Craft By Me Quotes

Some people have been unkind. If I say I want to grow as an actress, they look at my figure. If I say I want to develop, to learn my craft, they laugh. Somehow they don't expect me to be serious about my work.

Where are you going?” “My God, you’re like the plague.” “A masterfully crafted, powerfully understated, and epic parable of timeless moral resonance? Why, thank you. That’s one of the nicest things anyone’s ever said to me,” he said. “The disease, Noah. Not the book.” “I’m ignoring that qualification.

Fool me once, shame on you. Fool me twice, shame on me. Fool me three times, shame on both of us.

Don't tell me the moon is shining, show me the glint of light on broken glass.

This witch had been crafted from the darkness between the stars. “I think not, Prince,” she said in her midnight voice. She sniffed again, her nose crinkling slightly. “But would you bleed red, or black?” “I’ll bleed whatever color you tell me to.

LOG ENTRY: SOL 381 I’ve been thinking about laws on Mars. Yeah, I know, it’s a stupid thing to think about, but I have a lot of free time. There’s an international treaty saying no country can lay claim to anything that’s not on Earth. And by another treaty, if you’re not in any country’s territory, maritime law applies. So Mars is “international waters.” NASA is an American nonmilitary organization, and it owns the Hab. So while I’m in the Hab, American law applies. As soon as I step outside, I’m in international waters. Then when I get in the rover, I’m back to American law. Here’s the cool part: I will eventually go to Schiaparelli and commandeer the Ares 4 lander. Nobody explicitly gave me permission to do this, and they can’t until I’m aboard Ares 4 and operating the comm system. After I board Ares 4, before talking to NASA, I will take control of a craft in international waters without permission. That makes me a pirate! A space pirate!

Let me say it again: You must not come lightly to the blank page.

It's hard for me to believe that people who read very little (or not at all in some cases) should presume to write and expect people to like what they have written.

Eyes Tell Stories But do they know how to craft fiction? Do they know how to spin lies? His eyes swear forever, flatter with vows of only me. But are they empty promises? I stare into his eyes, as into a crystal ball, but I cannot find forever, only movies of yesterday, a sketchbook of today, dreams of a shared tomorrow. His eyes whisper secrets. But are they truths or fairy tales? I wonder if even he knows.

I was learning the craft of poetry, which really was an intensive version of what my mother had taught me all those years ago—the craft of writing as the art of thinking. Poetry aims for an economy of truth—loose and useless words must be discarded, and I found that these loose and useless words were not separate from loose and useless thoughts.

There is a muse, but he’s not going to come fluttering down into your writing room and scatter creative fairy-dust all over your typewriter or computer. He lives in the ground. He’s a basement kind of guy. You have to descend to his level, and once you get down there you have to furnish an apartment for him to live in. You have to do all the grunt labor, in other words, while the muse sits and smokes cigars and admires his bowling trophies and pretends to ignore you. Do you think it’s fair? I think it’s fair. He may not be much to look at, that muse-guy, and he may not be much of a conversationalist, but he’s got inspiration. It’s right that you should do all the work and burn all the mid-night oil, because the guy with the cigar and the little wings has got a bag of magic. There’s stuff in there that can change your life. Believe me, I know.

Wanting to Die Since you ask, most days I cannot remember. I walk in my clothing, unmarked by that voyage. Then the almost unnameable lust returns. Even then I have nothing against life. I know well the grass blades you mention, the furniture you have placed under the sun. But suicides have a special language. Like carpenters they want to know which tools. They never ask why build. Twice I have so simply declared myself, have possessed the enemy, eaten the enemy, have taken on his craft, his magic. In this way, heavy and thoughtful, warmer than oil or water, I have rested, drooling at the mouth-hole. I did not think of my body at needle point. Even the cornea and the leftover urine were gone. Suicides have already betrayed the body. Still-born, they don't always die, but dazzled, they can't forget a drug so sweet that even children would look on and smile. To thrust all that life under your tongue!— that, all by itself, becomes a passion. Death's a sad Bone; bruised, you'd say, and yet she waits for me, year after year, to so delicately undo an old wound, to empty my breath from its bad prison. Balanced there, suicides sometimes meet, raging at the fruit, a pumped-up moon, leaving the bread they mistook for a kiss, leaving the page of the book carelessly open, something unsaid, the phone off the hook and the love, whatever it was, an infection.

The answers to making it, to me, are a lot more universal than anyone's race or gender, and center on having a tolerance for delayed gratification, a passion for the craft, and a willingness to fail.

It was with some surprise that I saw that the person waiting for me at the airport's exit was Adrian. A grin spread over my face, and I picked up the pace. I threw my arms around him, astonishing both of us. "I have never been happier to see you in my life," I said. He squeezed me tightly and then let me go, regarding me admiringly. "The dreams never do justice to real life, little dhampir. You look amazing." "And you look . . ." I studied him. He was dressed as nicely as always. His dark brown hair had that crafted messiness he liked, but his face—ah, well. As I'd noted before, Simon had gotten a few good punches on him. One of Adrian's eyes was swollen and ringed with bruises. Nonetheless, thinking about him and everything he'd done . . . Well, none of the flaws mattered. " . . . Gorgeous." "Liar," he said. "Couldn't Lissa have healed that black eye away?" "It's a badge of honor. Makes me seem manly.

As a writer, I believe that showing or letting readers feel is often more convincing than telling, and imagery allows me to accomplish just that.

My nightly craft is winged in white, a dragon of night dark sea. Swift born, dream bound and rudderless, her captain and crew are me. We've sailed a hundred sleeping tides where no seaman's ever been And only my white-winged craft and I know the wonders we have seen.

I believe the first draft of a book — even a long one — should take no more than three months…Any longer and — for me, at least — the story begins to take on an odd foreign feel, like a dispatch from the Romanian Department of Public Affairs, or something broadcast on high-band shortwave duiring a period of severe sunspot activity.

I write to find strength. I write to become the person that hides inside me. I write to light the way through the darkness for others. I write to be seen and heard. I write to be near those I love. I write by accident, promptings, purposefully and anywhere there is paper. I write because my heart speaks a different language that someone needs to hear. I write past the embarrassment of exposure. I write because hypocrisy doesn’t need answers, rather it needs questions to heal. I write myself out of nightmares. I write because I am nostalgic, romantic and demand happy endings. I write to remember. I write knowing conversations don’t always take place. I write because speaking can’t be reread. I write to sooth a mind that races. I write because you can play on the page like a child left alone in the sand. I write because my emotions belong to the moon; high tide, low tide. I write knowing I will fall on my words, but no one will say it was for very long. I write because I want to paint the world the way I see love should be. I write to provide a legacy. I write to make sense out of senselessness. I write knowing I will be killed by my own words, stabbed by critics, crucified by both misunderstanding and understanding. I write for the haters, the lovers, the lonely, the brokenhearted and the dreamers. I write because one day someone will tell me that my emotions were not a waste of time. I write because God loves stories. I write because one day I will be gone, but what I believed and felt will live on.

There is no other way to determine the difference between the will of God and the crafts of satan... Jesus is the way, the truth and the life... The Holy Spirit of God is the Comforter...

His shoulders sagged as he stepped back. Then a half smile made the edge of his lips crook. " You're mad at me." "And that's amusing because?" The half smile spread into a lopsideed grin, and he stood up straighter. "You wouldn't be mad if you didn't care. I'm onto you, Alexis." Oh, that insufferable, arrogant--

Farewell, Father," she said. He fell back upon his chair, choking. She laughed, not with mirth or even mockery, but something that was closer to a sob. "You crafted me so sharp, I cut even myself.

What do you care?" I barked, and his grip tightened enough on my wrists that I knew my bones would snap with a little more pressure. "What do I care?" he breathed, wrath twisting his features. Wings - those membranous, glorious wings - flared from his back, crafted from the shadows behind him. "What do I care?" But before he could go on, his head snapped to the door, then back to my face. The wings vanished as quickly as they had appeared, and then his lips were crushing into mine. His tongue pried my mouth open, forcing himself into me, into the space where I could still taste Tamlin. I pushed and trashed, but he held firm, his tongue sweeping over the roof of my mouth, against my teeth, claiming me - The door was flung wide, and Amarantha's curved figure filled its space. Tamlin - Tamlin was beside her, his eyes slightly wide, shoulders tight as Rhys's lips still crushed mine. Amarantha laughed, and a mask of stone slammed down on Tamlin's face. void of feeling, void of anything vaguely like the Tamlin I'd been tangled up with moments before.

I’m not particularly keen on writing which exhaustively describes the physical characteristics of the people in the story and what they’re wearing… I can always get a J. Crew catalogue… …So spare me, if you please, the hero’s ‘sharply intelligent blue eyes’ and ‘outthrust determined chin’.

I thought I made you up. I thought that I was living in a world of darkness and I imagined you into existence. That somehow my mind crafted you, placing you on that train months ago. But then I realized I could never dream of something so beautiful. “You’re the reason people believe in tomorrow. You’re the voice that scares the shadows away. You’re the love that makes me breathe. So for the next few seconds, I’m going to be selfish. I’m going to say things that I don’t want you to listen to.” My hands ran up and down her back as I pulled her closer, feeling her nerves rocking throughout her. I kissed the edge of her ear. “Don’t go. Stay with me forever. Please, Ashlyn. Let me be your everything. Make me your golden. Don’t. Go.

... it occurred to me that we are all unreliable narrators of our own lives, crafting stories about ourselves that omit unsavory truths and highlight our invented identities.

Since I’m presuming you don’t mean you finally bought him a leash, let me say simply that there is a big difference between allowing an animal to ravage you and allowing yourself to be ravaged. One is common. The other is art. It is planned. Crafted, even. Only capable of being done by a master.

It said something about my life when a heavily armed official accused me of causing magical havoc and i had to wonder which incident she meant.

There were times . . . when it occurred to me that I was repeating my mother's life. Usually this thought struck me as funny. But if I happened to be tired, or if there were extra bills to pay and no money to pay them with, it seemed awful. I'd think 'This isn't the way our lives are supposed to be going.' Then I'd think 'Half the world has the same idea.

The first time the extent of this problem was obvious to me was when I was hanging out with a small group of people in which one unironically said, “I would not consider dating someone who was not regularly seeing a psychologist”—and others in the group agreed with them. It was at that point I realized that some psychologists were convincing their patients that no person could be mentally healthy without regularly visiting them. They had so thoroughly incepted a dependency in their patients that they had created a cultural identity around that dependency.

I almost wish that I could replace their hideous flok dolls, as a gesture of my gratitude. Could you, perhaps, have one of the local women fashion a crude poppet out of, say, a wooden spool and some scraps of wool? Nothing fancy. Aesthetic standars for this particular collection were not high, believe me. "Ugly" and "ill-crafted" seem to be part of the key criteria.

In many ways, Eulah-Beulah prepared me for literary criticism. After having a two-hundred-pound babysitter fart on your face and yell Pow!, The Village Voice holds few terrors.

Once in a lifetime. Even sated in the aftermath of the best orgasm of my life, a twinge of sadness touched me. Don't be stupid, Alex: it's just tonight. We both know it's just tonight.

For me writing has always been best when it's intimate, as sexy as skin on skin.

You have to read widely, constantly refining (and redefining) your own work as you do so. It’s hard for me to believe that people who read very little (or not at all in some cases) should presume to write and expect people to like what they have written, but I know it’s true. If I had a nickel for every person who ever told me he/she wanted to become a writer but “didn’t have time to read,” I could buy myself a pretty good steak dinner. Can I be blunt on this subject? If you don’t have the time to read, you don’t have the time (or the tools) to write. Simple as that. Reading is the creative center of a writer’s life. I take a book with me everywhere I go, and find there are all sorts of opportunities to dip in … Reading at meals is considered rude in polite society, but if you expect to succeed as a writer, rudeness should be the second-to-least of your concerns. The least of all should be polite society and what it expects. If you intend to write as truthfully as you can, your days as a member of polite society are numbered anyway.

Be careful. As if something’s going to jump us in a library.” “You might be surprised.” “What do you mean?” “You know how people say a book is really gripping?” “Don’t tell me…” Cat trailed off. “Libraries can be dangerous.

After I board Ares 4, before talking to NASA, I will take control of a craft in international waters without permission. That makes me a pirate! A space pirate!

…Writing is something that you can never do as well as it can be done. It is a perpetual challenge and it is more difficult than anything else that I have ever done—so I do it. And it makes me happy when I do it well.

It was a miracle to me, this transformation of my acorns into an oak.

