dry. It was raining hard outside.

Daniel and Roland shared a glance. “We took care of it,” Roland said, handing Daniel a set of car keys. “You took care of it how?” Luce asked. “My dad once called the police when I was a half an hour late from school—” “Don’t worry, kid,” Roland said. “We’ve got you covered. You just need to make a quick costume change.

Exchanging Hats Unfunny uncles who insist in trying on a lady's hat, --oh, even if the joke falls flat, we share your slight transvestite twist in spite of our embarrassment. Costume and custom are complex. The headgear of the other sex inspires us to experiment. Anandrous aunts, who, at the beach with paper plates upon your laps, keep putting on the yachtsmen's caps with exhibitionistic screech, the visors hanging o'er the ear so that the golden anchors drag, --the tides of fashion never lag. Such caps may not be worn next year. Or you who don the paper plate itself, and put some grapes upon it, or sport the Indian's feather bonnet, --perversities may aggravate the natural madness of the hatter. And if the opera hats collapse and crowns grow draughty, then, perhaps, he thinks what might a miter matter? Unfunny uncle, you who wore a hat too big, or one too many, tell us, can't you, are there any stars inside your black fedora? Aunt exemplary and slim, with avernal eyes, we wonder what slow changes they see under their vast, shady, turned-down brim.

SOCIAL/GENERAL ICEBREAKERS 1. What do you think of the movie/restaurant/party? 2. Tell me about the best vacation you’ve ever taken. 3. What’s your favorite thing to do on a rainy day? 4. If you could replay any moment in your life, what would it be? 5. What one thing would you really like to own? Why? 6. Tell me about one of your favorite relatives. 7. What was it like in the town where you grew up? 8. What would you like to come back as in your next life? 9. Tell me about your kids. 10. What do you think is the perfect age? Why? 11. What is a typical day like for you? 12. Of all the places you’ve lived, tell me about the one you like the best. 13. What’s your favorite holiday? What do you enjoy about it? 14. What are some of your family traditions that you particularly enjoy? 15. Tell me about the first car you ever bought. 16. How has the Internet affected your life? 17. Who were your idols as a kid? Have they changed? 18. Describe a memorable teacher you had. 19. Tell me about a movie/book you’ve seen or read more than once. 20. What’s your favorite restaurant? Why? 21. Tell me why you were named ______. What is the origin of your last name? 22. Tell me about a place you’ve visited that you hope never to return to. get over your mom’s good intentions. 23. What’s the best surprise you’ve ever received? 24. What’s the neatest surprise you’ve ever planned and pulled off for someone else? 25. Skiing here is always challenging. What are some of your favorite places to ski? 26. Who would star as you in a movie about your life? Why that person? 27. Who is the most famous person you’ve met? 28. Tell me about some of your New Year’s resolutions. 29. What’s the most antiestablishment thing you’ve ever done? 30. Describe a costume that you wore to a party. 31. Tell me about a political position you’d like to hold. 32. What song reminds you of an incident in your life? 33. What’s the most memorable meal you’ve eaten? 34. What’s the most unforgettable coincidence you’ve experienced or heard about? 35. How are you able to tell if that melon is ripe? 36. What motion picture star would you like to interview? Why? 37. Tell me about your family. 38. What aroma brings forth a special memory? 39. Describe the scariest person you ever met. 40. What’s your favorite thing to do alone? 41. Tell me about a childhood friend who used to get you in trouble. 42. Tell me about a time when you had too much to eat or drink. 43. Describe your first away-from-home living quarters or experience. 44. Tell me about a time that you lost a job. 45. Share a memory of one of your grandparents. 46. Describe an embarrassing moment you’ve had. 47. Tell me something most people would never guess about you. 48. What would you do if you won a million dollars? 49. Describe your ideal weather and why. 50. How did you learn to ski/hang drywall/play piano?

I suppose a part of me wished when I put my key in the door, it would magically open into a different apartment, a different life, a place so bright with joy and excitement that I'd be temporarily blinded when I first saw it. I pictured what a documentary film crew would capture in my face as I glimpsed this whole new world before me, like in those home improvement shows Reva liked to watch when she came over. First, I'd cringe with surprise. But then, once my eyes adjusted to the light, they'd grow wide and glisten with awe. I'd drop the keys and the coffee and wander in, spinning around with my jaw hanging open, shocked at the transformation of my dim, gray apartment into a paradise of realized dreams. But what would it look like exactly? I had no idea. When I tried to imagine this new place, all I could come up with was a cheesy mural of a rainbow, a man in a white bunny costume, a set of dentures in a glass, a huge slice of watermelon on a yellow plate—an odd prediction, maybe, of when I'm ninety-five and losing my mind in an assisted-living facility where they treat the elderly residents like retarded children. I should be so lucky, I thought. I opened the door to my apartment, and, of course, nothing had changed.

When I was a kid, I used to watch that show, sitting on the couch in my pajamas and wishing more than anything that one day I'd just change into this other person. I thought that would explain everything. You know, about why I felt so different. Then I'd find out that my mother was really an alien or that I'd been bitten by a radioactive spider as a baby and it would all be okay because I'd be able to fly and see through walls.. But it never happened. I just went on being me my whole life, until one day I realized that all those superheroes were doing was fighting themselves, and that getting to breathe underwater or shoot fire from your fingers didn't really make up for being screwed up in the first place. It was just the consolation prize - you got the great costume and the invisible jet for being a loser in everything else.

We have discarded the fixed costumes of our forefathers; every one must still dress like other people, but the fashion may change once or twice a year. We thus take care that when there is change it shall be for change's sake, and not from any idea of beauty of convenience; for the same idea of beauty or convenience would not strike all the world at the same moment, and be simultaneously thrown aside by all at another moment.

The world has accepted hard-core fans' argument. Batman, this children's character who dresses up in a costume to effect the change he wishes to see in the world via face punching, is serious. And awesome. And definitely not gay. And, most importantly, now and forever, badass. This is the Batman narrative that now permeates the culture—the narrative that doesn't like nobody touching its stuff and doesn't want any of you homos touching it, neither.

I ask people of the world and children of light to start reflecting the stories of their souls to vibrate wisdom around the earth. Pick up a paintbrush or microphone. Press the inks of your pens to paper or tap words onto your screens, and start sharing what you know and have learned with the masses. Turn your personal painting into a piece of the earth's puzzle so that our unified assemblage of thoughts, experiences and lessons reveal common truths that cannot be denied. Imagine the changes that could happen if everyone suddenly stopped acting like someone else, became true to themselves, and celebrated the beauty of their uniqueness? Only after people have willingly removed their masks and costumes, and have begun pouring light from their hearts to reveal their vulnerability, dreams and pains, will we be able to see that beneath the surface we are all the same. After all, how can the world collectively fight for Truth, if soldiers in its army are void of truth? We must first all be true by putting truth in our words and actions. And to do so, everyone must learn to think and react with their conscience. Imagine what Truth could do to neutralize the clutches of evil once this black and white world suddenly became embraced by a strong rainbow of loud powerful voices. We could put color back into every home, every school, every industry, every nation, and every garden on earth where flowers have been crushed by corruption.

