Cues Quotes

Growing up, I took so many cues from books. They taught me most of what I knew about what people did, about how to behave. They were my teachers and my advisers.

When introverts are in conflict with each other...it may require a map in order to follow all the silences, nonverbal cues and passive-aggressive behaviors!

Etiquette tip: If you're looking for the right time to leave a party, when the host yells, "No one leaves here alive," that's your cue.

Magnus got to his feet. “I do believe that's my cue to leave as well,” he said. Clary noticed he was avoiding looking at Alec. “I'd say it's been nice meeting you all, but, in fact, it hasn't. It's been quite awkward, and frankly, the next time I see a single one of you will be far too soon.

It is very important in life to know when your cue comes.

Of all the priceless objects left behind, this is what we rescue. These artifacts. Memory cues. Useless souvenirs. Nothing you could auction. The scars left from happiness.

I squinted at the cue ball, then at the triangle of balls farther down the table. “You’re a tiny bit off,” I said. I felt him smile. “How much you want to bet?” “Five dollars.” I felt him give a soft shake of his head. “Your jacket.” “You want my jacket?” “I want it off.

But instead of taking the cue to leave, Patch crossed to Scott in three steps. He flung him around to face the wall. Scott tried to get his bearings, but Patch slammed him against the wall again, disorienting him further. “Touch her,” he said in Scott’s ear, his voice low and threatening, “and it’ll be the biggest regret of your life.” Before leaving, Patch flicked his eyes once in my direction. “He’s not worth it.” He paused. “And neither am I.

Rather, to change a habit, you must keep the old cue, and deliver the old reward, but insert a new routine.

people's emotions are rarely put into words , far more often they are expressed through other cues. the key to intuiting another's feelings is in the ability to read nonverbal channels , tone of voice , gesture , facial expression and the like

At one point, approximately halfway through her remarks, Merkel stated in German something about ‘being able to greet the president of the United States of America, Barack Obama,’ and an overly ambitious Obama, who perhaps thought that was his cue, headed toward the podium.  Perhaps catching the president’s movement out of the corner of her eye, Merkel thought quickly, and without even looking up from her notes, she told the excited American president, in English, ‘Not yet, dear Mr. President, dear Barack Obama.’ Obama sheepishly returned to his seat to allow the chancellor to finish her speech.

Curran's whore comes to visit us," Jarek said in accented English. The three men laughed as if on cue. I glanced at Mahon. "You really shouldn't let him talk to you like that.

Better than merely "seeing" the "sense" of people's actions is "feeling" the sense of what they are doing. Going along with the line of their wordings and nonverbal cues helps us gain a deeper understanding of their thinking and intentions. We can thus interpret their message and respond to their expectations. (“The infinite Wisdom of Meditation“)

Uh,we didn't get your name.Did we get his name Emma?" she says as if on cue. "I tried,Chloe.But he wouldn't tell me,so I tackled him," I say rolling my eyes.

She'd suggested that he observe other teens for social cues, and he'd done the job in spades. Yesterday after spending the afternoon with the track team, Aelyx had smacked her on the back and yelled, "Good hustle!" after she jogged up the front porch steps.

THE FRAMEWORK: • Identify the routine • Experiment with rewards • Isolate the cue • Have a plan

Being a hero, the man had observed, is largely a matter of knowing one’s cues.

Humans didn't really fight over skin tone or ideology; those were just handy cues for kin-selection purposes. Ultimately it always came down to bloodlines and limited resources.

Teach her that to love is not only to give but also to take. This is important because we give girls subtle cues about their lives—we teach girls that a large component of their ability to love is their ability to sacrifice their selves.

This process within our brains is a three-step loop. First, there is a cue, a trigger that tells your brain to go into automatic mode and which habit to use. Then there is the routine, which can be physical or mental or emotional. Finally, there is a reward, which helps your brain figure out if this particular loop is worth remembering for the future: THE HABIT LOOP

Do not let an out-of-control person be the cue for you to change your course. Just allow him to be angry and decide for yourself what you need to do.

But to change an old habit, you must address an old craving. You have to keep the same cues and rewards as before, and feed the craving by inserting a new routine.