Tell the others,” Aelin breathed, trying to find the right words. “Tell the others that I am sorry. Tell Lysandra to remember her promise, and that I will never stop being grateful. Tell Aedion … Tell him it is not his fault, and that …” Her voice cracked. “I wish he’d been able to take the oath, but Terrasen will look to him now, and the lines must not break.” Elide nodded, tears sliding down her blood-splattered face. “And tell Rowan …” Aelin’s soul splintered as she saw the iron box the escorts now carried between them. An ancient, iron coffin. Big enough for one person. Crafted for her. “And tell Rowan,” Aelin said, fighting her own sob, “that I’m sorry I lied. But tell him it was all borrowed time anyway. Even before today, I knew it was all just borrowed time, but I still wish we’d had more of it.” She fought past her trembling mouth. “Tell him he has to fight. He must save Terrasen, and remember the vows he made to me. And tell him … tell him thank you—for walking that dark path with me back to the light.” They

Write poorly. Suck. Write Awful. Terribly. Frightfully. Don’t care. Turn off the inner editor. Let yourself write. Let it flow. Let yourself fail. Do something crazy. Write 50,000 words in the month of November. I did it. It was fun. It was insane. It was 1,667 words per day. It was possible, but you have to turn off the inner critic off completely. Just write. Quickly. In bursts. With joy. If you can’t write, run away. Come back. Write again. Writing is like anything else. You won’t get good at it immediately. It’s a craft. You have to keep getting better. You don’t get to Juilliard unless you practice. You want to get to Carnegie Hall? Practice. Practice. Practice ..or give them a lot of money. Like anything else it takes 10,000 hours to get to mastery. Just like Malcolm Gladwell says. So write. Fail. Get your thoughts down. Let it rest. Let is marinate. Then edit, but don’t edit as you type. That just slows the brain down. Find a daily practice. For me it’s blogging. It’s fun. The more you write the easier it gets. The more it is a flow, the less a worry. It’s not for school, it’s not for a grade, it’s just to get your thoughts out there. You know they want to come out. So keep at it. Make it a practice. Write poorly. Write awfully. Write with abandon and it may end up being really really good.

I guess that means I won in the end, at least in a financial sense. But in my heart I stayed ashamed. I kept hearing Miss Hisler asking me why I wanted to waste my talent, why I wanted to waste my time, why I wanted to write junk.

In case you’ve forgotten, Ethan Sullivan trained me. And in case you didn’t know, Catcher Bell schooled me in sword craft. I was raised on ‘difficult to work with.

The single page of text was signed by the Winter Queen's official seal. I reread it three times. "You can't be serious. She's making you move in with me?

The idea of love seemed an invasion,” she wrote. “I had thoughts to think, a craft to learn, a self to discover. Solitude was a gift. A world was waiting to welcome me if I was willing to enter it alone.

As a young man just beginning to publish some short fiction in the t&a magazines, I was fairly optimistic about my chances of getting published; I knew that I had some game, as the basketball players say these days, and I also felt that time was on my side; sooner or later the best-selling writers of the sixties and seventies would either die or go senile, making room for newcomers like me.

A bright light at the end of a tunnel can seem warm and inviting, or it can seem mysterious and terrifying. People of the world "all working on their arts and crafts" can seem like heaven or, if you're me, hell.

I know that spinning sets me in a trance; it soothes me and charges my batteries at the same time. When times are tough I sit down to spin during the news-broadcasts, with therapeutic results.

Depend upon it, after all, Thomas, Literature is the most noble of professions. In fact, it is about the only one fit for a man. For my own part, there is no seducing me from the path.

I chiefly concern myself with those who seldom get a hearing, & I don't feel it is incumbent on me to balance their voices with the well-crafted apologetics of the powerful. The powerful are generally excellently served by the mainstream media or propaganda organs. The powerful should be quoted, yes, but to measure their pronouncements against the truth, not to obscure it.

When you see one of these graceful crafts sailing over your head, and possibly over your home, as I expect you will in the near future, see if you don’t agree with me that the flying machine is one of God’s most gracious and precious gifts.

Look- here's a table covered with red cloth. On it is a cage the size of a small fish aquarium. In the cage is a white rabbit with a pink nose and pink-rimmed eyes. [...] On its back, clearly marked in blue ink, is the numeral 8. [...] The most interesting thing here isn't even the carrot-munching rabbit in the cage, but the number on its back. Not a six, not a four, not nineteen-point-five. It's an eight. This is what we're looking at, and we all see it. I didn't tell you. You didn't ask me. I never opened my mouth and you never opened yours. We're not even in the same year together, let alone the same room... except we are together. We are close. We're having a meeting of the minds. [...] We've engaged in an act of telepathy. No mythy-mountain shit; real telepathy.

Every word I write is another stroke that takes me to the shore of a completed book.

OK, now write for ten minutes, keep the hand moving, tell me what you carry.

Rock stars live too fast for the twenty-four hour rule... Our average life expectancy is equal to one-half normal divided by number of addictions minus the number of small craft flights per month, the number of fast cars owned, and the number of miles driven on a motorcycle without a helmet. I'd say the three-second rule better applies...

Because you’re going to help me train a seven-year-old Witch who’s got the raw power right now to turn us both into dust and yet”—he dropped the shoe onto the chair—“is abysmal at basic Craft.

I am forever an advocate of books, both the reading of them and the writing. There is something sacred to me in that community. Because writing--and reading--is a solitary business. And it’s good to know I’m not alone.

it turns out, teachers think of glitter as the herpes of craft world- impossible to contain or exterminate. (Beer Buckets and Baby Jesus)

To read a writer is for me not merely to get an idea of what he says, but to go off with him and travel in his company.

In the end it was Tabby who cast the deciding vote, as she so often has at crucial moments in my life. I'd like to think I've done the same for her from time to time, because it seems to me that one of the things marriage is about is casting the tiebreaking vote when you just can't decide what you should do next.

No. Not yet. A craftsman only. But I dream to be an artist. I pray that someday, if I work with enough care, if I am very very lucky, I will make a weapon that is a work of art. Call me an artist then, and I will answer.

I get annoyed when a self-indulgent writer just shows off what he knows but doesn't really tell a story. To me storytelling is first a craft. Then if you're lucky, it becomes an art form. But first, it's got to be a craft.. You've got to have a beginning, middle and end. And I have sort of applied the theatrical principles to writing. Throw the story in the air and see what's going to happen.

And the strongest trust is built by the smallest actions, the keeping of the little promises. It is the constant truthfulness, the continued dependability, the remembrance of minor things, which most inspire confidence and faith.

But none of them taught me the things I learned from Carrie White. The most important is that the writer’s original perception of a character or characters may be as erroneous as the reader’s. Running a close second was the realization that stopping a piece of work just because it’s hard, either emotionally or imaginatively, is a bad idea. Sometimes you have to go on when you don’t feel like it, and sometimes you’re doing good work when it feels like all you’re managing is to shovel shit from a sitting position.

Have you noticed the words which Old Testament people use when someone important calls them by name? They don't say "What?" or "Yes?" They answer with the curious sentence, "Here I am". So much is in that sentence: readiness to respond, a willing servitude, an offering of oneself to the other.

For every person who closed the door in my face, thank you. For every person who told me I wasn't good enough, thank you. For every person who laughed and told me that I was wasting my time going to college, because I was going to fail, thank you. For every person who tried to break me, thank you. For every person who took my kindness for weakness, thank you. For every person who told me I was wasting time chasing my dreams because I would fail, thank you. It could of broke me. From the core of my heart, I thank you. I truly mean it, because if it weren't for each of you I wouldn't be who I am today. I wouldn't of spend hours and loss sleep studying. I wouldn't developed tough skin. You pushed me to think about what I "really" want out of life. You pushed me to master my craft. You helped me develop the drive, passion and determination. You pushed me to not wait for someone to believe in my vision, but to find a way to make things happen. I know you didn't "intend" to, but I thank you for teaching me to believe in myself! AND you taught me to TRUST in God and lean on my faith, not man. Thank You!

In retrospect, this seems to summarize all the insanity of that time. Guy is standing on top of a burning building. Helicopter arrives, hovers, drops a rope ladder. Climb up! the man leaning out of the helicopter's door shouts. Guy on top of burning building responds, Give me two weeks to think about it.

Surgeons are a singular brotherhood, Adam. To us, people aren't sacred beings crafted in the Almighty's image, no, people are joints of meat; diseased, leathery meat, yes, but meat ready for the skewer & the spit." He mimicked my usual voice, very well. "'But why *me*, Henry, are we not friends?' Well, Adam, even friends are made out of meat.

You are married. Healing is not a profession but a way of life. Your spouse is not your patient but your flesh. Healing, then, is a task for your heart as well as your head and your hand.

Death watched me, amusement once again lifting to his dark eyes. Unlike me with my bedraggled clothes and knotted hair, he looked good in the morning light streaming into my apartment. Okay, actually, he looked exactly the same as when I’d first seen him when I was five years old, but recently I’d come to appreciate the way his black T-shirt pulled tight over the expanse of his shoulders and his faded jeans hugged his ass. Not that I was looking, of course. I mean, he was Death.

Calvin, yelling: Mom, can I set fire to my bed mattress? Calvin's Mom: No, Calvin. Calvin: Can I ride my tricycle on the roof? Calvin's Mom: No, Calvin. Calvin: Then can I have a cookie? Calvin's Mom: No, Calvin. Calvin: She's on to me.

I’m crafting a denial in my head,” said Hennessy. “It’s very witty and convincing. Give me just a second.

Writing, it seems to me, is a secret act—as secret as dreaming—and that was one aspect of this strange and dangerous craft I had never thought about much.

It seems to me that you might create any sort of character in a novel and there would be at least one person in the world just like him. We humans are simply incapable of imagining non-human actions or behavior. It's the writer's fault if we don't believe in his characters as human beings.

What do you call the animal that, finding the hunter, offers itself to be eaten? A martyr? A weakling? No, a beast gaining the rare agency to stop. Yes, the period in the sentence—it’s what makes us human, Ma, I swear. It lets us stop in order to keep going. Because submission, I soon learned, was also a kind of power. To be inside of pleasure, Trevor needed me. I had a choice, a craft, whether he ascends or falls depends on my willingness to make room for him, for you cannot rise without having something to rise over.

Very early on, near the beginning of my writing life, I came to believe that I had to seize on some object outside of literature. Writing as a sylistic exercise seemed barren to me. Poetry as the art of the word made me yawn. I also understood that I couldn't sustain myself very long on the poems of others. I had to go out from myself and literature, look around in the world and lay hold of other spheres of reality.

How could I have been so stupid? All this time, I've been certain he feels the same way about me. I was so sure that my feelings were requited that I'd convinced myself he was just getting up the courage to confess. But I was wrong. Garrett's feelings for me are nothing but friendship - plain, simple, and overwhelmingly platonic. I built his love out of thin air, I realize in horror - crafted it from e-mails and late-night conversations as if my sheer will would make it so. It was all in my head. Again!

Not long ago, I learned that if I let other people tell me how God was supposed to work in my life I would be dead. If I would have given into someone else’s version of God then I would have done nothing to improve my situation. The notion that “if it was meant to be, it will be”, is a pacifying, yet harmful quote, that many spiritualists use to soften the blow of anger. God is not passive. He is relentless, and he will build you through fire. He will put in your heart a need for answers. The intensity of what bothers your soul is often his voice trying to take you from the limited vision of mankind to the full view of the best life he would like to offer you. He is above any pastor, any bishop, any prophet, any church, any cleverly crafted sermon or multi-meaning verse. He is the master of his craft and the author of your forever. Inner peace is only found through action. Fear may darken the trail, but the light of peace stands at the end of such a journey ----waiting with truth.

I meditated on the nature of friendship as I practiced the craft. My friends had always come from outside the mainstream. I had always been popular with the fifth column of my peers, those individuals who were princely in their solitude, lords of their own unpraised melancholy. Distrusting the approval of the chosen, I would take the applause of exiles anytime. My friends were all foreigners, and they wore their unbelongingness in their eyes. I hunted for that look; I saw it often, disarrayed and fragmentary and furious, and I approached every boy who invited me in.

From earliest childhood I was charmed by the materials of my craft, by pencils and paper and, later, by the typewriter and the entire apparatus of printing. To condense from one's memories and fantasies and small discoveries dark marks on paper which become handsomely reproducible many times over still seems to me, after nearly 30 years concerned with the making of books, a magical act, and a delightful technical process. To distribute oneself thus, as a kind of confetti shower falling upon the heads and shoulders of mankind out of bookstores and the pages of magazines is surely a great privilege and a defiance of the usual earthbound laws whereby human beings make themselves known to one another.

I let my hands fall to the bed. Her mouth crafts a warm path to mine. There we share the taste of my tears as her top lip slides between my own and her tongue warms the inside of my mouth. Her hand slides up my neck, nails grazing the skin, till she finds purchase in my hair, tugging slightly at the tangle. Shivers lance my body. Gone is any semblance of resistance. All the guilt that kept me from betraying Eo with Mustang is swept away in the chaos inside me. All the guilt I have for knowing she is a Gold and I am a Red vanishes. I'm a man, and she's the woman I want.

I tell everyone who asks me about writing...almost everyone has an idea for a book, and some even have a great ending, but it's that 290 or so pages in between that are tough!

People assume because I'm a coffee expert I drink lots of coffee. I can't. It takes me half an hour to brew my perfect cup. Do the math. I simply don't have time to drink more.

Getting completely lost, coming unstrung and unbound, arriving at unknown and unexpected places, is, for me, a critical part of writing.