After school, Peter and I are lying on the couch; his feet are hanging off the end. He’s still in his costume, but I’ve changed into my regular clothes. “You always have the cutest socks,” he says, lifting up my right foot. These ones are gray with white polka dots and yellow bear faces. Proudly I say, “My great-aunt sends them from Korea. Korea has the cutest stuff, you know.” “Can you ask her to send me some too? Not bears, but maybe, like, tigers. Tigers are cool.” “Your feet are too big for socks as cute as these. Your toes would pop right out. You know what, I bet I could find you some socks that fit at…um, the zoo.” Peter sits up and starts tickling me. I gasp out, “I bet the--pandas or gorillas have to--keep their feet warm somehow…in the winter. Maybe they have some kind of deodorized sock technology as well.” I burst into giggles. “Stop…stop tickling me!” “Then stop being mean about my feet!” I’ve got my hand burrowed under his arm, and I am tickling him ferociously. But by doing so, I have opened myself up to more attacks. I yell, “Okay, okay, truce!” He stops, and I pretend to stop, but sneak a tickle under his arm, and he lets out a high-pitched un-Peter-like shriek. “You said truce!” he accuses. We both nod and lie back down, out of breath. “Do you really think my feet smell?” I don’t. I love the way he smells after a lacrosse game--like sweat and grass and him. But I love to tease, to see that unsure look cross his face for just half a beat. “Well, I mean, on game days…” I say. Then Peter attacks me again, and we’re wrestling around, laughing, when Kitty walks in, balancing a tray with a cheese sandwich and a glass of orange juice. “Take it upstairs,” she says, sitting down on the floor. “This is a public area.

Nobody acted as if this was an unusual occurrence, and when I finished changing I lay in bed thinking about my first day at magic school. I'd seen teachers turn into animals, passed through ghosts, and almost been killed by flying magic rodents. I lay there thinking about how the animated paintings weren't TVs mounted behind fancy frames. The moving stairs weren't powered by pistons. The teachers weren't wearing costumes or performing tricks. The magic was real, all real. Only now did I begin to accept, to really believe it. My head swam. I didn’t think I'd be able to sleep, but soon I was out.

The simple answer is that I have changed my techniques in order to avoid the relentless sameness of my material, but I have probably only found new costumes, not new creatures entirely. In the past, if I wanted to sound a note on a piano (in prose), I didn’t just have to purchase and install the piano, I had to build it. But before I built it I had to grow the trees whose wood would yield the piano, and probably I had to create the soil and landscape through which those trees would burst. Then there was the problem of the fucking seeds. Where did they come from? I had to source them. With such mania I was either onto something or I completely misunderstood what a fiction writer was supposed to do. Simple things, even entirely undramatic ones, could not occur unless I created them from whole cloth. I was superstitious about taking anything for granted, but it also locked me into a kind of fanatical object fondling that could, on a bad day, preclude any exploration of the human (even though the process of trying to remake the world on the page is fairly, pathetically, human). This set of interests kept me away from what is usually called narrative. It wasn’t some ideological position, or an artistic stance, it was just one set of obsessions winning out over another. On the other hand, I think that I have always tried to create feeling, and then to pulse it into the reader with language. It’s very difficult to figure out how to do this. Storytelling is one way — conventional narrative or whatever you want to call it — but are there other methods worth exploring? The ground shifts, and I change my mind about what might work. How to create immense, unforgettable feeling from language? This ambition hasn’t really changed, it’s just that I want to cultivate new approaches, to try to circle in on a more vivid way to accomplish it.

After Josh leaves and Kitty goes upstairs to watch TV, I’m tidying up the living room and Peter’s sprawled out on the couch watching me. I keep thinking he’s about to leave, but then he keeps lingering. Out of nowhere he says, “Remember back at Halloween how you were Cho Chang and Sanderson was Harry Potter? I bet you that wasn’t a coincidence. I bet you a million bucks he got Kitty to find out what your costume was and then he ran out and bought a Harry Potter costume. The kid is into you.” I freeze. “No, he isn’t. He loves my sister. He always has and he always will.” Peter waves this off. “Just you wait. As soon as you and I are done, he’s gonna pull some cheesy-ass move and, like, profess his love for you with a boom box. I’m telling you, I know how guys think.” I yank away the pillow he’s got cushioning his bac and put it on the recliner. “My sister will be home for winter break soon. I bet you a million dollars they get back together.” Peter holds his hand out for me to shake on it, and when I take it, he pulls me onto the couch next to him. Our legs touch. He has a mischievous glint in his eye, and I think maybe he’s going to kiss me, and I’m scared, but I’m excited, too. But then I hear Kitty’s footsteps coming down the stairs, and the moment’s over.

I had had no communication by letter or message with the outer world: school-rules, school-duties, school-habits and notions, and voices, and faces, and phrases, and costumes, and preferences, and antipathies—such was what I knew of existence. And now I felt that it was not enough; I tired of the routine of eight years in one afternoon. I desired liberty; for liberty I gasped; for liberty I uttered a prayer; it seemed scattered on the wind then faintly blowing. I abandoned it and framed a humbler supplication; for change, stimulus: that petition, too, seemed swept off into vague space: “Then,” I cried, half desperate, “grant me at least a new servitude!

We have adopted European costume, European ways of living, even the European vices of drinking and gambling, but none of their virtues. This must be remedied. We must learn at the feet of Europe, but not at the sacrifice of our Eastern individuality. But this is precisely what we have not done. We have dabbled a little in English and European history, and we have commenced to despise our religion, our literature, our history, our traditions. We have unlearned the lessons of our history and our civilization, and in their place we have secured nothing solid and substantial to hold society fast in the midst of endless changes." In fine: "Destruction has done its work, but the work of construction has not yet begun.

X believed that making fiction was sacred...and she wanted to live in that sanctity, not to be fooled by the flimsiness of perceived reality, which was nothing more than a story that had fooled most of the world. She chose, instead, to live a life in which nothing was fixed, nothing was a given--that her name might change from day to day, moment to moment, and the same was true for her beliefs, her memories, her manner of dress, her manner of speech, what she knew, what she wanted. All of it was always being called into question. All of it was costume and none of it was solid. Not even her past was a settled matter, and though anything else around her might fluctuate, that unsettled core--her history--was to remain unsettled.