My name is Zia Rashid.” She tilted her head as if listening. Right on cue, the entire building rumbled. Dust sprinkled from the ceiling, and the slithering sounds of scorpion doubled in volume behind us. “And right now,” Zia continued, sounding a bit disappointed, “I must save your miserable lives.

For the first time in history, children are growing up whose earliest sexual imprinting derives not from a living human being, or fantasies of their own; since the 1960s pornographic upsurge, the sexuality of children has begun to be shaped in response to cues that are no longer human. Nothing comparable has ever happened in the history of our species; it dislodges Freud. Today's children and young men and women have sexual identities that spiral around paper and celluloid phantoms: from Playboy to music videos to the blank females torsos in women's magazines, features obscured and eyes extinguished, they are being imprinted with a sexuality that is mass-produced, deliberately dehumanizing and inhuman.

Hot damn. Cue the violins and happy cartoon bunnies. I was in the middle of a Disney moment. Because this guy was gorgeous. And we were standing so close to each other. If he hadn't been holding onto a barely contained rage directed at yours truly, it could have almost been construed as romantic.

Okay, now you're starting to scare me," Wes says. "No, scary is the way people can alter their voices on cue. Like your imitation of that creepy guy who lives at your house." "You mean my dad?" he laughs.

I take my cue from deeds, not words.

If you’re less sensitive to social cues, you’re less likely to do the same things as everyone else around you.

It was not in my nature to be an assertive person. I was used to looking to others for guidance, for influence, sometimes for the most basic cues of life. And yet writing stories is one of the most assertive things a person can do. Fiction is an act of willfulness, a deliberate effort to reconceive, to rearrange, to reconstitute nothing short of reality itself. Even among the most reluctant and doubtful of writers, this willfulness must emerge. Being a writer means taking the leap from listening to saying, “Listen to me.

He would never be any different and now Scarlett realize the truth and accepted it without emotion—that until he died Gerald would always be waiting for Ellen, always listening for her. Her was in some dim borderline country where time was standing still and Ellen was always in the next room. The mainspring of his existence was taken away when she died and with it has gone his bounding assurance, his impudence and his restless vitality. Ellen was the audience before which the blustering drama of Gerald O'Hara had been played Now the curtain had been rung down forever, the footlights dimmed and the audience suddenly vanished, while the stunned old actor remained on his empty stage, waiting for his cues.

My father loved the library because it was a safe haven for him — no missed cultural cues, no bigoted insults from his coworkers, no glaring reminders of what was lost. All patrons of the library were pilgrims to the oracle all seeking the sake thing: knowledge. And in their pursuits of the same thing, they were all equals.

Fear and anxiety affect decision making in the direction of more caution and risk aversion... Traumatized individuals pay more attention to cues of threat than other experiences, and they interpret ambiguous stimuli and situations as threatening (Eyesenck, 1992), leading to more fear-driven decisions. In people with a dissociative disorder, certain parts are compelled to focus on the perception of danger. Living in trauma-time, these dissociative parts immediately perceive the present as being "just like" the past and "emergency" emotions such as fear, rage, or terror are immediately evoked, which compel impulsive decisions to engage in defensive behaviors (freeze, flight, fight, or collapse). When parts of you are triggered, more rational and grounded parts may be overwhelmed and unable to make effective decisions.

But you are my queen. No one but you. And I like seeing you wear it. Because as long as you do, I know you still love me. And given our history of miscommunication, physical cues are helpful.

The gods are just. No doubt. But their code of law is dictated, in the last resort, by the people who organize society; Providence takes its cue from men.

Menders of all times and places have taught that silencing the thoughts in our heads and opening to the experience of the body and emotions is the basis of all healing. It's the only means by which we can reclaim our true nature or feel the subtle cues telling us how to find our way through life.

Admit it," He insists. "I was right." "No." I sniff. "You were wrong." sniff. "I'm just crying"-sniff- "cause i'm so happy." My tear take that lie as their cue and start streaming down my cheeks. "Come on, Princess," he says, "You don't need to cry over that loser." This only makes me cry harder. We both know who the loser is in this scenario. With a muttered curse, Quince wraps his arms around me and squeezes. It feels remarkably like a hug. "Don't cry," he whispers in my ear. "Please." I don't know if it's his soft words or the fact that my face is now hidden by his broad chest, but i just let go. Three years of longing and loving from a distance have built to the breaking point, and i let it out all over his west coast choppers T-shirt. "shhh," He soothes. "He's not worth it.