It’s hard for me to believe that people who read very little (or not at all in some cases) should presume to write and expect people to like what they have written,

She had caused to surround us the very atmosphere of "home," so that however far we traveled, however strange the territory, I was "home" as long as I was with her.

God, Himself, wrote the 10 into stone with his own finger. He told the epic of mankind, our origins and our future, in a book. For me, there is no more noble a cause and no more honorable a vocation than to say, like Him, I am a writer.

I love books where I can't wait to turn every page, songs that grab me the first time I hear them, and films that make me totally forget about the craft because I am totally engaged in the story.

I told her that crochet has helped me throughout my entire career by giving my brain and my hands something to do other than worrying about what people might be saying. And that was way better for me than mindlessly looking at my phone and the noise of social media (message boards on steroids).

When I got home, I took a bat and examined my back in detail in the bathroom mirror. This tattoo would be for myself and no-one else. It wasn’t just because I was about to end my relationship with Iro, it was because I wanted to make some serious changes deep down inside me… My torso - my back and front – and my shoulders, breasts, and upper arms were decorated with a vibrantly coloured work of art. I knew it had been the right thing to do… When I looked at that beautifully crafted tattoo, I was filled with a sense of total contentment I had never experienced before. I felt as though I had been set free.

But the talk of dialogue involves the work of knowing, acknowledging the other, of shaping speech toward him, for her. It is neither done or done well until it has been well received by that particular hearer.

Every rock is spoon by the Word. Every time I touch a stone, I am touching the Voice of God. Every cell of me is crafted by that artistry. My life is His breath. But we mortals grow numb. We want to feel more. And so we add MSG to our earthly brands of holiness.

We all craft a story we can live with. The one that makes ourselves easier to live with. This is not the one worth writing. To write your story, you must face a truer version of it. You must look at the parts that hurt, that do not flatter or comfort you. That do not spare you the trouble of knowing what made you, and what into. I used to wonder if my own difficulty in doing this made me a hypocrite. Now, I'm not sure I believe in hypocrites. We often prescribe for others the thing we most need. It is part of how we learn.

Robin cast them an amazed look. "Are you telling me this country's going to fall because of academic territoriality?" "Well, yes," Professor Craft lifted her teacup to her lips. "It's Oxford, what did you expect?

I do not control what people think of me.” “But you do nothing to contradict what they say about you.” “You think words have meaning? They are just that – words. Words are used to spin stories and craft lies, and occasionally they are strung together to tell the truth.

Creating is the greatest expression of reverence I can think of because I recognize that the desire to make something is a gift from God. The freedom to carve out the time and have a safe place to create that art is a blessing of the highest level in a world where so many people are unable to have either. Every time I indulge in the art of creation without worrying about what the public will think of it is craft in its purest form—and craft can be any old thing at all. For me it’s writing.

This kind of art school is for me the least important. A spiritual structure is needed. If a person is an artist he can use the most primitive of instruments:- a broken knife is enough. Otherwise it remains a craft school.

Is this blasphemy, my lord?" "I think not. Those who crafted me, be they gods or demons, crafted this mind that shapes my resistance to their schemes. Surely they were wise enough, at the wheel where I was thrown, to anticipate future resistance in the heart they were abuilding.

The practice of solidarity foregrounds communities of people who have chosen to work and fight together. Reflective solidarity is crafted by an interaction involving three persons: ‘I ask you to stand by me over and against a third.

I have glitter in my hair.” Tina grimaced. “Uh, yes. Would you like me to...” “Help me remove the herpes of crafts from my hair?

Embrace constraint. What you get in return is the art and craft of editing your own life, weeding out what is and isn’t necessary.

My imagination, unbidden, possessed and guided me, gifting the successive images that arose in my mind with a vivdness far beyond the usual bounds of reverie....

...at seventeen I tried to write poetry confining myself solely to Anglo-Saxon words - don't know if it helped, but it made me more concrete ...

What makes me want to keep reading a nonfiction text is the encounter with a surprising, well-stocked mind as it takes on the challenge of the next sentence, paragraph,

Acceptance without expectations,” and that allowed me to stay in a relationship with my mother.

Any divinity that can't see me as a good witch in street clothes has no business hanging up a shingle as a god.

She’d told me an Empress could fashion wood into whatever shapes she liked; in my pocket was a wedding ring for Aric that I’d painstakingly crafted. I’d figured the band would need to be as resilient as metal, so I’d chosen one of the strongest trees in the world: lignum vitae. Latin for wood of life.

Oh, it's called, em...' Kate thinks, 'I can't remember what it's called.' 'You're the same as me,' Dad says to her. 'You've got CRAFT too.' 'What's that?' 'Can't. Remember. A. Fuc-

An embroidery circle takes up a spot in the middle of the counter. I rush toward it and pick it up. My heart rate speeds up in my chest as I check out the most beautiful design I’ve ever seen. There’s no mistaking who made this. Santiago crafted a field of wildflowers, making up every color of the rainbow. It’s hands-down the best gift anyone has given me. A wobbly looking quote takes up the top of the design. Where most people see weeds, I only see you—my beautiful wildflower, untamed and free.

There was an old belief that in the embers Of all things their primordial form exists, And cunning alchemists Could re-create the rose with all its members From its own ashes, but without the bloom, Without the lost perfume Ah me! what wonder-working, occult science Can from the ashes in our hearts once more The rose of youth restore? What craft of alchemy can bid defiance To time and change, and for a single hour Renew this phantom-flower?

I'm attracted to intelligence. Don't get me wrong, a perfectly crafted body will certainly get my attention, but I'll get bored with it. I always do. I need you to outsmart me. Make me feel like I could learn from you, grow with you. Do that and you have me forever.

You did say," Rusty pointed out with a virtuous air, "that you wanted me to teach everyone how to defend themselves." "Is that what you were doing?" Jared asked, swiping at his bloody mouth. "Teaching?" "You have to use a firm hand," Rusty said earnestly. "That's how you learn. I'm very dedicated to my craft. And I was not planning on the lesson getting so out of hand. That was your fault. You have absolutely no concept of any sort of fighting technique. You kept trying to bash me with stuff. This is why I never go for blonds. They are all vicious creatures." "I do have a fighting technique," Jared informed him. "It is a little-known discipline known as 'winning'.

I ran across an excerpt today (in English translation) of some dialogue/narration from the modern popular writer, Paulo Coelho in his book: Aleph.(Note: bracketed text is mine.)... 'I spoke to three scholars,' [the character says 'at last.'] ...two of them said that, after death, the [sic (misprint, fault of the publisher)] just go to Paradise. The third one, though, told me to consult some verses from the Koran. [end quote]' ...I can see that he's excited. [narrator]' ...Now I have many positive things to say about Coelho: He is respectable, inspiring as a man, a truth-seeker, and an appealing writer; but one should hesitate to call him a 'literary' writer based on this quote. A 'literary' author knows that a character's excitement should be 'shown' in his or her dialogue and not in the narrator's commentary on it. Advice for Coelho: Remove the 'I can see that he's excited' sentence and show his excitement in the phrasing of his quote.(Now, in defense of Coelho, I am firmly of the opinion, having myself written plenty of prose that is flawed, that a novelist should be forgiven for slipping here and there.)Lastly, it appears that a belief in reincarnation is of great interest to Mr. Coelho ... Just think! He is a man who has achieved, (as Leonard Cohen would call it), 'a remote human possibility.' He has won lots of fame and tons of money. And yet, how his preoccupation with reincarnation—none other than an interest in being born again as somebody else—suggests that he is not happy!

Modern cultish groups also feel comforting in part because they help alleviate the anxious mayhem of living in a world that presents almost too many possibilities for who to be (or at least the illusion of such). I once had a therapist tell me that flexibility without structure isn’t flexibility at all; it’s just chaos. That’s how a lot of people’s lives have been feeling. For most of America’s history, there were comparatively few directions a person’s career, hobbies, place of residence, romantic relationships, diet, aesthetic—everything—could easily go in. But the twenty-first century presents folks (those of some privilege, that is) with a Cheesecake Factory–size menu of decisions to make. The sheer quantity can be paralyzing, especially in an era of radical self-creation, when there’s such pressure to craft a strong “personal brand” at the very same time that morale and basic survival feel more precarious for young people than they have in a long time. As our generational lore goes, millennials’ parents told them they could grow up to be whatever they wanted, but then that cereal aisle of endless “what ifs” and “could bes” turned out to be so crushing, all they wanted was a guru to tell them which to pick.

Even when it isn't going well, knitting can be deeply spiritual. Knitting sets goals that you can meet. Sometimes when I work on something complicated or difficult - ripping out my work and starting over, porong over tomes of knitting expertise, screeching "I don't get it!" white practically weeping with frusteation - my husband looks at me and says, "I don't know why you think you like knitting." I just stare at him. I don't like knitting. I LOVE knitting. I don't know what could have possible led him to think that I'm not enjoying myself. The cursing? The crying? The forteen sheets of shredded graph paper? Knittong is like a marriage (I tell him) and you don't just trash the whole thing because there are bad moments.

I owe a huge debt to Anaïs Nin, because I fell into her diaries, essays, and collected letters in my Twenties and Thirties like a fish falling into water. She was, in some ways, a deeply flawed human being, and perhaps she makes a strange kind of hero for someone like me, committed to the ethical and spiritual dimensions of my craft as well as to the technical ones, but a hero and strong influence she remains nonetheless. Source: Her blog.

The squall has ceased to be a cause of my complaint. The magic of the craft has opened for me a world in which I shall confront, within two hours, the black dragons and the crowned crests of a coma of blue lightnings, and when the night has fallen, I, delivered, shall read my course in the stars.

This year has taught me the simple craft of belief. I believe in the things I’ve nurtured and built this year. Slowly but carefully. Such as understanding, knowledge, passion, strength; the hundreds of songs I’ve written, the 365 poems, the books I’ve read and the miles I’ve run. The resolution to breathe, to meditate, to not harm my mind or body even when I’ve felt like it. 

And he loved my mother. I saw him on the last days of his life lift that oil-scented right hand and enter its fingers into her ordered hair and rustle it free of its pins as if he had been offered velvet or the fur of a rare animal. Forever I hold that gesture. For me it was perhaps the last remembered pleasure belonging to him. It is the unspoiled core of whatever I know of love and family (and I have not been successful at the craft of it). Our shyness at embracing each other - it rarely happened - did not matter. I felt safe and comforted in his house.

Voi non me lo avete chiesto. Io non ho mai aperto bocca e voi non avete aperto la vostra. Non siamo nemmeno nello stesso anno insieme, meno che mai nella stessa stanza... eppure noi siamo insieme. Siamo vicini. Si sono incontrate le nostre menti.

A reporter once asked me why I think progressive men who earn significantly less than their breadwinning wives still won't quit their jobs to take care of their children. Why do they still hold on to their careers, even if taking care of the children would make more financial sense because the cost of childcare is higher than their net salary? I think I know the answer to that now, and it sucks. Women are not expected to live a life for themselves. When women dedicate their lives to children, it is deemed a worthy and respectable choice. When women dedicate themselves to a passion outside of the family that doesn't involve worshiping their husbands or taking care of their kids, they're seen as selfish, cold, or unfit mothers. But when a man spends hours grueling over a craft, profession, or project, he's admired and seen as a genius. And when a man finds a woman who worships him, who dedicates her life to serving him, he's lucky. But when a man dedicates himself to taking care of his children it's seen as a last resort. That it must be because he ran out of other options. That it's plan Z. That it's an indicator of his inability to provide for his family. Basically, that he's a fucking loser. I think it's one of the most important falsehoods we need to shatter when talking about women's rights.

There are some experiences that you can have only when you’ve lived in the same place for five years, when you’ve been with the same person for over a decade, when you’ve been working on the same skill or craft for half your lifetime. Now that I’m in my thirties, I can finally recognize that commitment, in its own way, offers a wealth of opportunity and experiences that would otherwise never be available to me, no matter where I went or what I did.

Here’s the cool part: I will eventually go to Schiaparelli and commandeer the Ares 4 lander. Nobody explicitly gave me permission to do this, and they can’t until I’m aboard Ares 4 and operating the comm system. After I board Ares 4, before talking to NASA, I will take control of a craft in international waters without permission. That makes me a pirate! A space pirate!

But I have heard you sing. I've felt the vibratos and crescendos of your soul in every part of mine. You are no more a monster than I. You are a song. One composed of a thousand different instruments all perfectly harmonizing into the melody they were crafted to create. A masterpiece.

I'm as big as snob as they come, but money is a terrible barometer of a person's worth. The standard I used is what a person is choosing to do with his life. So for me a struggling musician (someone dedicated to their craft, not some slacker) is much better than some lame investment banker. And the fact that she lied seemed like she was ashamed. She dismissed my anger as if I were overreacting.