But as musically evocative as Fitzgerald’s diction is, it’s his luxurious syntax that choreographs the scene. Like the liquid movement of the partygoers, his sentences “swell with new arrivals, dissolve and form in the same breath.” Fitzgerald’s long, languid rhythms rise and fall seamlessly, then “with triumph glide on through the sea-change of faces and voices and color under the constantly changing light.” His language is as opulent as the women’s costumes and as free-flowing as the champagne, continuing breathlessly to the end of the passage. As readers, we may eventually forget Fitzgerald’s colorful and musical descriptions, but we probably won’t forget the atmosphere of his fictional dream. Long after the last guest has departed and we’ve closed the covers on the novel, something— a fragrance, a snatch of song, a feeling—will remain in the summer air. ATTITUDE

began to walk home, very quickly. A car full of high-school girls screeched around the corner. They were the girls who ran all the clubs and won all the elections in Allison’s high-school class: little Lisa Leavitt; Pam McCormick, with her dark ponytail, and Ginger Herbert, who had won the Beauty Revue; Sissy Arnold, who wasn’t as pretty as the rest of them but just as popular. Their faces—like movie starlets’, universally worshiped in the lower grades—smiled from practically every page of the yearbook. There they were, triumphant, on the yellowed, floodlit turf of the football field—in cheerleader uniform, in majorette spangles, gloved and gowned for homecoming; convulsed with laughter on a carnival ride (Favorites) or tumbling elated in the back of a September haywagon (Sweethearts)—and despite the range of costume, athletic to casual to formal wear, they were like dolls whose smiles and hair-dos never changed.

Little Brother, an aspiring painter, saved up all his money and went to France, to surround himself with beauty and inspiration. He lived on the cheap, painted every day, visited museums, traveled to picturesque locations, bravely spoke to everyone he met, and showed his work to anyone who would look at it. One afternoon, Little Brother struck up a conversation in a café with a group of charming young people, who turned out to be some species of fancy aristocrats. The charming young aristocrats took a liking to Little Brother and invited him to a party that weekend in a castle in the Loire Valley. They promised Little Brother that this was going to be the most fabulous party of the year. It would be attended by the rich, by the famous, and by several crowned heads of Europe. Best of all, it was to be a masquerade ball, where nobody skimped on the costumes. It was not to be missed. Dress up, they said, and join us! Excited, Little Brother worked all week on a costume that he was certain would be a showstopper. He scoured Paris for materials and held back neither on the details nor the audacity of his creation. Then he rented a car and drove to the castle, three hours from Paris. He changed into his costume in the car and ascended the castle steps. He gave his name to the butler, who found him on the guest list and politely welcomed him in. Little Brother entered the ballroom, head held high. Upon which he immediately realized his mistake. This was indeed a costume party—his new friends had not misled him there—but he had missed one detail in translation: This was a themed costume party. The theme was “a medieval court.” And Little Brother was dressed as a lobster. All around him, the wealthiest and most beautiful people of Europe were attired in gilded finery and elaborate period gowns, draped in heirloom jewels, sparkling with elegance as they waltzed to a fine orchestra. Little Brother, on the other hand, was wearing a red leotard, red tights, red ballet slippers, and giant red foam claws. Also, his face was painted red. This is the part of the story where I must tell you that Little Brother was over six feet tall and quite skinny—but with the long waving antennae on his head, he appeared even taller. He was also, of course, the only American in the room. He stood at the top of the steps for one long, ghastly moment. He almost ran away in shame. Running away in shame seemed like the most dignified response to the situation. But he didn’t run. Somehow, he found his resolve. He’d come this far, after all. He’d worked tremendously hard to make this costume, and he was proud of it. He took a deep breath and walked onto the dance floor. He reported later that it was only his experience as an aspiring artist that gave him the courage and the license to be so vulnerable and absurd. Something in life had already taught him to just put it out there, whatever “it” is. That costume was what he had made, after all, so that’s what he was bringing to the party. It was the best he had. It was all he had. So he decided to trust in himself, to trust in his costume, to trust in the circumstances. As he moved into the crowd of aristocrats, a silence fell. The dancing stopped. The orchestra stuttered to a stop. The other guests gathered around Little Brother. Finally, someone asked him what on earth he was. Little Brother bowed deeply and announced, “I am the court lobster.” Then: laughter. Not ridicule—just joy. They loved him. They loved his sweetness, his weirdness, his giant red claws, his skinny ass in his bright spandex tights. He was the trickster among them, and so he made the party. Little Brother even ended up dancing that night with the Queen of Belgium. This is how you must do it, people.

I’m not going on!” I said loudly, and the tears came to my eyes fairly easily. “Fine!” he screamed, not looking at me. Then he turned to a kid named David, who was a set decorator. “Go find Olivia in the lighting booth! Tell her she’s filling in for Miranda tonight!” “What?” said David, who wasn’t too swift. “Go!” shouted Davenport in his face. “Now!” The other kids had caught on to what was happening and gathered around. “What’s going on?” said Justin. “Last-minute change of plans,” said Davenport. “Miranda doesn’t feel well.” “I feel sick,” I said, trying to sound sick. “So why are you still here?” Davenport said to me angrily. “Stop talking, take off your costume, and give it to Olivia! Okay? Come on, everybody! Let’s go! Go! Go!” I ran backstage to the dressing room as quickly as I could and started peeling off my costume. Two seconds later there was a knock and Via half opened the door. “What is going on?” she said. “Hurry up, put it on,” I answered, handing her the dress. “You’re sick?

Subterfuge as a woman was always more complicated than subterfuge as a man; the guise of femininity required further insight, required understanding of the cultural context in which the costume would be viewed. For a man, changes in accoutrements and clothing created changes in status perception, but, no matter the culture, a man was a man. A woman, on the other hand, was never JUST a woman. A woman was an object, a canvas, upon which society and culture painted labels and framed unspoken expectations, a collectively owned piece upon which shame, scorn, and punishment should be heaped if she failed to confirm to the prescribed design. Even in the most forward-thinking countries, subconscious collusion and tacit social agreement put the value of the opinions and contributions of women at less than those of a full person - somewhere between child and adult. Subterfuge as a woman was always more complicated because a man in a suit was a man in a suit, but a woman in a dress with a hemline two inches too short was a slut, and, in the wrong part of town, a whore, and, in the wrong country, a corpse not quite yet dead.

At once, Raj set about finding some dry clothes for Ben and the Queen. However, all he had were his unsold costumes from Halloween. “This is your size, Your Majesty,” said Raj, handing her a lobster costume. “One has never dressed as a lobster before. What fun!” she said, taking the costume behind the card carousel to change. Next, Raj picked up one of his princess outfits. Before he could say a thing, Ben snapped, “NO!” “What do you mean, no?” asked Raj. “No means no! I am never, ever, ever dressing up as a princess!” “But you would look so pretty!” Raj implored. “NO!” “Well, the lobster outfits are too big for you.” The Queen reappeared with hers on. “Red is so your colour!” remarked Raj. “Oh, why thank you, Mr Raj. Now come on, Ben. You can’t stay in those wet things – you will catch your death of cold!” “But—” “No buts, Benjamin! Put it on! That’s an order from your Queen!” Ben harumphed and disappeared behind the card carousel. Moments later, he reappeared awkwardly. He was dressed as a princess with the grumpiest look on his face. “You know I said how pretty you would look as a princess?” began Raj. “Yep.” “I was wrong.” Then,