Cue dream sequence of Liam running slowly on a beach carrying me in his arms. I love how he's strong enough to carry me with one arm while using the other arm to feed the seagulls. He's such an animal lover like that.

I was supposed to have a script, and had mislaid it. I was supposed to hear cues, and no longer did. I was meant to know the plot, but all I knew was what I saw: flash pictures in variable sequence, images with no 'meaning' beyond their temporary arrangement, not a movie but a cutting-room experience.

When I hear the phrase “Asians are next in line to be white,” I replace the word “white” with “disappear.” Asians are next in line to disappear. We are reputed to be so accomplished, and so law-abiding, we will disappear into this country’s amnesiac fog. We will not be the power but become absorbed by power, not share the power of whites but be stooges to a white ideology that exploited our ancestors. This country insists that our racial identity is beside the point, that it has nothing to do with being bullied, or passed over for promotion, or cut off every time we talk. Our race has nothing to do with this country, even, which is why we’re often listed as “Other” in polls and why we’re hard to find in racial breakdowns on reported rape or workplace discrimination or domestic abuse. It’s like being ghosted, I suppose, where, deprived of all social cues, I have no relational gauge for my own behavior. I ransack my mind for what I could have done, could have said. I stop trusting what I see, what I hear. My ego is in free fall while my superego is boundless, railing that my existence is not enough, never enough, so I become compulsive in my efforts to do better, be better, blindly following this country’s gospel of self-interest, proving my individual worth by expanding my net worth, until I vanish.

Never look encouragingly at the brass, except with a brief glance to give an important cue.

When you're in a show, all through rehearsals Tech Week hovers out there like a magical holy grail. In reality, Tech Week is always a train wreck of missed cues, forgotten lines, malfunctioning set pieces and short tempers.

She stepped forward as if to pick up the fur she'd tossed over a chair. Smoothly, she turned to hand it to him. And with perfect timing, flung herself into his arms. The sable fell as he took her shoulders to shove her back. Eve stepped to the doorway to see Magdelana with her arms locked around Roarke's neck, his hands on her bare shoulders--one of the ivory straps sliding to her elbow. "Son of a bitch," she said. On cue, Magdelana spun around, her face full of passion and shock. "Oh, God. Oh...it's not what it looks like." "Bet." Eve strode in. Actually, Roarke thought, it was more of a swagger. He had a moment to admire it, before Eve rammed her fist in his face. "Fuck me." His head snapped back, and he tasted blood. Magdelana cried out, but even the deaf would have caught the suppressed laughter in the sound. "Roarke! Oh, my God, you're bleeding. Please, let me just--" "Don't look now," Eve said cheerfully. "But he's not the only one." She decked Magdelana with a straight-armed jab. "Bitch," Eve added as Magdelana's eyes rolled back and she fell, unconscious, to the floor. Roarke looked down. "Well, now, fuck us all.

Guys generally need us to come with subtitles, cue cards, and liability waivers.

I didn't doubt the potential value of paying attention to subconscious cues...problem was, my inner voice resembled Chicken Little: it was screaming that I was about to die, but it did that almost every time I laced up my climbing boots.

Most people live their lives laying prostrate before a false god, waiting for a cue to rise. There are no cues, only decisions. Shall I have dessert? Shall I have the best of the wine? Shall I love the person next to me? They can all be brought to your table. Rise, I say, rise and look within to the truth, to the light, and tell it your decision.

A Cue from Nature Run outside during a thunderstorm That downpour, that conquered hesitation, that exhilaration That’s what unlonely is like

I think one can tell a lot about a person from the way he chooses to let the stub of his cigarette burn out...

Uh, we didn't get your name. Did you get his name, Emma?" she asks, as if on cue. "I tried, Chloe. But he wouldn't tell me, so I tackled him," I say, rolling my eyes.