You can argue that it expresses a degree of difference between He closed the door and He slammed the door, and you’ll get no argument from me  . . . . but what about context? What about all the enlightening (not to say emotionally moving) prose which came before He closed the door firmly? Shouldn’t this tell us how he closed the door? And if the foregoing prose does tell us, isn’t firmly an extra word? Isn’t it redundant? Someone out there is now accusing me of being tiresome and anal-retentive. I deny it. I believe the road to hell is paved with adverbs, and I will shout it from the rooftops.

The explanation is that I consider cooking to be an act of love. I do enjoy the craft of cooking, of course, otherwise I would not have done so much of it, but that is a very small part of the pleasure it brings me. What I love is to cook for someone. To put a freshly made meal on the table, even if it is something very plain and simple as long as it tastes good and is not a ready-to-eat something bought at the store, is a sincere expression of affection, it is an act of binding intimacy directed at whoever has a welcome place in your heart. And while other passions in your life may at some point begine to bank their fires, the shared happiness of good homemade food can last as long as we do.

No one goes to Cambridge unless they can’t find a job here,’ Professor Chakravarti said. ‘Sad.’ Robin cast them an amazed look. ‘Are you telling me this country’s going to fall because of academic territoriality?’ ‘Well, yes.’ Professor Craft lifted her teacup to her lips. ‘It’s Oxford, what did you expect?

I had worked for a newspaper of sorts, word got around, and I became editor of our local school newspaper, The Drum. I don't recall being given any choice in this matter; I think I was simply appointed. My second-in-command, Danny Emond, had even less interest in the paper than I did. Danny just liked the idea that Room 4, where we did our work, was near the girls' bathroom. "Someday I'll just go crazy and hack my way in there, Steve," he told me on more than one occasion. "Hack, hack, hack." Once he added, perhaps in an effort to justify himself: "The prettiest girls in school pull up their skirts in there." This struck me as so fundamentally stupid it might actually be wise, like a Zen Koan or an early story by John Updike.

Between the onion and the parsley, therefore, I shall give the summation of my case for paying attention. Man's real work is to look at the things of the world and to love them for what they are. That is, after all, what God does, and man was not made in God's image for nothing. The fruits of his attention can be seen in all the arts, crafts, and sciences. It can cost him time and effort, but it pays handsomely. If an hour can be spent on one onion, think how much regarding it took on the part of that old Russian who looked at onions and church spires long enough to come up with St. Basil's Cathedral. Or how much curious and loving attention was expended by the first man who looked hard enough at the inside of trees, the entrails of cats, the hind ends of horses and the juice of pine trees to realize he could turn them all into the first fiddle. No doubt his wife urged him to get up and do something useful. I am sure that he was a stalwart enough lover of things to pay no attention at all to her nagging; but how wonderful it would have been if he had known what we know now about his dawdling. He could have silenced her with the greatest riposte of all time: Don't bother me; I am creating the possibility of the Bach unaccompanied sonatas. But if man's attention is repaid so handsomely, his inattention costs him dearly. Every time he diagrams something instead of looking at it, every time he regards not what a thing is but what it can be made to mean to him - every time he substitutes a conceit for a fact - he gets grease all over the kitchen of the world. Reality slips away from him; and he is left with nothing but the oldest monstrosity in the world: an idol. Things must be met for themselves. To take them only for their meaning is to convert them into gods - to make them too important, and therefore to make them unimportant altogether. Idolatry has two faults. It is not only a slur on the true God; it is also an insult to true things. They made a calf in Horeb; thus they turned their Glory into the similitude of a calf that eateth hay. Bad enough, you say. Ah, but it was worse than that. Whatever good may have resided in the Golden Calf - whatever loveliness of gold or beauty of line - went begging the minute the Israelites got the idea that it was their savior out of the bondage of Egypt. In making the statue a matter of the greatest point, they missed the point of its matter altogether.

When I called it quits, I stopped in the lobby to thank the concierge again for letting me use Mr. Kipling’s beautiful desk. “I’m so glad you enjoyed it,” he replied. He was wearing a misty, reminiscent little smile, as if he had known the writer himself. “Kipling died there, actually. Of a stroke. While he was writing.

Mutuality is accomplished by two whole persons; and if each partner truly intends to be but the fraction of a relationship (thinking my whole makes up half of us) he or she will soon discover that these halves do not fit perfectly together. The mathematics can work only if each subtracts something of himself or herself, shears it off, and lays it aside forever. There will come, then, a moment of shock when one spouse realizes, ‘you won’t want the whole of me? Not the whole of me, but only a part of me, makes up the whole of us?” P 45

I write because the security of your love allows me to develop my craft without concerning myself with trivialities — as if your love could be any more complete. But I write, in the first place, because of you, my muse. I write for your green eyes to glance at my humble words and for the pleasure of hearing you utter them.

Most writers who are beginners, if they are honest with themselves, will admit that they are praying for a readership as they begin to write. But it should be the quality of the craft not the audience, that should be the greatest motivating factor. For me, at least, I can declare that when I wrote THINGS FALL APART I couldn't have told anyone the day before it was accepted for publication that anybody was going to read it. There was no guarantee; nobody ever said to me, Go and write this, we will publish it and we will read it; it was just there. But my brother-in-law who was not a particularly voracious reader, told me that he read the novel through the night and it gave him a terrible headache the next morning. And I took that as an encouraging endorsement! The triumph of the written word is often attained when the writer achieves union and trust with the reader, who then becomes ready to be drawn deep into unfamiliar territory, walking in borrowed literary shoes so to speak, toward a deeper understanding of self or society, or of foreign peoples, cultures and situations.

[Calvin's Mom is driving him somewhere.] CALVIN: Mom, can I drive on the way back? CALVIN'S MOM: Of course not, Calvin. CALVIN: Can I just steer then? I promise I won't crash. CALVIN'S MOM: No, Calvin. CALVIN: Can I work the gas and brakes while YOU steer? CALVIN'S MOM: No, Calvin. CALVIN: You never let me do anything.

That is what grace does. It comes as a surprise; it lingers in the rare atmosphere of love, since love itself is breathed by it and love by it is made manifest. This expression of love is "ecstasy" in the Greek meaning of that word: to "stand outside" the ordinary, outside predetermined marital contracts, outside the systematic and the expected

Write poorly. Suck Write awful Terribly Frightfully Don't care Turn off the inner editor Let yourself write Let it flow Let yourself fail Do something crazy Write fifty thousand words in the month of November. I did it. It was fun , it was insane , it was one thousand six hundred and sixty-seven words a day. It was possible. But you have to turn off your inner critic. Off completely. Just write. Quickly. In bursts. With joy. If you can't write, run away for a few. Come back. Write again. Writing is like anything else. You won't get good at it immediately. It's a craft, you have to keep getting better. You don't get to Juilliard unless you practice. If you want to get to Carnegie Hall, practice, practice, practice. ...Or give them a lot of money. Like anything else, it takes ten thousand hours to master. Just like Malcolm Gladwell says. So write. Fail. Get your thoughts down. Let it rest. Let it marinate. Then edit. But don't edit as you type, that just slows the brain down. Find a daily practice, for me it's blogging every day. And it's fun. The more you write, the easier it gets. The more it is a flow, the less a worry. It's not for school, it's not for a grade, it's just to get your thoughts out there. You know they want to come out. So keep at it. Make it a practice. And write poorly, write awfully, write with abandon and it may end up being really really good.

Singling out “women’s fiction” for genre derision never fails to piss me off. Somehow worse when women do it. Case in pt: Editor says crowd-sourcing editorial for romance & erotica not bad idea b/c “no great artistry at stake” Yes, genre fiction not high art. But it’s a craft we take seriously, writing for love of storytelling, not writing whatever sells.

Two pages of the passive voice—just about any business document ever written, in other words, not to mention reams of bad fiction—make me want to scream. It’s weak, it’s circuitous, and it’s frequently tortuous, as well. How about this: My first kiss will always be recalled by me as how my romance with Shayna was begun. Oh, man—who farted, right? A simpler way to express this idea—sweeter and more forceful, as well—might be this: My romance with Shayna began with our first kiss. I’ll never forget it. I’m not in love with this because it uses with twice in four words, but at least we’re out of that awful passive voice.

I can think of another reason... for why thoughts make us sad. We may feel we know too much, or come to know it too early, which is the guilty burden of precocity. Children play to the expectations adults have of them, to behave in a childlike manner, but inside, they may not regard themselves as innocent so much as confused. I grew up sensing that a part of me was faking being a child; I felt I was already an old soul. Lots of people feel that, particularly those who will go on to become writers.

But the point is, when the writer turns to address the reader, he or she must not only speak to me—naively dazzled and wholly enchanted by the complexities of the trickery, and thus all but incapable of any criticism, so that, indeed, he can claim, if he likes, priestly contact with the greater powers that, hurled at him by the muse, travel the parsecs from the Universe’s furthest shoals, cleaving stars on the way, to shatter the specific moment and sizzle his brains in their pan, rattle his teeth in their sockets, make his muscles howl against his bones, and to galvanize his pen so the ink bubbles and blisters on the nib (nor would I hear her claim to such as other than a metaphor for the most profound truths of skill, craft, or mathematical and historical conjuration)—but she or he must also speak to my student, for whom it was an okay story, with just so much description.

Because internalizers look within themselves for reasons why things go wrong, they may not always recognize abuse for what it is. If parents don’t label their own behavior as abusive, their child won’t label it that way either. Even as adults, many people have no idea that what happened to them in childhood was abusive. As a result, they may not recognize abusive behavior in their adult relationships. For instance, Vivian hesitated to tell me about her husband’s anger, saying it was too silly and insignificant to talk about. She then sheepishly told me that he’d broken things when angry and once threw her craft project on the floor because he wanted her to keep the house neater. As it turned out, Vivian was embarrassed to tell me because she thought I’d say his behavior was normal and tell her she was making a mountain out of a molehill. Another client, a middle-aged man, recounted incidents of childhood abuse nonchalantly, with no recognition of how serious it had been. For example, he said his father once choked him until he wet himself and then locked him in the basement. Recalling that his father had once thrown a stereo set, he admitted that his father “might have had a temper.” As he spoke, his demeanor clearly indicated that he accepted this behavior as normal.

We all have a soul purpose. I can't be everything that the world needs, even if i dabble between all the crafts that shape me. I can be the expressive queen i am though, crumbling all the comfort zones this world has tried to build around me; to stop the evolution of my spirit. One day i am a calm breeze, the next i am a wild hurricaine - i am so deeply passionate, you'll feel me without a single hello.

What we're doing, or, I should say, what you're doing, since no one has taught me any good words, is dropping recipes into people's brains to cause a neurochemical reaction to knock out the filters. Tie them up just long enough to slip an instruction past. And you do that by speaking a string of words crafted for the person's psychographic segment. Probably words that were crafted decades ago and have been strengthened ever since. And it's a string of words because the brain has layers of defenses, and for the instruction to get through, they all have to be disabled at once.' Jeremy said, 'How do you know this?' 'Do you think I'm smart?' 'I think you're scary,' he said.

Waiting is one of the things that humans beings cannot do well, though it is one of the essential things we must do successfully if we are to know happiness. We are impatient for the future and try to craft it with our own powers, but the future will come as it comes and will not be hurried. If we are good at waiting, we discover that what we wanted of the future, in our impatience, is no longer what we want, that waiting has brought wisdom. I have become good at waiting, as I wait to see what action or sacrifice is wanted of me, wait to discover where I must go next, and wait for the day when the fortuneteller's promise will be fulfilled. Hope, love, and faith are in the waiting.

There were times—especially in summer, while swallowing my afternoon salt-pill—when it occurred to me that I was simply repeating my mother’s life. Usually this thought struck me as funny. But if I happened to be tired, or if there were extra bills to pay and no money to pay them with, it seemed awful. I’d think This isn’t the way our lives are supposed to be going. Then I’d think Half the world has the same idea.

Is this a case of “Do as I say, not as I do?” The reader has a perfect right to ask the question, and I have a duty to provide an honest answer. Yes. It is. You need only look back through some of my own fiction to know that I’m just another ordinary sinner. I’ve been pretty good about avoiding the passive tense, but I’ve spilled out my share of adverbs in my time, including some (it shames me to say it) in dialogue attribution. (I have never fallen so low as “he grated” or “Bill jerked out,” though.) When I do it, it’s usually for the same reason any writer does it: because I am afraid the reader won’t understand me if I don’t. I’m convinced that fear is at the root of most bad writing.

The funny thing was, I never thought of myself as a spy. Surely the craft took more than smiling and laughing at stupid jokes and pretending to be interested in everything these men said. There wasn't a name for it back then, but it was at that first party that I became a Swallow: a woman who uses her God-given talents to gain information - talents I'd been accumulating since puberty, had refined in my twenties, and then perfected in my thirties. These men thought they were using me, but it was always the reverse; my power was making them think it wasn't.

I was in Christopher Columbus, and sported its blue badge with great pride. It took me many years to understand or truly believe that Columbus was actually Italian. Even to this day I can’t fully accept it. Why would a school in the heart of England choose a foreign hero? Perhaps they were unaware of his nationality themselves. It was common knowledge that the British discovered everything – trains, democracy, television, printing, jets, hover-crafts, the telephone, penicillin, the flush lavatory and Australia, so it was reasonable to assume Christopher Columbus must have been a Briton.