I think sexy is a grown-up word to describe a person who’s confident that she is already exactly who she was made to be. A sexy woman knows herself and she likes the way she looks, thinks, and feels. She doesn’t try to change to match anybody else. She’s a good friend to herself—kind and patient. And she knows how to use her words to tell people she trusts about what’s going on inside of her—her fears and anger, love, dreams, mistakes, and needs. When she’s angry, she expresses her anger in healthy ways. When she’s joyful, she does the same thing. She doesn’t hide her true self because she’s not ashamed. She knows she’s just human—exactly how God made her and that’s good enough. She’s brave enough to be honest and kind enough to accept others when they’re honest. When two people are sexy enough to be brave and kind with each other, that’s love. Sexy is more about how you feel than how you look. Real sexy is letting your true self come out of hiding and find love in safe places. That kind of sexy is good, really good, because we all want and need love more than anything else. “Fake sexy is different. It’s just more hiding. Real sexy is taking off all your costumes and being yourself. Fake sexy is just wearing another costume. Lots of people are selling fake sexy costumes. Companies know that people want to be sexy so badly because people want love. They know that love can’t be sold, so they have big meetings in boardrooms and they say, ‘How can we convince people to buy our stuff? I know! We’ll promise them that this stuff will make them sexy!’ Then they make up what sexy means so they can sell it. Those commercials you see are stories they’ve written to convince us that sexy is the car or mascara or hair spray or diet they’re selling. We feel bad, because we don’t have what they have or look how they look. That’s what they want. They want us to feel bad, so we’ll buy more. It almost always works. We buy their stuff and wear it and drive it and shake our hips the way they tell us to—but that doesn’t get us love, because none of that is real sexiness. People are even more hidden underneath fake sexiness, and the one thing you can’t do if you want to be loved is hide. You can’t buy sexy, you have to become sexy through a lifetime of learning to love who God made you to be and learning who God made someone else to be.” My

Knightmare. Breezeo’s archenemy. Where Breezeo is light, a breath of fresh air, the nice breeze on a warm summer day, Knightmare is the storm that rolls in and takes it all away. Darkness, thick and suffocating, the shadows you can’t escape in the night in back alleyways. Black leather framed with dark armor, head to toe, from the combat boots the whole way up to the oversized black hood with a metal mask covering part of the face, rendering him unrecognizable. I’ve always been envious of the costume. Beats the damn pseudo-spandex, that’s for sure. “I, uh, wow.” Kennedy stands in the doorway of her apartment with a look of awe as her eyes scan the costume. “That’s just… wow.” “Wow, huh?” I glance down. “Good or bad?” “It’s just, uh, you know…” “Wow?” I guess. She nods, fighting off a smile. “Wow.” I smirk. “It’s the original.” “Seriously?” “Straight from the second movie,” I say, touching an armored chest plate with a fingerless glove-clad hand. “Well, except for these gloves. The real ones wouldn’t fit because of the cast, so I had to improvise.” “It’s, uh…” “Wow?” “Nice,” she says, touching the costume, fingertips grazing the armor. “Kind of weird seeing you like this, but still, it’s nice.” “Thanks,” I say as she steps aside for me to come in the apartment. “I talked them into letting me borrow it. Might not give it back, though. I’m kind of enjoying it.” “You should keep it,” she says, her eyes still scanning me as she closes the door. “It’s, uh…” “Nice?” “Wow.” She smiles playfully as she walks away. “I need to finish getting ready for work. Maddie, you've got a visitor!” A moment after Kennedy disappears, Madison runs in. She skids to a stop when she spots me, eyes wide, mouth popping open. “Whoa.” I push the hood off, shoving the mask up, her expression changing when she sees it’s me, face lighting up. She runs right at me, slamming into me so hard I stumble. I laugh as she hugs me. “Hey, pretty girl.” She looks up at me. “You think I’m pretty?” “What? Of course.” I kneel next to her, grinning as I press a finger to the tip of her nose. “You look like your mom.” “You think Mommy’s pretty, too?” “I think she's the most beautiful woman in the world.” Her expression shifts rapidly when I say that before her eyes widen. “Even more beautifuler than Maryanne?” I lean closer, whispering, repeating her words. “Even more beautifuler than Maryanne.” “Whoa

I leave him there and head for the kitchen, sighing when I see a chair shoved over to the counter, Maddie standing on it, digging through the cabinets. “What do you think you’re doing, little girl?” “Looking for the Lucky Charms,” she says as I pull her down and set her on her feet. “I’m afraid we’re all out.” I grab a box of Cheerios. “How about these?” She makes a face of disgust. “Raisin Bran?” Another face. “How about some cottage cheese?” She pretends to gag. “Uh, well, how about—?” “How about I take you out for breakfast?” Jonathan suggests, stepping into the kitchen. “Pancakes, sausage, eggs…” “Bacon!” Maddie declares. “I don’t know,” I say. “I’m not sure that’s a good idea, you know, with the whole you being you thing.” “Me being me,” he says. “Yeah, chances are you’ll get recognized and then have to explain this whole thing and well, you know, I’m not sure it’s worth it for some breakfast.” “But it might be bacon,” Maddie whines. Jonathan hesitates, thinking it over, glancing between us before he says, “I know somewhere we can go.” Mrs. McKleski’s place. Landing Inn. That’s where he takes us. Maddie and I stand in the woman’s foyer in our pajamas, while Jonathan wears just the leather pants from the Knightmare costume. Mrs. McKleski looks at us like we’ve gone crazy, and I instantly want to be anywhere else in the world, but it’s too late, because Maddie’s been promised some bacon. “You want breakfast,” Mrs. McKleski says. “That’s what you’re telling me?” He nods. “Yes, ma'am.” She stares at him. Hard. I expect a denial, because this whole idea is absurd, but after a moment, she lets out a resigned sigh. “Fine, but go put on some clothes,” she says. “This is an inn, Mr. Cunningham, not Chippendales. I won’t have you at my breakfast table looking like a gigolo.” He cocks an eyebrow at the woman. “Wasn’t aware you knew what a gigolo was.” “Go,” she says pointedly, “before I change my mind.” “Yes, ma’am,” he says, flashing her a smile before turning to me and nodding toward the stairs. “Join me?” I stare at him, not moving. He steps closer. “Please?” “Fine,” I mumble, glancing at Maddie, not wanting to cause a scene. “Hey, sweetheart, why don’t you have a seat in the living room?” “Nonsense,” Mrs. McKleski says. “She can come help me cook. Teach her some responsibility. Not sure her father ever learned any.” Jonathan scowls before again motioning for me to follow him. “And no hanky-panky,” Mrs. McKleski calls to us as we start upstairs. “What’s the hanky-panky?” Maddie asks, following the woman to the kitchen. “She means the hokey-pokey,” I yell down before Mrs. McKleski can answer, because there’s no telling how that woman would explain it. “Oh, I like the hokey-pokey!” Maddie looks at the woman with confusion. “Why don’t you wanna play it?” “Too messy,” Mrs. McKleski grumbles. “All that turning yourself around.” Shaking my head, I go upstairs, stalling right inside the room as Jonathan sorts through his belongings to find some clothes.