It matters, Emma." He grabs my hand and pulls me to him again. "Tell me right now. Do you care for me?" "If you can't tell that I'm stupid in love with you, Galen, then you aren't a very good ambassador for the hum-" His mouth covers mine, cutting me off. This kiss isn't gentle like the first one. It's definitely not sweet. It's rough, demanding, searching. And disorienting. There's not a part of me that isn't melting against Galen, not a part that isn't combusting with his fevered touch. I accidentally moan into his lips. He takes it for his cue to life me off my feet, to pull me up to his height for more leverage. I take his groan for my cue to kiss him harder. He ignores his cell phone ringing in his pocket. I ignore the rest of the universe. Even when headlights approach, I'm willing to overlook their intrusion and keep kissing. But, prince that he is Galen is a little more refined than me at this moment. He gently pries his lips from mine and sets me down. His smile is both intoxicated and intoxicating. "We still need to talk.

Being unhappy alone isn't all that much fun, but what's even tougher is playing one's part without forgetting one's lines, coping with other people's compassion, their comments, being there with the right line when they give the cue.

When the brain is working to remember something, similar patterns of neurons fire as they did during the perception of the original event. These networks are linked, and each time we revisit them, they become stronger and more associated. But they need the proper retrieval cues--words, smells, images-- for them to be brought back as memories

It's a cinch that if you read it in an occult periodical or paperback, everyone's doing it. That should be your cue to avoid such stuff, lest you be relegated to the same readership level.

Shepley stomped into the apartment and slammed the door behind him. “She’s fucking impossible!” I kissed Travis on the cheek. “That’s my cue.” “Good luck,” Travis said. I slid in beside America, and she huffed. “He’s fucking impossible!

There was nothing hesitant about the kiss, nothing uncertain. It was as if they'd both read the script beforehand and had—all along—simply been waiting for the cue.

For, how else to seize such an instant? How to shout out into the empty air just the right words, and on cue? Frame a moment to last a lifetime?

Iris is my constellation. She took the darkness as her cue to shine. It only made her brighter, stronger, and tonight, her hard-won glimmer lights up the sky.

My studies have shown that the process of falling into mature love happens in four steps. When you meet a woman, you subconsciously look for cues that she's the kind os person you should be with. That's assumption. If she passes the assumption test, you begin to get to know her to find out if she's appropriate for you. If she is, you're attracted. If, as you get to know her, the attraction is reinforced with joy or pain or both, you'll fall into infatuation. And if you manage to make a connection and attach to each other during infatuation, you'll move into mature, unconditional love.

Let's go inside. The trees are swaying back and forth. I think that is my cue I've had way too much to drink.

And right on cue, Viola yells, " TODD! " And I hit him with everything I got - Every bit of her behind me - Every piece of anger and frustrayshun and nothingness - Every moment I didn't see her - Every moment I worried - Everything - Every little tiny thing I know about her - I send it right into the center of him - VIOLA

Half a dozen brats turned with expressions of derision, and Lyra threw her cigarette down, recognizing the cue for a fight. Everyone's daemon instantly became warlike: each child was accompanied by fangs, or claws, or bristling fur, and Pantalaimon, contemptuous of the limited imaginations of these gyptian daemons, became a dragon the size of a deer hound.

If we don’t allow ourselves the fundamental honesty of our own sadness, then we miss an important cue to adapt. We seem to be living in an age when we’re bombarded with entreaties to be happy, but we’re suffering from an avalanche of depression. We’re urged to stop sweating the small stuff, yet we’re chronically anxious. I often wonder if these are just normal feelings that become monstrous when they’re denied. A great deal of life will always suck. There will be moments when we’re riding high and moments when we can’t bear to get out of bed. Both are normal. Both in fact require a little perspective.

People take their cue from you.” That’s it. If you act like you belong in the room, people will believe you do. If you act like your opinion matters, others will, too. Simple, true, empowering, and life-changing advice. It is applicable for all women in every endeavor we undertake.

So this is my cue of where to leave you. Now it's your story to retell and pass on. Because an idea is only relevant if it's being thought upon. So remember, never surrender.'Cause the unrelenting constancy of love and hope will rescue and restore from any scope.

In space flight, “attitude” refers to orientation: which direction your vehicle is pointing relative to the Sun, Earth and other spacecraft. If you lose control of your attitude, two things happen: the vehicle starts to tumble and spin, disorienting everyone on board, and it also strays from its course, which, if you’re short on time or fuel, could mean the difference between life and death. In the Soyuz, for example, we use every cue from every available source—periscope, multiple sensors, the horizon—to monitor our attitude constantly and adjust if necessary. We never want to lose attitude, since maintaining attitude is fundamental to success. In my experience, something similar is true on Earth. Ultimately, I don’t determine whether I arrive at the desired professional destination. Too many variables are out of my control. There’s really just one thing I can control: my attitude during the journey, which is what keeps me feeling steady and stable, and what keeps me headed in the right direction. So I consciously monitor and correct, if necessary, because losing attitude would be far worse than not achieving my goal.