The 101st was trucked to Utah Beach on July 10, seeing from the land what they had seen from the air the night of June 5: hundreds of ships sitting off shore as far as the eye could see. Smaller boats, LSTs, LCMs and other craft carrying men and supplies plied the waters between the ships and the sand. “It took your breath away,” he recalled. Winters saw something else he had not seen for more than a month, a sight that literally brought tears to his eyes: the American flag. In 2003, the memory still left him choked up. “I didn’t realize how much the American flag meant to me,” he said.

There is no way to genuinely, powerfully, truly love yourself while crafting a mask of perfection. I know, you know, we all know—it's hard to let your pimples and your flaws be seen. It's hard to stumble and bumble. It's hard to not know the right things to do or say. It's hard to not look like TV. Sometimes, it's really hard for me to be the awkward mess that I am when I'm authentic, instead of having runway authenticity—all natural, but flawless. But every time I allow that to be okay, not just around myself but around others—I affirm something to myself. I affirm, to myself more than anyone else, that I am lovable and acceptable unconditionally. I affirm that it's okay to take on and take in all the flavours and hues of human experience, and not just the ones that are acceptable in this culture, in this time, in this place. And that kind of acceptance, that kind of love—that's the kind of love that creates miracles. That's the kind of love I really need. That's the kind of love that makes approval taste like cardboard.

Then breaking the silence Thingol said: 'Go your way therefore! Bring to me in your hand a Silmaril from Morgoth's crown; and then, if she will, Lúthien may set her hand in yours. Then you shall have my jewel; and though the fate of Arda lie within the Silmarils, yet you shall hold me generous.' And those that heard these words perceived that Thingol would save his oath, and yet send Beren to his death; for they knew that not all the power of the Noldor had availed even to see from afar the shining Silmarils of Feanor. For they were set in the Iron Crown, and treasured in Angband above all wealth; and Balrogs were about them, and countless swords, and strong bars, and unassailable walls, and the dark majesty of Morgoth. But Beren laughed. 'For little price,' he said, 'do Elven-kings sell their daughters: for gems, and things made by craft. But if this be your will, Thingol, I will perform it. And when we meet again my hand shall hold a Silmaril from the Iron Crown; for you have not looked the last upon Beren son of Barahir.

I never gained control of my mind—how do you dominate an ocean?—but I began to form a real relationship with it. Through writing and meditation I identified monkey mind, that constant critic, commentator, editor, general slug and pain-in-the-ass, the voice that says, “I can’t do this, I’m bored, I hate myself, I’m no good, I can’t sit still, who do I think I am?” I saw that most of my life had been spent following that voice as though it were God, telling me the real meaning of life—“Natalie, you can’t write shit”—when, in fact, it was a mechanical contraption that all human minds contain.

I read where I can, but I have a favorite place and probably you do, too—a place where the light is good and the vibe is usually strong. For me it’s the blue chair in my study. For you it might be the couch on the sun porch, the rocker in the kitchen, or maybe it’s propped up in your bed—reading in bed can be heaven, assuming you can get just the right amount of light on the page and aren’t prone to spilling your coffee or cognac on your sheets.

As Julie Sondra Decker, author of The Invisible Orientation: An Introduction to Asexuality, tells me, “We’re whole people who just lack that ‘driving force’ and it’s understandable in the same way that it’s understandable that someone doesn’t have ‘crafts’ as their driving force.” (Or in the way that people don’t have “not wearing sock-monkey hats” as their driving force.) “I’m not a ‘non-crafter’; I’m only asexual because there’s a word for it and because people have an objection to me not wanting to have sex. If they didn’t, my life would not have involved very much of talking about it,” she says.

Good God. Good God. She kissed him with everything. As if she wanted to. As if she'd always wanted to. As if her small, slender body were nothing more than a cunningly crafted decanter of some bewitching potion. An essence of desire, aged and corked and waiting for years. As if in one single kiss, she'd sensed her chance to foist it all on him because she was weary of the burden. Take this sweetness, her kiss said. Take this passion. Take all of me.

My Dolphin, you only guide me by surprise, a captive as Racine, the man of craft, drawn through his maze of iron composition by the incomparable wandering voice of Phèdre. When I was troubled in mind, you made for my body caught in its hangman's-knot of sinking lines, the glassy bowing and scraping of my will. . . . I have sat and listened to too many words of the collaborating muse, and plotted perhaps too freely with my life, not avoiding injury to others, not avoiding injury to myself-- to ask compassion . . . this book, half fiction, an eelnet made by man for the eel fighting my eyes have seen what my hand did.

I was learning the craft of poetry, which really was an intensive version of what my mother had taught me all those years ago -- the craft of writing as the art of thinking. Poetry aims for an economy of truth -- loose and useless words were not separate from loose and useless thoughts. Poetry was not simply the transcription of notions -- beautiful writing rarely is. I wanted to learn to write, which was ultimately, still, as my mother had taught me, a confrontation with my own innocence, my own rationalizations. Poetry was the processing of my thoughts until the slag of justification fell away and I was left with the cold steel truths of life.

Maybe he used to like me, but I doubt he does anymore, now that I’ve insulted his bird fetish.” Peter smiled.   “He’s not going to stop liking you over one little argument.   I don’t think he’s the type to just fall for someone and then hate them the next day.   We don’t live in that kind of world anymore, anyway.” “What do you mean?”   “Well, when there were thousands of possible mates to choose from, it was like being a huge candy store with a billion types of sugary things to choose from.   You could sample one of everything and not worry about whether you’d like it much or whatever, because there was always another jar of candy nearby.   But now, there’s no candy store.   There’s a single jawbreaker that you found in the gutter.   And there are no more jawbreaker factories.   No more candy stores.   No more refined sugar.   That one jawbreaker you found could be the only one you’ll ever have again.   You aren’t going to just eat it and say goodbye.” His analogy wasn’t perfect but I saw where he was going with it.   “So I’m like a jawbreaker.   A dirty one you find in the gutter.” “Yeah.   And he likes that candy.   It’s his favorite.   So he doesn’t care that it has smelly feet.” I scowled at him.   “How do you know he likes jawbreakers so much?” “I just know.   I can tell a good match when I see one.   He needs someone spunky and tough, someone different than other girls.   That’s you.” I smiled, liking how Peter had described me.   “But what if he just decides to eat it real quick and then move on?   I mean, there are other jawbreakers out there.   They’re just more rare.” “That’s not how he is.   He’s methodical.   A thinking person.   He’s not rash. And he knows his odds of finding a jawbreaker of this flavor?   Are pretty slim.” “I’ve seen him do some stupid, rash things … like going after the candy at the Cracker Barrel.” “That was all a very carefully-crafted way of making sure he had a good grip on his jawbreaker.   He wants to keep the candy happy.   Keep it sweet.” I rolled my eyes.   “Ugh.   Your analogy is making me want to eye gouge you right now.

It’s the difference between your wife’s passport photograph and the portraits you took when you got engaged. Both may have been created with similar technology, but what stands in that great gulf between them are the passion you have for your wife, the knowledge you have of her personality, and your willingness to use your craft, time, and energy to express that. One says, “She looks like this.” The other says, “This is who she is to me. It’s how I feel about her. See how amazing she is?

She asked me "what is it about these people - the silent ones, the thinking ones, and the brooding ones why do I get drawn to them without knowing them? what is it about them? is there a magnetic force about them? or do they cast a spell on me? what is it about these people! the misfits the poets, the writers, the painters, the singers, the dancers, the musicians, and all the ones who create art? what is it that pulls me to them? is it their craft their passion their words their thoughts their loneliness. their life? what is it about these people?" And I smiled and said "I will search the answers to your questions in my loneliness.

What’s white people? I’m blind. Never seen the color white in my life. Or the color black, blue, or gray for that matter. To a blind man, color means nothing. My ma used to tell me that the world is like a glorious set of watercolor paints laid out in a hand crafted palette. Sure wish I could see what that is. She made is sound special. The only things I can see are bad people, good people, and those in between. The bad ones you can easily avoid, but those in between people are the worst because you never know when they’ll help you up and when they’ll kick you in the teeth. So ask me instead if I hate people, and I will tell you that some are deserving of hate and others not.

Gli alcolisti costruiscono difese come gli olandesi fabbricano dighe. Ho passato i primi dodici anni di matrimonio assicurando a me stesso che «semplicemente mi piaceva bere». Ero addirittura ricorso all'universalmente nota Giustificazione Hemingway. Pur mai esposta con chiarezza (farlo sarebbe stato da femminucce), si sintetizza così: in quanto scrittore, sono molto sensibile, ma da uomo vero non devo soccombere a questo lato della mia natura. Sarebbe un comportamento da mammolette. E quindi bevo. In caso contrario, come potrei affrontare l'orrore esistenziale che mi soffoca e continuare a scrivere? E poi, insomma, sono capace di reggere un paio di bicchieri. Gli uomini veri ci riescono sempre.

Before I’ll take my clone on as a pupil in the craft of writing, he must prove his worthiness. He must write 100 thoughts down, of which 10 might be interesting. If he’s done that, good, then he must write 1,000 thoughts, of which 200 might be interesting. If he’s done that, good, then he must write 10,000 thoughts down, of which 4,000 might be interesting. If he’s done that, good, then he no longer needs me to teach him, because he has taught himself. And since he would be teaching himself, it would prove that I really am the best teacher.

My mind had no answers. It was limp and dulled, useless as my missing fingers. One thought came clear: I must do something. I could not stand by while a horror was loosed upon the world. I had the thought that I should find my sister’s workroom. Perhaps there would be something there to help me, some antidote, some great drug of reversal. It was not far, a hall off her bedchamber separated by a curtain. I had never seen another witch’s craft room before, and I walked its shelves expecting I do not know what, a hundred grisly things, kraken livers, dragons’ teeth, the flayed skin of giants. But all I saw were herbs, and rudimentary ones at that: poisons, poppies, a few healing roots. I had no doubt my sister could work plenty with them, for her will had always been strong. But she was lazy, and here was the proof. Those few simples were old and weak as dead leaves. They had been collected haphazardly, some in bud, some already withered, cut with any knife at any time of day. I understood something then. My sister might be twice the goddess I was, but I was twice the witch. Her crumbling trash could not help me. And my own herbs from Aiaia would not be enough, strong as they were. The monster was bound to Crete, and whatever would be done, Crete must guide me.

You see, none of these conflicts are about things that people only sort of like. It is always about love. You may think me blasphemous to use the Passion of the Christ as an example of drama, but not so: this is the one true story, the greatest story ever told, the tale of tales even as Christ is the King of Kings, and all truly inspired fairy tales and fiction have to contain some echo or reflection of the One True Tale, or else it is no tale of any power at all, merely a pastime. The most powerful and potent tales, even when they are told awkwardly and without grace or poetry or craft, are stories of paradise lost and paradise regained; sacrifice, selfless love, forgiveness and salvation; stories of a man who learns better.

All Persians are liars and lying is a sin. That's what the kids in Mrs. Miller's class think, but I'm the only Persian they've ever met, so I don't know where they got that idea. My mom says it's true, but only because everyone has sinned and needs God to save them. My dad says it isn't. Persians aren't liars. They're poets, which is worse. Poets don't even know when they're lying. They're just trying to remember their dreams. They're trying to remember six thousand years of history and all the versions of all the stories ever told. In one version, maybe I'm not the refugee kid in the back of Mrs. Miller's class. I'm a prince in disguise. If you catch me, I will say what they say in the 1,001 Nights. "Let me go, and I will tell you a tale passing strange." That's how they all begin. With a promise. If you listen, I'll tell you a story. We can know and be known to each other, and then we're not enemies anymore.

T.S. Eliot said to me 'There’s only one way a poet can develop his actual writing – apart from self-criticism & continual practice. And that is by reading other poetry aloud – and it doesn’t matter whether he understands it or not (i.e. even if it’s in another language.) What matters above all, is educating the ear.' What matters, is to connect your own voice with an infinite range of verbal cadences & sequences – and only endless actual experience of your ear can store all that in your nervous system. The rest can be left to your life & your character.

People ask me: Why do you write about food? Why don't you write about the struggle for power and security, and about love, the way others do? They ask it accusingly, as if I were somehow gross, unfaithful to the honour of my craft. The easiest answer is to say that, like most other humans, I am hungry. But there is more than that. It seems to me that our three basic needs, for food and security and love, are so mixed and mingled and entwined that we cannot straighly think of one without the others. So it happens that when I write of hunger, I am really writing about love and the hunger for it, and warmth and the love of it and the hunger for it...and then the warmth and richness and fine reality of hunger satisfied...and it is all one. I tell about myself and how I ate bread on a lasting hillside, or drank red wine in a room now blown to bits, and it happens without my willing it that I am telling too about the people with me then, and their other deeper needs for love and happiness. There is food in the bowl, and more often than not, because of what honesty I have, there is nourishment in the heart, to feed the wilder, more insistent hungers. We must eat. If, in the face of that dread fact, we can find other nourishment, and tolerance and compassion for it, we'll be no less full of human dignity. There is communion of more than our bodies when bread is broken and wine drunk. And that is my answer, when people ask me: Why do you write about hunger, and not wars or love?