It’s not always so easy, it turns out, to identify your core personal projects. And it can be especially tough for introverts, who have spent so much of their lives conforming to extroverted norms that by the time they choose a career, or a calling, it feels perfectly normal to ignore their own preferences. They may be uncomfortable in law school or nursing school or in the marketing department, but no more so than they were back in middle school or summer camp. I, too, was once in this position. I enjoyed practicing corporate law, and for a while I convinced myself that I was an attorney at heart. I badly wanted to believe it, since I had already invested years in law school and on-the-job training, and much about Wall Street law was alluring. My colleagues were intellectual, kind, and considerate (mostly). I made a good living. I had an office on the forty-second floor of a skyscraper with views of the Statue of Liberty. I enjoyed the idea that I could flourish in such a high-powered environment. And I was pretty good at asking the “but” and “what if” questions that are central to the thought processes of most lawyers. It took me almost a decade to understand that the law was never my personal project, not even close. Today I can tell you unhesitatingly what is: my husband and sons; writing; promoting the values of this book. Once I realized this, I had to make a change. I look back on my years as a Wall Street lawyer as time spent in a foreign country. It was absorbing, it was exciting, and I got to meet a lot of interesting people whom I never would have known otherwise. But I was always an expatriate. Having spent so much time navigating my own career transition and counseling others through theirs, I have found that there are three key steps to identifying your own core personal projects. First, think back to what you loved to do when you were a child. How did you answer the question of what you wanted to be when you grew up? The specific answer you gave may have been off the mark, but the underlying impulse was not. If you wanted to be a fireman, what did a fireman mean to you? A good man who rescued people in distress? A daredevil? Or the simple pleasure of operating a truck? If you wanted to be a dancer, was it because you got to wear a costume, or because you craved applause, or was it the pure joy of twirling around at lightning speed? You may have known more about who you were then than you do now. Second, pay attention to the work you gravitate to. At my law firm I never once volunteered to take on an extra corporate legal assignment, but I did spend a lot of time doing pro bono work for a nonprofit women’s leadership organization. I also sat on several law firm committees dedicated to mentoring, training, and personal development for young lawyers in the firm. Now, as you can probably tell from this book, I am not the committee type. But the goals of those committees lit me up, so that’s what I did. Finally, pay attention to what you envy. Jealousy is an ugly emotion, but it tells the truth. You mostly envy those who have what you desire. I met my own envy after some of my former law school classmates got together and compared notes on alumni career tracks. They spoke with admiration and, yes, jealousy, of a classmate who argued regularly before the Supreme Court. At first I felt critical. More power to that classmate! I thought, congratulating myself on my magnanimity. Then I realized that my largesse came cheap, because I didn’t aspire to argue a case before the Supreme Court, or to any of the other accolades of lawyering. When I asked myself whom I did envy, the answer came back instantly. My college classmates who’d grown up to be writers or psychologists. Today I’m pursuing my own version of both those roles.

I wouldn’t fool with these people too much,” Deaver said. “They are not toys or dolls that one can arrange their thoughts or minds as you wish, simply give them a change of costume. They are grown men and they are lethal.” Jiles, Paulette. The Color of Lightning: A Novel (p. 184). HarperCollins e-books. Kindle Edition.

I wouldn’t fool with these people too much,” Deaver said. “They are not toys or dolls that one can arrange their thoughts or minds as you wish, simply give them a change of costume. They are grown men and they are lethal.” Jiles, Paulette. The Color of Lightning: A Novel (p. 184). HarperCollins e-books. Kindle Edition.

or that religion or continent or culture or nation will (or must) never change, because of its traditional and unchanging “values”: again and again, it’s the same idea in different costumes.

I see you lost more of your eyebrows last night. Any other big Zombie changes happen?” “Not really, Dad.” I wanted to tell him about my extra chin mold, but my Dad would’ve probably made a big deal about it. “I remember when I turned 13,” my Dad said. “I really wanted to grow a mold mustache but I couldn’t. So I just let my nose hairs grow really long and it looked just as good. Eating was a bit of a problem, but I eventually got used to it.” Man. My parents are so weird. But, I got my whole schedule all set up for today. First my Mom is going to take me to Zombies R Us to buy some more stuff for my birthday Party. And she needed to get another costume for Wesley since I kind of destroyed his. She wasn’t too happy I took Wesley’s costume. But I think she forgot about it once she saw that Wesley and I were going to have matching costumes this Halloween.

When one is screening raw footage of people in costume tripping on mushrooms and dancing sloppily to a reggae band, a little goes a long way,

The theme of music making the dancer dance turns up everywhere in Astaire’s work. It is his most fundamental creative impulse. Following this theme also helps connect Astaire to trends in popular music and jazz, highlighting his desire to meet the changing tastes of his audience. His comic partner dance with Marjorie Reynolds to the Irving Berlin song “I Can’t Tell a Lie” in Holiday Inn (1942) provides a revealing example. Performed in eighteenth-century costumes and wigs for a Washington’s birthday–themed floor show, the dance is built around abrupt musical shifts between the light classical sound of flute, strings, and harpsichord and four contrasting popular music styles played on the soundtrack by Bob Crosby and His Orchestra, a popular dance band. Moderate swing, a bluesy trumpet shuffle, hot flag-waving swing, and the Conga take turns interrupting what would have been a graceful, if effete, gavotte. The script supervisor heard these contrasts on the set during filming to playback. In her notes, she used commonplace musical terms to describe the action: “going through routine to La Conga music, then music changing back and forth from minuet to jazz—cutting as he holds her hand and she whirls doing minuet.”13 Astaire and Reynolds play professional dancers who are expected to respond correctly and instantaneously to the musical cues being given by the band. In an era when variety was a hallmark of popular music, different dance rhythms and tempos cued different dances. Competency on the dance floor meant a working knowledge of different dance styles and the ability to match these moves to the shifting musical program of the bands that played in ballrooms large and small. The constant stylistic shifts in “I Can’t Tell a Lie” are all to the popular music point. The joke isn’t only that the classical-sounding music that matches the couple’s costumes keeps being interrupted by pop sounds; it’s that the interruptions reference real varieties of popular music heard everywhere outside the movie theaters where Holiday Inn first played to capacity audiences. The routine runs through a veritable catalog of popular dance music circa 1942. The brief bit of Conga was a particularly poignant joke at the time. A huge hit in the late 1930s, the Conga during the war became an invitation to controlled mayhem, a crazy release of energy in a time of crisis when the dance floor was an important place of escape. A regular feature at servicemen’s canteens, the Conga was an old novelty dance everybody knew, so its intrusion into “I Can’t Tell a Lie” can perhaps be imagined as something like hearing the mid-1990s hit “Macarena” after the 2001 terrorist attacks—old party music echoing from a less complicated time.14 If today we miss these finer points, in 1942 audiences—who flocked to this movie—certainly got them all. “I Can’t Tell a Lie” was funnier then, and for specifically musical reasons that had everything to do with the larger world of popular music and dance. As subsequent chapters will demonstrate, many such musical jokes or references can be recovered by listening to Astaire’s films in the context of the popular music marketplace.