I can't be any more addicted to it than I already am,"Jamie said slowly, as though he'd rehearsed this, and then waiting for a cue Nick obviously had no intention of giving." Think about crack!" Jamie added, clearly struck by insperation. "Yes! It's like I'm a crack addict, and you're my friend the drug dealer who gives me crack for free, and I know you're just trying to be a good friend, but every time I think 'Wow, this crack might be a little bit of a problem for me,' you're there to say, 'Have some more delicious crack.' Am I making sense?" Nick stared."Hardly ever in your life.

There are always a few bored audience members at an opera, especially by the time act four comes along. Those particular eyes would be wandering around the hall, searching for something, anything, interesting to watch. Those eyes would land on the little demon downstage right, unless they were distracted. Right on cue, a large stage lamp broke free of its clamp in the rigging and swung on its cable into the back canvas. [...] On his way though the lobby minutes later, Artemis was highly amuse to overhear several audience members gushing over the unorthodox direction of the opera's final scene. The exploding lamp, muse one buff, was doubtless a metaphor for Norma's own falling star. But no, argued a second. The lamp was obviously a modernistic interpretation of the burning stake that Norma was about to face. Or perhaps, thought Artemis as he pushed through the crowd to find a light Sicilian mist falling on his forehead, the exploding lamp was simply an exploding lamp.

Remember those dogs I was talking about? The cues? While I was watching TV, I missed a few. Take a look: Steven is smiling, almost laughing. After all the punishment he’s received from my sister over the years, he’s developed quite the sadistic streak when it comes to other people getting their asses handed to them. Then there’s Matthew. God only knows what kind of sick and depraved penalties Delores has inflicted on that poor bastard, because he just looks scared. Kate, on the other hand, is staring at my hand like it’s a cockroach. That she wants to squash. And then she gets an idea—a wonderful, awful idea. If you look hard enough, you can see the light bulb go on above her head. She smiles and leaves the room. I missed all this the first time.

Life is beautiful and life is stupid. As long as you keep that in mind, and never give more weight to one than the other, the history of the galaxy, the history of a planet, the history of a person is a simple tune with lyrics flashed on-screen and a helpful, friendly bouncing disco ball of glittering, occasionally peaceful light to help you follow along. Cue the music. Cue the dancers. Cue tomorrow.

Its a good thing I'm here, big guy, because you have shit taste in friends." Okay, I said the last part intentionally, knowing how Aaron would react. And right on cue, Aaron said: "He's not my friend!" "Well, I guess that settles it, Nick. You're not going to be rebound guy because, despite your predictions of woe, Aaron and I aren't breaking up. I'd say that we'll see you around, but I doubt that'll happen since you don't even rate friend status.

Happiness is simply the absence of desire. When you observe a cue, but do not desire to change your state, you are content with the current situation. Happiness is not about the achievement of pleasure (which is joy or satisfaction), but about the lack of desire. It arrives when you have no urge to feel differently. Happiness is the state you enter when you no longer want to change your state. However, happiness is fleeting because a new desire always comes along. As Caed Budris says, “Happiness is the space between one desire being fulfilled and a new desire forming." Likewise, suffering is the space between craving a change in state and getting it.

Something is unfolding, being revealed to me. I see that there's a whole world of of girls and their doings that has been unknown to me, and that I can be part of without making any effort at all. I don't have to keep up with anyone, run as fast, aim as well, make loud explosive noises, decode messages, die on cue. I don't have to think about whether I do these things well, as well as a boy. All I have to do is sit on the floor and cut frying pans our of the Eaton's Catalogue with embroidery scissors, and say I've done it badly.

If you are observing someone you naturally dislike, or who reminds you of someone unpleasant in your past, you will tend to see almost any cue as unfriendly or hostile. You will do the opposite for people you like. In these exercises you must strive to subtract your personal preferences and prejudices about people.