Children are capable, of course, of literary belief, when the story-maker's art is good enough to produce it. That state of mind has been called 'willing suspension of disbelief'. But this does not seem to me a good description of what happens. What really happens is that the story-maker proves a successful 'sub-creator'. He makes a Secondary World which your mind can enter. Inside it, what he relates is 'true': it accords with the laws of that world. You therefore believe it, while you are, as it were, inside. The moment disbelief arises, the spell is broken; the magic, or rather art, has failed. You are then out in the Primary World again, looking at the little abortive Secondary World from outside. If you are obliged, by kindliness or circumstance, to stay, then disbelief must be suspended (or stifled), otherwise listening and looking would become intolerable. But this suspension of disbelief is a substitute for the genuine thing, a subterfuge we use when condescending to games or make-believe, or when trying (more or less willingly) to find what virtue we can in the work of an art that has for us failed.

There’d be plenty of time for mourning, I thought. It will come, probably on the sly, as I’ve heard these things always do, and there won’t be any getting off lightly, either. Anticipating sorrow to neutralize sorrow—that’s paltry, cowardly stuff, I told myself, knowing I was an ace practitioner of the craft. And what if it came fiercely? What if it came and didn’t let go, a sorrow that had come to stay, and did to me what longing for him had done on those nights when it seemed there was something so essential missing from my life that it might as well have been missing from my body, so that losing him now would be like losing a hand you could spot in every picture of yourself around the house, but without which you couldn’t possibly be you again.

Eula-Beulah was prone to farts—the kind that are both loud and smelly. Sometimes when she was so afflicted, she would throw me on the couch, drop her wool-skirted butt on my face, and let loose. “Pow!” she’d cry in high glee. It was like being buried in marshgas fireworks. I remember the dark, the sense that I was suffocating, and I remember laughing. Because, while what was happening was sort of horrible, it was also sort of funny. In many ways, Eula-Beulah prepared me for literary criticism. After having a two-hundred-pound babysitter fart on your face and yell Pow!, The Village Voice holds few terrors

Jack put his hands on his hips, surveying the scene with a satisfied nod. "That turned out much better than I'd hoped." "Please,let's leave!" "What's your hurry? Let's take a moment to bask in the satisfaction of a job well done." "I didn't want to do that!" "No?" He cocked his head and raised his eyebrows. "I thought you hated the fey." "I do,but that doesn't mean I want to run around the Faerie Realms lighting everything on fire!" "What's the point in hating something if you aren't proactive?" He put his arm around my shoulders, steering me to look at the inferno with him. "You can't tell me that's not satisfying, not after what you saw.Faeries care about very few things,but they're quite fond of their little trinkets. That boat was a particular favorite of hers,not to mention the entire lake. All the centuries she spent crafting this landscape,then poof! One excellently thrown firebomb, and you've made her feel anger and pain more deeply than she's probably ever known. And far less than she deserves to know.

But my parents understood that the world that they made within the walls of our house was what constituted home. So I grew up in spaces framed by art and color, filled with candlelight, marked by beauty. I grew up within a rhythm of time made sacred by family devotions in the morning and long conversations in the evening. I grew up with the sense of our daily life as a feast and delight; a soup-and-bread dinner by the fire, Celtic music lilting in the shadows, and the laughter of my siblings gave me a sense of the blessedness of love, of God's life made tangible in the food and touch and air of our home. It was a fight for my parents, I know. Every day was a battle to bring order to mess, peace to stressful situations, beauty to the chaos wrought by four young children. But that's the reality of incarnation as it invades a fallen world....What my parents-bless them-knew...is that to make a home right in the midst of the fallen world is to craft out a space of human flesh and existence in which eternity rises up in time, in which the kingdom comes, in which we may taste and see the goodness of God.

It’s a job, just like any other one, as long as it’s voluntary – which it was, on my part. The thing is, older men have always been especially fond of me. I’m naturally charming. I thought that I could have a lot of things that I wanted at once – no emotional involvement, lots of fun adventures with people in different environments, socialization and conversation – things that are so superficial but I would master them, I would become so skilled at this superficiality that it would be like acting in a play. I’m a certain person during certain hours. As this person I get to have so many new adventures, and hone the craft of seduction, which is one of the ultimate skills a person can have. Great courtesans during history were very knowledgeable about a variety of subjects and spoke multiple languages and such. They were able to seduce because they had great minds, along with their looks.

In my travels on the surface, I once met a man who wore his religious beliefs like a badge of honor upon the sleeves of his tunic. "I am a Gondsman!" he proudly told me as we sat beside eachother at a tavern bar, I sipping my wind, and he, I fear, partaking a bit too much of his more potent drink. He went on to explain the premise of his religion, his very reason for being, that all things were based in science, in mechanics and in discovery. He even asked if he could take a piece of my flesh, that he might study it to determine why the skin of the drow elf is black. "What element is missing," he wondered, "that makes your race different from your surface kin?" I think that the Gondsman honestly believed his claim that if he could merely find the various elements that comprised the drow skin, he might affect a change in that pigmentation to make the dark elves more akin to their surface relatives. And, given his devotion, almost fanaticism, it seemed to me as if he felt he could affect a change in more than physical appearance. Because, in his view of the world, all things could be so explained and corrected. How could i even begin to enlighten him to the complexity? How could i show him the variations between drow and surface elf in the very view of the world resulting from eons of walking widely disparate roads? To a Gondsman fanatic, everything can be broken down, taken apart and put back together. Even a wizard's magic might be no more than a way of conveying universal energies - and that, too, might one day be replicated. My Gondsman companion promised me that he and his fellow inventor priests would one day replicate every spell in any wizard's repertoire, using natural elements in the proper combinations. But there was no mention of the discipline any wizard must attain as he perfects his craft. There was no mention of the fact that powerful wizardly magic is not given to anyone, but rather, is earned, day by day, year by year and decade by decade. It is a lifelong pursuit with gradual increase in power, as mystical as it is secular. So it is with the warrior. The Gondsman spoke of some weapon called an arquebus, a tubular missile thrower with many times the power of the strongest crossbow. Such a weapon strikes terror into the heart of the true warrior, and not because he fears that he will fall victim to it, or even that he fears it will one day replace him. Such weapons offend because the true warrior understands that while one is learning how to use a sword, one should also be learning why and when to use a sword. To grant the power of a weapon master to anyone at all, without effort, without training and proof that the lessons have taken hold, is to deny the responsibility that comes with such power. Of course, there are wizards and warriors who perfect their craft without learning the level of emotional discipline to accompany it, and certainly there are those who attain great prowess in either profession to the detriment of all the world - Artemis Entreri seems a perfect example - but these individuals are, thankfully, rare, and mostly because their emotional lacking will be revealed early in their careers, and it often brings about a fairly abrupt downfall. But if the Gondsman has his way, if his errant view of paradise should come to fruition, then all the years of training will mean little. Any fool could pick up an arquebus or some other powerful weapon and summarily destroy a skilled warrior. Or any child could utilize a Gondsman's magic machine and replicate a firebal, perhaps, and burn down half a city. When I pointed out some of my fears to the Gondsman, he seemed shocked - not at the devastating possibilities, but rather, at my, as he put it, arrogance. "The inventions of the priests of Gond will make all equal!" he declared. "We will lift up the lowly peasant

Now, I know what you’re thinking: Isn’t this the guy who said, “Beer is proof that God loves us and wants us to be happy”? Well, not exactly. This quote has been somewhat paraphrased and hijacked by many of our nation’s craft breweries, and rightly so. It may be revisionist writing, but I for one am okay with it. What Franklin did write was, “Behold the rain which descends from heaven upon our vineyards, there it enters the roots of the vines, to be changed into wine, a constant proof that God loves us, and loves to see us happy.” Beer, wine . . . come on. Six of one, etcetera. He also coined the euphemism for drunkenness “Halfway to Concord,” which tickles me to no end. That, my friends, is fun with words.

And he saw a youth approaching, Dressed in garments green and yellow, Coming through the purple twilight, Through the splendor of the sunset; Plumes of green bent o'er his forehead, And his hair was soft and golden. Standing at the open doorway, Long he looked at Hiawatha, Looked with pity and compassion On his wasted form and features, And, in accents like the sighing Of the South-Wind in the tree-tops, Said he, "O my Hiawatha! All your prayers are heard in heaven, For you pray not like the others, Not for greater skill in hunting, Not for greater craft in fishing, Not for triumph in the battle, Nor renown among the warriors, But for profit of the people, For advantage of the nations. "From the Master of Life descending, I, the friend of man, Mondamin, Come to warn you and instruct you, How by struggle and by labor You shall gain what you have prayed for. Rise up from your bed of branches, Rise, O youth, and wrestle with me!

And there was somewhere inside me the thought: By Jove! this is the deuce of an adventure - something you read about; and it is my first voyage as second mate - and I am only twenty - and here I am lasting it out as well as any of these men, and keeping my chaps up to the mark. I was pleased. I would not have given up the experience for worlds. I had moments of exultation. Whenever the old dismantled craft pitched heavily with her counter high in the air, she seemed to me to throw up, like an appeal, like a defiance, like a cry to the clouds without mercy, the words written on her stern: Judea, London. Do or Die. O youth! The strength of it, the faith of it, the imagination of it! To me she was not an old rattle-trap carting around the world a lot of coal for a freight - to me she was the endeavor, the test, the trial of life. I think of her with pleasure, with affection, with regret - as you would think of someone dead you have loved. I shall never forget her.

Don't give in to doubt. Never be discouraged if your first draft isn't what you thought it would be. Given skill and a story that compels you, muster your determination and make what's on the page closer to what you have in your mind. The chances are that you'll never make them identical. That's one reason I'm still hitting the keyboard. Obsessed by the secrets of my past, I try to put metaphorical versions of them on the page, but each time, no matter how honest and hard my effort, what's in my mind hasn't been fully expressed, compelling me to keep trying. To paraphrase a passage from John Barth's "Lost in the Funhouse," I'll die telling stories to myself in the dark. But there's never enough time. There was never enough time.

As a songwriter, I'm gathering clues and possibilities all the time, whether I see a piano that day or not. I've tried to explain to people how I collect these dispatches, because I think anybody can do what I'm talking about. Once I do plug in, I might get only one line and two bar phrases of the melody. I always have elements of songs around that may never ever get recorded. As far back as Little Earthquakes, I began to realize that I needed to have a library of notes, phrases, words, things that might prove useful at any given time. Within a few months' time I'll gather hundreds of those fragments. Half won't be used. And then the craft comes in, the part that is about painting a world. You want listeners to smell the lavender, to feel the point of those knitting needles in a handbag of the granny who happens to harbor a loyalty to Madame Defarge. You want the listener to know the wood's burning in the stove when they walk into the song with me. Music is about all of your senses, not just hearing.

People ask me: Why do you write about food, and eating and drinking? Why don't you write about the struggle for power and security, ad about love, the way others do? They ask it accusingly, as if I were somehow gross, unfaithful to the honor of my craft. The easiest answer is to say that, like most other humans, I am hungry. But there is more than that. It seems to me that our three basic needs, for food and security and love, are so mixed and mingled and entwined that we cannot straightly think of one without the others. So it happens that when I write of hunger, I am really writing about love and the hunger for it, and warmth and the love of it and the hunger for it . . . and then the warmth and richness and fine reality of hunger satisfied . . . and it is all one

The care of babies involves education, and is entrusted only to the most fit,” she repeated. “Then you separate mother and child!” I cried in cold horror, something of Terry’s feeling creeping over me, that there must be something wrong among these many virtues. “Not usually,” she patiently explained. “You see, almost every woman values her maternity above everything else. Each girl holds it close and dear, an exquisite joy, a crowning honor, the most intimate, most personal, most precious thing. That is, the child-rearing has come to be with us a culture so profoundly studied, practiced with such subtlety and skill, that the more we love our children the less we are willing to trust that process to unskilled hands—even our own.” “But a mother’s love—” I ventured. She studied my face, trying to work out a means of clear explanation. “You told us about your dentists,” she said, at length, “those quaintly specialized persons who spend their lives filling little holes in other persons’ teeth—even in children’s teeth sometimes.” “Yes?” I said, not getting her drift. “Does mother-love urge mothers—with you—to fill their own children’s teeth? Or to wish to?” “Why no—of course not,” I protested. “But that is a highly specialized craft. Surely the care of babies is open to any woman—any mother!” “We do not think so,” she gently replied. “Those of us who are the most highly competent fulfill that office; and a majority of our girls eagerly try for it—I assure you we have the very best.” “But the poor mother—bereaved of her baby—” “Oh no!” she earnestly assured me. “Not in the least bereaved. It is her baby still—it is with her—she has not lost it. But she is not the only one to care for it. There are others whom she knows to be wiser. She knows it because she has studied as they did, practiced as they did, and honors their real superiority. For the child’s sake, she is glad to have for it this highest care.