All rituals are grounded in repetition and rigidly fixed action sequences.17 But they differ from habits in one important way. Rituals lack a direct, immediate reward. Instead, we have to invent a meaning and impose it on them. We lift our glasses to toast, blow out candles on a birthday cake, and wear caps and gowns at graduation. The act of standing silently for a song, singing while candles burn, or wearing a ceremonial costume acts as feedback, reinforcing our belief that something meaningful is taking place—an act of respect for our country, a celebration of another year, or an educational accomplishment.

Jackie Kennedy came into the ballroom in an exquisite gown of ivory satin embroidered with pearls. “I’m so sorry to hear you aren’t feelingwell,” she said, hurrying to Rosemary’s side. Rosemary explained about the mouse-bite, minimizing it so Jackie wouldn’t worry. “You’d better have your legs tied down,” Jackie said, “in case of convulsions.” “Yes, I suppose so,” Rosemary said. “There’s always a chance it was rabid.” She watched with interest as white-smocked interns tied her legs, and her arms too, to the four bedposts. “If the music bothers you,” Jackie said, “let me know and I’ll have it stopped.” “Oh, no,” Rosemary said. “Please don’t change the program on my account. It doesn’t bother me at all, really it doesn’t.” Jackie smiled warmly at her. “Try to sleep,” she said. “We’ll be waiting up on deck.” She withdrew, her satin gown whispering. Rosemary slept a while, and then Guy came in and began making love to her. He stroked her with both hands—a long, relishing stroke that began at her bound wrists, slid down over her arms, breasts, and loins, and became a voluptuous tickling between her legs. He repeated the exciting stroke again and again, his hands hot and sharp-nailed, and then, when she was ready-ready-more-than-ready, he slipped a hand in under her buttocks, raised them, lodged his hardness against her, and pushed it powerfully in.Bigger he was than always; painfully, wonderfully big. He lay forward upon her, his other arm sliding under her back to hold her, his broad chest crushing her breasts. (He was wearing, because it was to be a costume party, a suit of coarse leathery armor.) Brutally, rhythmically, he drove his new hugeness. She opened her eyes and looked into yellow furnace-eyes, smelled sulphur and tannis root, felt wet breath on her mouth, heard lust-grunts and the breathing of onlookers. This is no dream, she thought. This is real, this is happening. Protest woke in her eyes and throat, but something covered her face, smothering her in a sweet stench. The hugeness kept driving in her, the leathery body banging itself against her again and again and again. The Pope came in with a suitcase in his hand and a coat over his arm. “Jackie tells me you’ve been bitten by a mouse,” he said. “Yes,” Rosemary said. “That’s why I didn’t come see you.” She spoke sadly, so he wouldn’t suspect she had just had an orgasm. “That’s all right,” he said. “We wouldn’t want you to jeopardize your health.” “Am I forgiven, Father?” she asked. “Absolutely,” he said. He held out his hand for her to kiss the ring. Its stone was a silver filigree ball less than an inch in diameter; inside it, very tiny, Anna Maria Alberghetti sat waiting. Rosemary kissed it and the Pope hurried out to catch his plane.

Donovan looked her up and down. “What's that you wearin'?” “It's my costume!” she answered, frustration in her voice, but Justin noticed she pulled the edge of her leotard farther down over her butt cheeks. “You shouldn't be backstage, Donny. You'll get me in trouble.” “I don't like it,” he snarled. “All I can see is your boobs and your butt.” “I'm a dancer,” she replied angrily. “It's what we wear. Now go sit down in the audience!” “That's my beef,” he continued, still in her space. “You show too much. And you look to me like you're gaining weight!” Layla paused. “I do?” She looked down at her thighs. “Who you showin' off for?” Donny hissed. “Please,” she said, lowering her voice. “Let's talk about this after the performance.” “Change your clothes!” he demanded. “You're crazy! I'm up next.” She reached out to him, pleading. He grabbed both her wrists, hard. “No girl of mine is gonna dance like a stripper!” In tears now, Layla pushed him away. “It's ballet!

Saturdays at my house kind of feel like a riddle to be solved. I’ve got to get a wolf, a sheep, and a chicken across the river, and everyone must survive. Our variables are soccer, baseball, dance, and playdates. Participants must be fed and hydrated, with multiple costume changes that take place in the car.

I’ve got to get a wolf, a sheep, and a chicken across the river, and everyone must survive. Our variables are soccer, baseball, dance, and playdates. Participants must be fed and hydrated, with multiple costume changes that take place in the car.

Uh, hello? Hello, hello! Uhm, there has been a slight change of company policy, concerning you and the suits. Uhm, so, after learning of an unfortunate incident at the sister location involving multiple and simultaneous spring lock failures, the company has deemed the suits temporarily unfit for employees. Safety is top priority at Freddy Fazbear's Pizza, which is why the classic suits are being retired to an appropriate location, while being looked at by our technicians. Until replacements arrives, you'll be expected to wear the temporary costumes provided to you. Keep in mind, they were found on very short notice, so questions about appropriateness/relevance should be deflected. I repeat, the classic suits are not to be touched, activated or worn. That being said, we are free of liability, do as you wish. As always, remember to smile. You are the face of Freddy Fazbear's Pizza.

The student with whom Hal shared a bedroom, Englishman John Abel Smith, bore educational credentials that Hal could only dimly conceive. John was the namesake of a renowned merchant banker and British Member of Parliament. He had attended Eton, one of the world’s most famous preparatory schools, before entering Cambridge, where he had “read” under the personal tutelage of English scholars. Hal began to understand the difference between his public-school education and the background of his roommates when he surveyed them relative to a reading list he came across. It was titled, “One Hundred Books Every Educated Person Ought to Have Read.” George Montgomery and Powell Cabot had read approximately seventy and eighty, respectively. John Abel Smith had read all but four. Hal had read (though not necessarily finished) six. Hal also felt his social inferiority. He had long known that his parents weren’t fashionable. His mother never had her hair done in a beauty parlor. His father owned only one pair of dress shoes at a time and frequently took long trips abroad with nothing but his briefcase and a single change of underwear, washing his clothes—including a “wash-and-wear” suit—in hotel sinks at night. That was part of the reason why Hal took an expensive tailored suit—a broad-shouldered pinstripe—and a new fedora hat to Boston. He knew that he needed to rise to a new level, fashion-wise. But he realized that his fashion statement had failed when Powell Cabot asked, late in October, to borrow his suit and hat. Hal’s swell of pride turned to chagrin when Powell explained his purpose—he had been invited to a Halloween costume party, and he wanted to go as a gangster.

The changes associated with the Tudor regime were sufficiently profound to affect the nature and purpose of underclothes. Ceasing to be merely a layer serving to protect the skin, they now began to assist the external costume of both sexes in expressing class distinction.