The sun sank with a sob and darkness waded in from all horizons so that the sky contracted and there was no more light left in the world, when, at this very moment of annihilation, the moon, as though she had been waiting for her cue, sailed up the night.

You say your life is your own. But can you dare to ignore the chance that you are taking part in a gigantic drama under the orders of a divine Producer? Your cue may not come till the end of the play--it may be totally unimportant, a mere walking-on part, but upon it may hang the issues of the play if you do not give the cue to another player. The whole edifice may crumple. You as you, may not matter to anyone in the world, but you as a person in a particular place may matter unimaginably.

Playing nice" comes naturally when our neuroception detects safety and promotes physiological states that support social behavior. However, pro-social behavior will not occur when our neuroception misreads the environmental cues and triggers physiological states that support defensive strategies. After all, "playing nice" is not appropriate or adaptive behavior in dangerous or life-threatening situations. In these situations, humans - like other mammals - react with more primitive neurobiological defense systems. To create relationships, humans must subdue these defensive reactions to engage, attach, and form lasting social bonds. Humans have adaptive neurobehavioral systems for both pro-social and defensive behaviors.

I love how you look at me." [...] "And how's that?" I asked, blushing on cue. His lower lip curled in that mischievous way it did. "Like you're having a hard time deciding between my lips and this blueberry pie. And I know nothing comes between you and this pie." I giggled. "Very observant. Wonder which one will win?

I suppose you had to," Wes said when Phin went back to join him at the table. "Pretty much. She seduced me." "Yeah, right," Wes said. "She said, 'Please fix the kitchen drain,' and you interpreted that--" "She said, 'Fuck me.' " Phin put two balls on the table and picked up his cue. "I interpreted that to mean she wanted sex." "Oh." Wes picked up his cue. "That would have been my call, too." He squinted at the table. "Why would she have said that?" "On a guess? Because she wanted sex.

We repeatedly found that one text can change the whole dynamic of a budding relationship. ... When I spoke with Sherry Turkle about this, she said that texting, unlike an in-person conversation, is not a forgiving medium for mistakes. In a face-to-face conversation, people can read each other’s body language, facial expressions, and tones of voice. If you say something wrong, you have the cues to sense it and you have a moment to recover or rephrase before it makes a lasting impact. Even on the phone you can hear a change in someone’s voice or a pause to let you know how they are interpreting what you’ve said. In text, your mistake just sits there marinating on the other person’s screen, leaving a lasting record of your ineptitude and bozoness.

[I] threw open the door to find Rob sit­ting on the low stool in front of my book­case, sur­round­ed by card­board box­es. He was seal­ing the last one up with tape and string. There were eight box­es - eight box­es of my books bound up and ready for the base­ment! "He looked up and said, 'Hel­lo, dar­ling. Don't mind the mess, the care­tak­er said he'd help me car­ry these down to the base­ment.' He nod­ded to­wards my book­shelves and said, 'Don't they look won­der­ful?' "Well, there were no words! I was too ap­palled to speak. Sid­ney, ev­ery sin­gle shelf - where my books had stood - was filled with ath­let­ic tro­phies: sil­ver cups, gold cups, blue rosettes, red rib­bons. There were awards for ev­ery game that could pos­si­bly be played with a wood­en ob­ject: crick­et bats, squash rac­quets, ten­nis rac­quets, oars, golf clubs, ping-​pong bats, bows and ar­rows, snook­er cues, lacrosse sticks, hock­ey sticks and po­lo mal­lets. There were stat­ues for ev­ery­thing a man could jump over, ei­ther by him­self or on a horse. Next came the framed cer­tificates - for shoot­ing the most birds on such and such a date, for First Place in run­ning races, for Last Man Stand­ing in some filthy tug of war against Scot­land. "All I could do was scream, 'How dare you! What have you DONE?! Put my books back!' "Well, that's how it start­ed. Even­tu­al­ly, I said some­thing to the ef­fect that I could nev­er mar­ry a man whose idea of bliss was to strike out at lit­tle balls and lit­tle birds. Rob coun­tered with re­marks about damned blue­stock­ings and shrews. And it all de­gen­er­at­ed from there - the on­ly thought we prob­ably had in com­mon was, What the hell have we talked about for the last four months? What, in­deed? He huffed and puffed and snort­ed and left. And I un­packed my books.