The word power has two different meanings. There is power to: strength, gift, skill, art, the mastery of a craft, the authority of knowledge. And there is power over: rule, dominion, supremacy, might, mastery of slaves, authority over others. Ged was offered both kinds of power. Tenar was offered only one. Heroic fantasy descends to us from an archaic world. I hadn’t yet thought much about that archaism. My story took place in the old hierarchy of society, the pyramidal power structure, probably military in origin, in which orders are given from above, with a single figure at the top. This is the world of power over, in which women have always been ranked low. In such a world, I could put a girl at the heart of my story, but I couldn’t give her a man’s freedom, or chances equal to a man’s chances. She couldn’t be a hero in the hero-tale sense. Not even in a fantasy? No. Because to me, fantasy isn’t wishful thinking, but a way of reflecting, and reflecting on reality. After all, even in a democracy, in the second decade of the twenty-first century, after forty years of feminist striving, the reality is that we live in a top-down power structure that was shaped by, and is still dominated by, men. Back in 1969, that reality seemed almost unshakable. So I gave Tenar power over—dominion, even godhead—but it was a gift of which little good could come. The dark side of the world was what she had to learn, as Ged had to learn the darkness in his own heart.

Two blind men waited at the end of an era, contemplating beauty. They sat atop the world’s highest cliff, overlooking the land and seeing nothing.’ ‘Huh?’ She looked to him. ‘“Can beauty be taken from a man?” the first asked the second. ‘“It was taken from me,” the second replied. “For I cannot remember it.” This man was blinded in a childhood accident. “I pray to the God Beyond each night to restore my sight, so that I may find beauty again.” ‘“Is beauty something one must see, then?” the first asked. ‘“Of course. That is its nature. How can you appreciate a work of art without seeing it?” ‘“I can hear a work of music,” the first said. ‘“Very well, you can hear some kinds of beauty – but you cannot know full beauty without sight. You can know only a small portion of beauty.” ‘“A sculpture,” the first said. “Can I not feel its curves and slopes, the touch of the chisel that transformed common rock into uncommon wonder?” ‘“I suppose,” said the second, “that you can know the beauty of a sculpture.” ‘“And what of the beauty of food? Is it not a work of art when a chef crafts a masterpiece to delight the tastes?” ‘“I suppose,” said the second, “that you can know the beauty of a chef’s art.” ‘“And what of the beauty of a woman,” the first said. “Can I not know her beauty in the softness of her caress, the kindness of her voice, the keenness of her mind as she reads philosophy to me? Can I not know this beauty? Can I not know most kinds of beauty, even without my eyes?” ‘“Very well,” said the second. “But what if your ears were removed, your hearing taken away? Your tongue taken out, your mouth forced shut, your sense of smell destroyed? What if your skin were burned so that you could no longer feel? What if all that remained to you was pain? You could not know beauty then. It can be taken from a man.

Write about patriotism, about victory and defeat. Write about revolutions and rebels and prisoners and wars. About emotions, of love and hatred and disappointment and regret. Intangible love and uncolored hatred and heartbreaking disappointments and abysmal regrets. Write about the seven deadly sins, about stealth and murder and gluttony and greed. Don’t forget to write about saints and sinners all the same. Write the poor and the rich using the same words, make them equal for once. Write about mothers who lost their children, about those who never had to lose; I challenge you to tell me which hurts more. Write about darkness and light, about light in the dark and darkness in the light. Remember to write about lost friendships, about those who never found a shoulder when life shut its lights dim, or those who kept the secret to their sadness within. Be fair to them too. Remind the world of those who always had someone to love but not someone to love them back, craft their nights and dreams carefully. Don’t forget the writers, who keep promises with words and silence. Be subtle. Be warm. Remember heartbeats and heartbreaks. Remember everything, remember all, equally. And then let the world remind you: Words will never be fair to whatever you write.

We all lie. We all guard secrets—sometimes terrible ones—a side to us so dark, so shameful, that we quickly avert our own eyes from the shadow we might glimpse in the mirror. Instead we lock our dark halves deep in the basement of our souls. And on the surface of our lives, we work industriously to shape the public story of our selves. We say, “Look, world, this is me.” We craft posts on social media . . . See this wonderful lunch I’m eating at this trendy restaurant with my besties, see my sexy shoes, my cute puppy, boyfriend, tight ass in a bikini. See my gloriously perfect life . . . see what a fucking fabulous time I’m having drunk and at this party with my boobs swelling out of my sparkly tank top. Just look at those hot guys draped all over me. Aren’t you jealous . . . And then you wait to see how many people LIKE this fabricated version of yourself, your mood hinging on the number of clicks. Comments. Who commented. But darkness has a way of seeping through the cracks. It seeks the light . . .

Osho was very generous with his genius. When I went to Poona in 1988, he answered a question of mine. “Rumi says, ‘I want burning, burning.’ What does this burning have to do with my own possible enlightenment?” “You have asked a very dangerous question, Coleman. Burning has nothing to do with your enlightenment. This work you have done with Rumi is beautiful. It has to be, because it is coming out of Rumi’s love. But for you these poems can become ecstatic self-hypnosis.” He pretty much nailed me to the floor with that one. Sufism is good, but end up with Zen. It was a fine hit he gave me. I am still drawn to the Sufi longing and love-madness, but clarity is coming up strong on the inside. I have not assimilated his wisdom yet, but I mean to. I am very grateful to him. But it is not wisdom for everyone. Osho crafted his words to suit the individual. Ecstatic self-hypnosis might be just the thing for someone else. He was showing me a daylight beyond any beloved darkness, an ecstatic sobriety beyond any drunkenness.

... I wondered what my husband was doing right then and I wondered what he'd ever do now that we'd both have to do things in this new kind of without, the kind of without that was final, the kind that meant there would be no apologies, no forgiveness, and now we'd each have to go about the slug of waking, bathing, eating, without the other as a witness, this person we'd split so much of our lives with, a person who housed entire armies of information about the other and who, I wondered, who would we thumb over our pasts with and who would notice how golden my husband's pale skin became in the lamplight in his office so late at night when his mind would move chalk sticks across, across, across, creating problems and solutions and problems and solutions and if there was no one to notice these things about my husband would my husband even exist anymore? And where would all the me that he had housed in himself go if I wasn't there to be with him and see what he kept of me in him, and did the versions of each of us that we had crafted so exactly and precisely for the other person, did those versions just evaporate, just die, just disappear, just fall out of a building somewhere in each of our brains and if they did then why didn't we get to have funerals for them? I loved the he that he was to me. I loved him and he is dead and I want a black moment for that man. Give me a black moment for that.

I realise suddenly how this season of illness has rearranged my mind into a library of paranoia. I am afraid of being doubted, and I’m afraid of being found out. I am wondering what all those other people, whom I used to see every day, are thinking of me. Are they gossiping, or has some moribund discretion fallen over my name? I’m not sure which is worse. I’m feeling the full force of the guilt of being unable to keep up, of having now fallen so far behind that I can’t imagine a way back in. That grinding mix of grief, exhaustion, lost will, lost hope. My only tenable position is to retreat into a dignified silence, but that’s not what I want at all. I want to give an account of myself, force everyone else to understand. Most of all, I want to disappear. I’m almost desperate to find a way to absent myself easily from the situation, like cutting around my outline with a craft knife and cleanly excising myself from the record. But that, I know, would only leave a human-shaped hole. I imagine everybody gazing into the space where I ought to be.

As most young candidates for the pains and penalties of whaling stop at this same New Bedford, thence to embark on their voyage, it may as well be related that I, for one, had no idea of so doing. For my mind was made up to sail in no other than a Nantucket craft, because there was a fine, boisterous something about everything connected with that famous old island, which amazingly pleased me. Besides though New Bedford has of late been gradually monopolizing the business of whaling, and though in this matter poor old Nantucket is now much behind her, yet Nantucket was her great original— the Tyre of this Carthage;—the place where the first dead American whale was stranded. Where else but from Nantucket did those aboriginal whalemen, the Red-Men, first sally out in canoes to give chase to the Leviathan? And where but from Nantucket, too, did that first adventurous little sloop put forth, partly laden with imported cobblestones—so goes the story— to throw at the whales, in order to discover when they were nigh enough to risk a harpoon from the bowsprit?

Every day the same things came up; the work was never done, and the tedium of it began to weigh on me. Part of what made English a difficult subject for Korean students was the lack of a more active principle in their learning. They were accustomed to receiving, recording, and memorizing. That's the Confucian mode. As a student, you're not supposed to question a teacher; you should avoid asking for explanations because that might reveal a lack of knowledge, which can be seen as an insult to the teacher's efforts. You don't have an open, free exchange with teachers as we often have here in the West. And further, under this design, a student doesn't do much in the way of improvisation or interpretation. This approach might work well for some pursuits, may even be preferred--indeed, I was often amazed by the way Koreans learned crafts and skills, everything from basketball to calligraphy, for example, by methodically studying and reproducing a defined set of steps (a BBC report explained how the North Korean leader Kim Jong Il had his minions rigorously study the pizza-making techniques used by Italian chefs so that he could get a good pie at home, even as thousands of his subjects starved)--but foreign-language learning, the actual speaking component most of all, has to be more spontaneous and less rigid. We all saw this played out before our eyes and quickly discerned the problem. A student cannot hope to sit in a class and have a language handed over to him on sheets of paper.

But instead of letting me see any ray of hope, God afflicted me with a most grievous martyrdom which lasted for three days. It brought sharply home to me the bitter grief felt by the Blessed Virgin and St. Joseph as they searched for the Child Jesus. I was alone in a desert waste — or rather, my soul was like a fragile skiff tossing without a pilot in a stormy sea. I knew that Jesus was there, asleep in my craft, but the night was too black for me to see Him. All was darkness. Not even a flash of lightning pierced the clouds. There’s nothing reassuring about lightning, but, at least, if the storm had burst, I should have been able to glimpse Jesus. But it was night, the dark night of the soul. Like Jesus during His Agony in the Garden, I felt myself abandoned and there was no help for me on earth or in heaven. God had abandoned me. Nature herself seemed to share my misery. The sun never shone once during those three days and the rain fell in torrents. I have noticed that, at all the important moments of my life, nature has mirrored my soul. When I wept the sky wept with me, and when I was happy the sun shone without a cloud in the sky.

Anticipating sorrow to neutralize sorrow—that’s paltry, cowardly stuff, I told myself, knowing I was an ace practitioner of the craft. And what if it came fiercely? What if it came and didn’t let go, a sorrow that had come to stay, and did to me what longing for him had done on those nights when it seemed there was something so essential missing from my life that it might as well have been missing from my body, so that losing him now would be like losing a hand you could spot in every picture of yourself around the house, but without which you couldn’t possibly be you again. You lose it, as you always knew you would, and were even prepared to; but you can’t bring yourself to live with the loss. And hoping not to think of it, like praying not to dream of it, hurts just the same. Then a strange idea got hold of me: What if my body—just my body, my heart—cried out for his? What to do then? What if at night I wouldn’t be able to live with myself unless I had him by me, inside me? What then? Think of the pain before the pain. I knew what I was doing. Even in my sleep, I knew what I was doing. Trying to immunize yourself, that’s what you’re doing—you’ll end up killing the whole thing this way—sneaky, cunning boy, that’s what you are, sneaky, heartless, cunning boy. I smiled at the voice. The sun was right on me now, and I loved the sun with a near-pagan love for the things of earth. Pagan, that’s what you are. I had never known how much I loved the earth, the sun, the sea—people, things, even art seemed to come second. Or was I fooling myself?