TO FIRST-GENERATION BARBIE OWNERS, OF WHICH I WAS one, Barbie was a revelation. She didn't teach us to nurture, like our clinging, dependent Betsy Wetsys and Chatty Cathys. She taught us independence. Barbie was her own woman. She could invent herself with a costume change: sing a solo in the spotlight one minute, pilot a starship the next. She was Grace Slick and Sally Ride, Marie Osmond and Marie Curie. She was all that we could be and—if you calculate what at human scale would translate to a thirty-nine-inch bust—more than we could be. And certainly more than we were . . . at six and seven and eight when she appeared and sank her jungle-red

When melodies and chord changes are masterfully combined, a grand movement takes over our entire body, awakening heart, nerves, and emotions with a primitive force. One can see it in the ancient dance of the enchantress: her hypnotic jingling of costume, her trance to appease the gods.

After an enticing erotic performance in the grand ballroom, the Raven King, the Twins, and I proceeded upstairs to the musician’s footsteps. Several mask guards greeted guests at the top of the stairs, before guiding us to an adjoining room to change out of our costumes, which were carefully stored away. A cloakroom assistant directed us to a changing area, where we disrobed. Naked as a jay-bird, each partier was given a number, written in black marker on our ankles as identification for our eventual clothing collection. Two options were provided to the upstairs revelers: either to wear our mask at all times or be blind-folded securely before exploration of the premises was permitted.

This year, we decided that our focus will be on the individual client, making a connection and a trying to deliver the best service possible. It's about time to change the moving industry and to create a positive reputation. The only way to achieve it is by making a great impression and to make our costumers happy and content.

Even to speak to a very well-known person is always an action that is in some respects new. The person to whom you speak— her costume, her physiognomy, the subject of the discourse—all that changes. " One never bathes twice in the same water," said the old sage. The universe changes incessantly, and whatever be the apparent identity of the circumstances in which we are placed, there is always a change, either without or within ourselves; a change which demands a new adaptation on our part, a new effort. Since the future is never the exact repetition of the past, a conscious act is never completely automatic. We must always make some effort, invent, even exert, our will somewhat, to perform the most habitual act; and when Marcelle's will goes down to a degree reall}?^

...some people here seem to have stepped through a time-warp -- old Romans being recycled with a mere change of costume.

In order to pressure the government to change its approach, however, Alinsky urged black activists to dress in African tribal costumes and greet government officials flying into Chicago from Washington, D.C. This action, he said, would dramatize the “colonial mentality” of the antipoverty establishment. I learned about this particular Alinsky caper from Hillary Clinton’s Wellesley College thesis.18 Alinsky

Ever since I changed--ever since I sang that song like a coward, it's been getting worse." Kal clenched his fists. "I screwed everything up, Janner. I'm supposed to be a king, but I'm a monster." Kal scraped at the fur on his arms as if it were a costume he could remove. "And I can't stop it. No matter how much I try to be good. No matter how much I try to be what everybody wants me to be. I want to--I really do--but in the end I'm still a monster. And, Janner," Kal said with tears in his eyes, "I think it's getting worse. I'm afraid I'll hurt someone. That's why I have to try to stop Gnag while I still can. Because I'm running out of time.

as if the barest suggestion of autumn in the air had signaled the need for a costume change.

I first imagined each moment separate, inspired, consecutive. I could have cast the film—myself the female lead, you the star. I wore color—magenta. lavender, lime. You were in white, something textured that moved with your body. The music was sensuous, full orchestra scored for harp, piccolo, twelve double basses, a chime. The premiere, well-attended, prices high. Those who didn't like it find little to like in this world. The critics, through careful eyes, decided our performance was fresh, the location on the cliff above the ocean a splendid choice on someone's part, the humor warm. But time extracts. After the blast, the slow boil, the few grains cupped in the palm. The orchestra was really scored for wind and pelican, the dry flick of lizard. The lily, with petals like white tongues, appeared from nowhere, and the gull remained stone-still. as gulls do not do. The costumes were too simple: sun and salt on skin, and the actors kept changing roles, crawling into one another’s lines, saying the wrong words when they spoke at all, finding it hard to think in vertigo, their love clouded with a retinue of men and women, former actors who wanted the parts. The critics made no sense of the film, double-exposed, sprocket holes on either side and a garbled sound track that wove ‘always’ and ‘never’ into one word. The beginning appeared in the last scene, and the climax was a whorl of color, like looking too long at the sun through closed eyelids. One thing someone found to praise: a clear shot of a shining feather lying on a stone in the path.

Oh! Trash!” he cried. “Words, it’s the mechanics again! It’s tiring at first to speak—and then it’s caught by the Others, the savage Others! The poor Me—and Magne is a Me whereas you are a pig, a miscreant Other— the poor Me—there’re maybe 500 of us total on this foul earthly globe!— why can’t they communicate together without straining their larynx!” Nigeot agreed with Kmôhoûn. “And then everything’s…mechanics, effort, on this dung pile of a planet! You have to get dressed and undressed. You can never stay in a state, you always have to change states! Idiots, pigs that we are! You’re comfortable in bed, aren’t you? Oh well, crack! You have to get up! You’re okay when you’re up? Oh well! Bang, bing, bang! You have to go to bed! Get dressed, get undressed! Trash! Mechanics! We lost our fur, our hair, rubbing against it and scraping it with these damn costumes! Look at the monkeys! A lot prettier than us; they look better and have no mechanics to wear. Mechanics, you know, is everything that is against thinking and good old lassitude: movement, stupid moving of arms, arduous stupidity of being a well raised human, no revolt against the stupidities tolerated by the cowardly mob, who’s happy to tyrannize itself when it’s already pestered by the padishahs. Yes, look at the monkeys, the pretty monkeys! No mechanics to wear, lucky devils, good old monkeys! Nothing to do but chuck water on themselves whenever they feel like it!... And when they’re ready! Oh! Real world! Pile of crap where you have to work, even just to button up your shirt! Oh! When will we be in a higher world where they won’t have these appalling paws? Nothing but little things to fly in the warm blue—warm! You know? Little… mechanics… oh! bing! bang! No mechanics—infamy! —little feathery things like the little… things that chuck turds on our heads from up in the trees and after cry out tweet! tweet! in the air, the… what do you call them, the… birds, totally, yes!” And this Mongol who spouted his Polynesian or Gabonese opinions was originally from Saint Etienne, a city that was so busy it was like industrial epilepsy! But, in fact, it was very simple! He was “tired from birth,” as one of my friends used to say who felt the same way, but had nothing to do with Saint Etienne.