A morning-flowered dalliance demured and dulcet-sweet with ebullience and efflorescence admiring, cozy cottages and elixirs of eloquence lie waiting at our feet - We'll dance through fetching pleasantries as we walk ephemeral roads evocative epiphanies ethereal, though we know our hearts are linked with gossamer halcyon our day a harbinger of pretty things infused with whispers longing still and gamboling in sultry ways to feelings, all ineffable screaming with insouciance masking labyrinthine paths where, in our nonchalance, we walk through the lilt of love’s new morning rays. Mellifluous murmurings from a babbling brook that soothes our heated passion-songs and panoplies perplexed with thought of shadows carried off with clouds in stormy summer rains… My dear, and that I can call you 'dear' after ripples turned to crashing waves after pyrrhic wins, emotions drained we find our palace sunned and rayed with quintessential moments lit with wildflower lanterns arrayed on verandahs lush with mutual love, the softest love – our preferred décor of life's lilly-blossom gate in white-fenced serendipity… Twilight sunlit heavens cross our gardens, graced with perseverance, bliss, and thee, and thou, so splendid, delicate as a morning dove of charm and mirth – at least with me; our misty mornings glide through air... So with whippoorwill’d sweet poetry - of moonstones, triumphs, wonder-woven in chandliers of winglet cherubs wrought with time immemorial, crafted with innocence, stowed away and brought to light upon our day in hallelujah tapestries of ocean-windswept galleries in breaths of ballet kisses, light, skipping to the breakfast room cascading chrysalis's love in diaphanous imaginings delightful, fleeting, celestial-viewed as in our eyes which come to rest evocative, exuberant on one another’s moon-stowed dreams idyllic, in quiescent ways, peaceful in their radiance resplendent with a myriad of thought soothing muse, rhapsodic song until the somnolence of night spreads out again its shaded truss of luminescent fantasies waiting to be loved by us… Oh, love! Your sincerest pardons begged! I’ve gone too long, I’ve rambled, dear, and on and on and on and on - as if our hours were endless here… A morning toast, with orange-juiced lips exalting transcendent minds suffused with sunrise symphonies organic-born tranquilities sublimed sonorous assemblages with scintillas of eternity beating at our breasts – their embraces but a blushing, longing glance away… I’ll end my charms this enraptured morn' before cacophony and chafe coarse in crude and rough abrade when cynical distrust is laid by hoarse and leeching parasites, distaste fraught with smug disgust by hairy, smelly maladroit mediocrities born of poisoned wells grotesque with selfish lies - shrill and shrieking, biting, creeping around our love, as if they rose from Edgar Allen’s own immortal rumpled decomposing clothes… Oh me, oh my! I am so sorry! can you forgive me? I gone and kissed you for so long, in my morning imaginings, through these words, through this song - ‘twas supposed to be "a trifle treat," but little treats do sometimes last a little longer; and, oh, but oh, but if I could, I surly would keep you just a little longer tarrying here, tarrying here with me this pleasant morn

I will conclude this work with stating in what light religion appears to me. If we suppose a large family of children, who, on any particular day, or particular circumstance, made it a custom to present to their parents some token of their affection and gratitude, each of them would make a different offering, and most probably in a different manner. Some would pay their congratulations in themes of verse and prose, by some little devices, as their genius dictated, or according to what they thought would please; and, perhaps, the least of all, not able to do any of those things, would ramble into the garden, or the field, and gather what it thought the prettiest flower it could find, though, perhaps, it might be but a simple weed. The parent would be more gratified by such a variety, than if the whole of them had acted on a concerted plan, and each had made exactly the same offering. This would have the cold appearance of contrivance, or the harsh one of control. But of all unwelcome things, nothing could more afflict the parent than to know, that the whole of them had afterwards gotten together by the ears, boys and girls, fighting, scratching, reviling, and abusing each other about which was the best or the worst present. Why may we not suppose, that the great Father of all is pleased with variety of devotion; and that the greatest offence we can act, is that by which we seek to torment and render each other miserable? For my own part, I am fully satisfied that what I am now doing, with an endeavour to conciliate mankind, to render their condition happy, to unite nations that have hitherto been enemies, and to extirpate the horrid practice of war, and break the chains of slavery and oppression is acceptable in his sight, and being the best service I can perform, I act it cheerfully. I do not believe that any two men, on what are called doctrinal points, think alike who think at all. It is only those who have not thought that appear to agree… As to what are called national religions, we may, with as much propriety, talk of national Gods. It is either political craft or the remains of the Pagan system, when every nation had its separate and particular deity…

Asking a writer why they like to write {in the theoretical sense of the question} is like asking a person why they breathe. For me, writing is a natural reflex to the beauty, the events, and the people I see around me. As Anais Nin put it, "We write to taste life twice." I live and then I write. The one transfers to the other, for me, in a gentle, necessary way. As prosaic as it sounds, I believe I process by writing. Part of the way I deal with stressful situations, catty people, or great joy or great trials in my own life is by conjuring it onto paper in some way; a journal entry, a blog post, my writing notebook, or my latest story. While I am a fair conversationalist, my real forte is expressing myself in words on paper. If I leave it all chasing round my head like rabbits in a warren, I'm apt to become a bug-bear to live with and my family would not thank me. Some people need counselors. Some people need long, drawn-out phone-calls with a trusted friend. Some people need to go out for a run. I need to get away to a quiet, lonesome corner--preferably on the front steps at gloaming with the North Star trembling against the darkening blue. I need to set my pen fiercely against the page {for at such moments I must be writing--not typing.} and I need to convert the stress or excitement or happiness into something to be shared with another person. The beauty of the relationship between reading and writing is its give-and-take dynamic. For years I gathered and read every book in the near vicinity and absorbed tale upon tale, story upon story, adventures and sagas and dramas and classics. I fed my fancy, my tastes, and my ideas upon good books and thus those aspects of myself grew up to be none too shabby. When I began to employ my fancy, tastes, and ideas in writing my own books, the dawning of a strange and wonderful idea tinged the horizon of thought with blush-rose colors: If I persisted and worked hard and poured myself into the craft, I could create one of those books. One of the heart-books that foster a love of reading and even writing in another person somewhere. I could have a hand in forming another person's mind. A great responsibility and a great privilege that, and one I would love to be a party to. Books can change a person. I am a firm believer in that. I cannot tell you how many sentiments or noble ideas or parts of my own personality are woven from threads of things I've read over the years. I hoard quotations and shadows of quotations and general impressions of books like a tzar of Russia hoards his icy treasures. They make up a large part of who I am. I think it's worth saying again: books can change a person. For better or for worse. As a writer it's my two-edged gift to be able to slay or heal where I will. It's my responsibility to wield that weapon aright and do only good with my words. Or only purposeful cutting. I am not set against the surgeon's method of butchery--the nicking of a person's spirit, the rubbing in of a salty, stinging salve, and the ultimate healing-over of that wound that makes for a healthier person in the end. It's the bitter herbs that heal the best, so now and again you might be called upon to write something with more cayenne than honey about it. But the end must be good. We cannot let the Light fade from our words.

Robert is, of course, at the theater, but it’s true that Jeff isn’t alone. Behind him, Lulu holds up two bottles of tequila, and behind her is Gene, Lulu’s . . . bed-friend, holding a bag of limes and sporting the world’s most enormous mustache. I take the bag of limes from him. “Are you guessing my weight tonight?” Jeff laughs in a loud bark before heading into the kitchen, but Gene does a bewildered double take. “What?” “Do I get to shoot a water gun to knock down the ducks?” I see the moment he gets it because his giant mustache twitches under his suppressed grin. “I’ll take my limes home if you’re going to be sassy, miss.” “You look like an old-timey auction barker,” I say. “Or Yosemite Sam. I have this sudden urge to buy a few head of cattle.” Behind me, Calvin snickers. “You wish you could grow a ’stache like this.” I burst out laughing. “I’m sorry, I can’t even hear what you’re saying through that thing.” “I told him it’s awful.” Lulu tugs at it and Gene leans away. He smoothes it down proudly. “I’m so lazy, and this is much more low maintenance than shaving.” I don’t need to look that closely to see he’s clearly waxed and styled it with a comb. It’s really not an afterthought mustache; it’s the kind that a person chooses from a book on various mustache styles—the perfect accessory for his very carefully crafted I don’t care enough to even glance in the mirror look (which Lulu tells me takes him a long time in front of the mirror).

What we feel and how we feel is far more important than what we think and how we think. Feeling is the stuff of which our consciousness is made, the atmosphere in which all our thinking and all our conduct is bathed. All the motives which govern and drive our lives are emotional. Love and hate, anger and fear, curiosity and joy are the springs of all that is most noble and most detestable in the history of men and nations. The opening sentence of a sermon is an opportunity. A good introduction arrests me. It handcuffs me and drags me before the sermon, where I stand and hear a Word that makes me both tremble and rejoice. The best sermon introductions also engage the listener immediately. It’s a rare sermon, however, that suffers because of a good introduction. Mysteries beg for answers. People’s natural curiosity will entice them to stay tuned until the puzzle is solved. Any sentence that points out incongruity, contradiction, paradox, or irony will do. Talk about what people care about. Begin writing an introduction by asking, “Will my listeners care about this?” (Not, “Why should they care about this?”) Stepping into the pulpit calmly and scanning the congregation to the count of five can have a remarkable effect on preacher and congregation alike. It is as if you are saying, “I’m about to preach the Word of God. I want all of you settled. I’m not going to begin, in fact, until I have your complete attention.” No sermon is ready for preaching, not ready for writing out, until we can express its theme in a short, pregnant sentence as clear as crystal. The getting of that sentence is the hardest, most exacting, and most fruitful labor of study. We tend to use generalities for compelling reasons. Specifics often take research and extra thought, precious commodities to a pastor. Generalities are safe. We can’t help but use generalities when we can’t remember details of a story or when we want anonymity for someone. Still, the more specific their language, the better speakers communicate. I used to balk at spending a large amount of time on a story, because I wanted to get to the point. Now I realize the story gets the point across better than my declarative statements. Omit needless words. Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all his sentences short, or that he avoid all detail and treat his subjects only in outline, but that every word tell. Limits—that is, form—challenge the mind, forcing creativity. Needless words weaken our offense. Listening to some speakers, you have to sift hundreds of gallons of water to get one speck of gold. If the sermon is so complicated that it needs a summary, its problems run deeper than the conclusion. The last sentence of a sermon already has authority; when the last sentence is Scripture, this is even more true. No matter what our tone or approach, we are wise to craft the conclusion carefully. In fact, given the crisis and opportunity that the conclusion presents—remember, it will likely be people’s lasting memory of the message—it’s probably a good practice to write out the conclusion, regardless of how much of the rest of the sermon is written. It is you who preaches Christ. And you will preach Christ a little differently than any other preacher. Not to do so is to deny your God-given uniqueness. Aim for clarity first. Beauty and eloquence should be added to make things even more clear, not more impressive. I’ll have not praise nor time for those who suppose that writing comes by some divine gift, some madness, some overflow of feeling. I’m especially grim on Christians who enter the field blithely unprepared and literarily innocent of any hard work—as though the substance of their message forgives the failure of its form.

I think I would make a very good astronaut. To be a good astronaut you have to be intelligent and I’m intelligent. You also have to understand how machines work and I’m good at understanding how machines work. You also have to be someone who would like being on their own in a tiny spacecraft thousands and thousands of miles away from the surface of the earth and not panic or get claustrophobia or homesick or insane. And I really like little spaces, so long as there is no one else in them with me. Sometimes when I want to be on my own I get into the airing cupboard outside the bathroom and slide in beside the boiler and pull the door closed behind me and sit there and think for hours and it makes me feel very calm. So I would have to be an astronaut on my own, or have my own part of the space craft which no one else could come into. And also there are no yellow things or brown things in a space craft, so that would be okay too. And I would have to talk to other people from Mission Control, but we would do that through a radio linkup and a TV monitor, so they wouldn’t be like real people who are strangers, but it would be like playing a computer game. Also I wouldn’t be homesick at all because I’d be surrounded by things I like, which are machines and computers and outer space. And I would be able to look out of a little window in the spacecraft and know that there was no one near me for thousands and thousands of miles, which is what I sometimes pretend at night in the summer when I go and lie on the lawn and look up at the sky and I put my hands round the sides of my face so that I can’t see the fence and the chimney and the washing line and I can pretend I’m in space. And all I could see would be stars. And stars are the places where molecules that life is made of were constructed billions of years ago. For example, all the iron in your blood which keeps you from being anemic was made in a star. And I would like it if I could take Toby with me into space, and that might be allowed because they sometimes do take animals into space for experiments, so if I could think of a good experiment you could do with a rat that didn’t hurt the rat, I could make them let me take Toby. But if they didn’t let me I would still go because it would be a Dream Come True.

Here am I, a little animal called a man--a bit of vitalized matter, one hundred and sixty-five pounds of meat and blood, nerve, sinew, bones, and brain,--all of it soft and tender, susceptible to hurt, fallible, and frail. I strike a light back-handed blow on the nose of an obstreperous horse, and a bone in my hand is broken. I put my head under the water for five minutes, and I am drowned. I fall twenty feet through the air, and I am smashed. I am a creature of temperature. A few degrees one way, and my fingers and ears and toes blacken and drop off. A few degrees the other way, and my skin blisters and shrivels away from the raw, quivering flesh. A few additional degrees either way, and the life and the light in me go out. A drop of poison injected into my body from a snake, and I cease to move--for ever I cease to move. A splinter of lead from a rifle enters my head, and I am wrapped around in the eternal blackness. Fallible and frail, a bit of pulsating, jelly-like life--it is all I am. About me are the great natural forces--colossal menaces, Titans of destruction, unsentimental monsters that have less concern for me than I have for the grain of sand I crush under my foot. They have no concern at all for me. They do not know me. They are unconscious, unmerciful, and unmoral. They are the cyclones and tornadoes, lightning flashes and cloud-bursts, tide-rips and tidal waves, undertows and waterspouts, great whirls and sucks and eddies, earthquakes and volcanoes, surfs that thunder on rock-ribbed coasts and seas that leap aboard the largest crafts that float, crushing humans to pulp or licking them off into the sea and to death--and these insensate monsters do not know that tiny sensitive creature, all nerves and weaknesses, whom men call Jack London, and who himself thinks he is all right and quite a superior being.