She's receiving Dr. Sheldon Lord in audience just at the moment," Marshall said. "I don't see why you shouldn't go on to the Throne Room, though. He's giving her some psychological tests, but they ought to be finished in a minute or two." "Fine," Malone said. "How about court dress? Got anything here that might fit me?" Marshall nodded. "We've got a pretty complete line of court costume now," he said. "I should say it was the most complete in existence--except possibly for the TV historical companies. Down the hall, three doors farther on, you'll find the dressing room." * * * * * Malone thanked Dr. Marshall and went out slowly. He didn't really mind the court dress or the Elizabethan etiquette Her Majesty liked to preserve; as a matter of fact, he was rather fond of it. There had been some complaints about expense when the Throne Room and the costume arrangement were first set up, but the FBI and the Government had finally decided that it was better and easier to humor Her Majesty. Malone spent ten minutes dressing himself magnificently in hose and doublet, slash-sleeved, ermine-trimmed coat, lace collar, and plumed hat. By the time he presented himself at the door to the Throne Room he felt almost cheerful. It had been a long time since he had entered the world of Elizabethan knighthood over which Her Majesty held sway, and it always made him feel taller and more sure of himself. He bowed to a chunkily-built man of medium height in a stiffly brocaded jacket, carrying a small leather briefcase. The man had a whaler's beard of blond-red hair that looked slightly out of period, but the costume managed to overpower it. "Dr. Lord?" Malone said. The bearded man peered at him. "Ah, Sir Kenneth," he said. "Yes, yes. Just been giving Her Majesty a few tests. Normal weekly check, you know." "I know," Malone said. "Any change?" "Change?" Lord said. "In Her Majesty? Sir Kenneth, you might as well expect the very rocks to change. Her Majesty remains Her Majesty--and will, in all probability, throughout the foreseeable future." "The same as ever?" Malone asked hopefully. "Exactly," Lord said. "But--if you do want background on the case--I'm flying back to New York tonight. Look me up there, if you have a chance. I'm afraid there's little information I can give you, but it's always a pleasure to talk with you." "Thanks," Malone said dully. "Barrow Street," Lord said with a cheery wave of the briefcase. "Number 69.

Mrs. Wilson had changed her costume some time before and was now attired in an elaborate afternoon dress of cream colored chiffon which gave out a continual rustle as she swept about the room. With the influence of the dress her personality had also undergone a change. Her intense vitality, that had been so remarkable in the garage, was converted into impressive hauteur. Her laughter, her gestures, her assertions became more violently affected moment by moment and as she expanded the room grew smaller around her

I have seen, there, In the moonlit space of self, where the ego glides, Its silvery essence, a mirror upon life’s tides. Shaped by the ebb and flow of journey’s dance, Reflecting beliefs, in life’s intricate, ever-changing stance. This luminary, a learned guide in identity’s play, Casts shadows, illusions in its luminous display. A sculptor, artful, in societal norms it trusts, Chiseling character with life’s whims and cultural dust. The ego, in its carnival, spins tales so keen, Crafting who we ought to be in expectations unseen. In costumes of roles and societal dreams it dresses, Creating our outward selves in myriad, intricate presses. In stark contrast, behold the inner sun, our essence so bright, A steadfast flame, in the core of our being, burning with pure light. Unfiltered, unwavering, unlike the moon’s fickle gleam, A constant force, our authentic self, a deep, untouched stream. This essence, our unchanging truth, in the heart it resides, A whisper of eternity, beyond masks, where true self abides. Beyond roles, beyond transient ego’s elaborate dance, Lies this truth, unswayed by the external world’s fleeting glance. In the quest for self, twixt these luminaries, discernment is key, Traversing the self’s tangle, understanding what must be. Though ego’s voice echoes loud, in desires and fears it plays, It’s the essence’s silent light that guides through life’s stormy bays. Through recognition, understanding, transformation’s alchemy begins, Turning life unexamined into enlightened existence’s wins. A celestial voyage, within us, between sun and moon’s embrace, Ego teaches, grows us, in our worldly place. The essence, radiant and wise, to eternity connects, Offering authenticity, a path that perfects. Yin and yang, in our existence, they intertwine, In their dance, our soul’s rhythm, in harmony, divine. In moon’s reflection and sun’s light, a balance we find, Understanding their interplay, the rhythm of humankind.

More than a whole month had passed since I’d changed worlds. My bear costume had become famous around town. It was kind of scary how quickly I’d gotten used to it. I no longer felt embarrassed. “Bear girl.” “Ms. Bear.” “Little cub.” “The Bloody Bear.” Though there were many names people used, they all referred to me. I still couldn’t butcher a kill, but I’d gotten used to defeating monsters. The gamer life had prepared me well. I’d met Fina, and there were tons of interesting things about this world, too. Though I hadn’t gotten a letter or message from the god/admin/whatever it was since that first day, I was grateful they’d brought me here.

Physically, he’s changed again. The face more drawn, the skin more wan, and he’s gained weight in the oddest way. His face, arms, legs, and butt are skinny, but his stomach – his stomach has ballooned. He looks three months’ pregnant. His belly is huge and tight as a drum, as though his shirt has been buttoned with difficulty over a basketball. Cassavetes is a man of immense ego but little vanity. He either won’t or can’t get that stomach down, but he does nothing (like wear looser shirts) to hide it. He intends to play the belly as part of his Love Streams costume. The film’s Robert Harmon will be weighed down with Cassavetes’ belly, and on Robert Harmon it will be an emblem of the dead weight of his life. Cassavetes

not yet allowing himself to wallow in the wave of relief coursing through his body, and pushed through it, ignoring questions barked at him in a foreign language. He galloped down a set of steps, past another pair of cops rushing in the opposite direction, barely meriting a second glance on this occasion. As he left the park, crossing a road that was cordoned off to traffic at either end, he breathed out a long, deep, endless sigh of relief that flooded out of him with the relentless power of the Nile emptying into the Mediterranean Sea. It was only now that he recognized how fast his heart was beating, or felt the beads of sweat dripping off his forehead – both more a result of tension than exertion. “That was close,” he groaned, cursing himself for breaking the cardinal rule of espionage and thrusting himself into the center of attention. “Too damn close.” And it was far from over. He might have escaped the first cordon of cops, but before long the whole of central Moscow would be on lockdown. He needed to get out before it was too late. Trapp fought against his instincts and slowed his pace, walking casually down a side street, past a government building with a small brass plaque outside which read, ‘Federal Agency for State Property Management’ in English letters under the Cyrillic. He kept his head low, pointed at the ground, hoping that it would obscure him from the surveillance cameras that dotted the area, but knowing that it probably wouldn’t. That’s a problem for another day. He cast a quick look around to make sure no one was paying him any attention, and when he was certain that they were not, he ducked into a space between two parked cars, crouched down, and pulled on the neon vest he had previously stowed by his breast. Again, the disguise was skin deep, but if one of the cops he’d just passed managed to radio in a description, then perhaps this costume change might add a layer of distance. It was better than nothing. He started walking again, slowly enough not to draw the eye, fast enough to put as much distance between himself and what was about to turn into a very hot crime scene as possible. As he walked, his fingers played with the rock he had carried all this time, searching for a seam or a catch. He knew that it would not be locked, or contain the kind of self-destruct device so beloved of Hollywood movies. There wasn’t the space, and besides, any competent intelligence agency would be able to defeat such protections quickly enough. Trapp found it, worked the bottom of the rock open, and saw a memory stick sitting in a foam indentation. He pulled it free, put it into the coin pocket of his denim jeans, and dumped the two halves of the rock into an overflowing trash can. It was only then that the question came to him. What the hell do I do now? 35 The village of Soloslovo was 20 miles from Central Moscow, about thirty minutes by car in light traffic, or twenty on a high-powered motorcycle the likes of which Eliza Ikeda rode as she zipped past, around