Listen, I know there were days you wanted to die when the sky was so clear you’d stand obnoxious underneath it begging for stars to shoot you just so you could feel at home. I know about the ways you misplaced all the right words, stockpiled every important social cue you ever missed from the first time you learned you were wrong, waited to make it right once everyone stopped watching. I know you let them beat up your beauty in bed because redemption was still alive in you, howling relentless, gathering strength. Felt like ecstasy when they pounded it out of you in the hard dark. Those days of dead weather got all strung together and they spoke for you, wore you down to telling everyone here it was a good life so you could run back into the wails of your windfight. I know the parts of your past that haunt you the most are the days you weren’t being yourself, and I know that’s why most of your past haunts you. There were so many who found you out, and they were right. You were good. So un- numb.

Riley paused, turning back to face Jack. "Just so you know, we are gonna need some definite PDAs tonight. Think you can handle that?" There was irritation in Riley's voice, a subtle change, a certain stress. Jack imagined it was a manifestation of fear, and it made him feel better to think that. In answer Jack moved carefully past Riley, sliding a hand over the younger man's black silk shirt, his fingers brushing Riley's left nipple. He heard a hiss of indrawn breath as his hard thigh touched Riley briefly. "I can handle anything you need, Het-boy," he said, his voice low and growled. "Just follow my cues." Riley followed him to the top of the stairs, and Jack held out his hand. "Husband?" he smirked. Riley took his hand, and they started down the sweeping staircase. "Fuck you, asshole," Riley forced out behind a covering smile. "Not if I fuck you first," Jack said, fast and clear, smirking again as Riley stumbled on the next step.

Another key commitment for succeeding with this strategy is to support your commitment to shutting down with a strict shutdown ritual that you use at the end of the workday to maximize the probability that you succeed. In more detail, this ritual should ensure that every incomplete task, goal, or project has been reviewed and that for each you have confirmed that either (1) you have a plan you trust for its completion, or (2) it’s captured in a place where it will be revisited when the time is right. The process should be an algorithm: a series of steps you always conduct, one after another. When you’re done, have a set phrase you say that indicates completion (to end my own ritual, I say, “Shutdown complete”). This final step sounds cheesy, but it provides a simple cue to your mind that it’s safe to release work-related thoughts for the rest of the day.

Some writers are the kind of solo violinists who need complete silence to tune their instruments. Others want to hear every member of the orchestra—they’ll take a cue from a clarinet, from an oboe, even. I am one of those. My writing desk is covered in open novels. I read lines to swim in a certain sensibility, to strike a particular note, to encourage rigour when I’m too sentimental, to bring verbal ease when I’m syntactically uptight. I think of reading like a balanced diet; if your sentences are baggy, too baroque, cut back on fatty Foster Wallace, say, and pick up Kafka, as roughage. If your aesthetic has become so refined it is stopping you from placing a single black mark on white paper, stop worrying so much about what Nabokov would say; pick up Dostoyevsky, patron saint of substance over style.

We have all heard such stories of expert intuition: the chess master who walks past a street game and announces “White mates in three” without stopping, or the physician who makes a complex diagnosis after a single glance at a patient. Expert intuition strikes us as magical, but it is not. Indeed, each of us performs feats of intuitive expertise many times each day. Most of us are pitch-perfect in detecting anger in the first word of a telephone call, recognize as we enter a room that we were the subject of the conversation, and quickly react to subtle signs that the driver of the car in the next lane is dangerous. Our everyday intuitive abilities are no less marvelous than the striking insights of an experienced firefighter or physician—only more common. The psychology of accurate intuition involves no magic. Perhaps the best short statement of it is by the great Herbert Simon, who studied chess masters and showed that after thousands of hours of practice they come to see the pieces on the board differently from the rest of us. You can feel Simon’s impatience with the mythologizing of expert intuition when he writes: “The situation has provided a cue; this cue has given the expert access to information stored in memory, and the information provides the answer. Intuition is nothing more and nothing less than recognition.

What is embarrassment? In general, embarrassment is an emotional response to an innocent mistake. The major reason that some of us are embarrassment-prone is that we’ve been conditioned to set unrealistically high expectations for ourselves and to judge ourselves negatively when we can’t possibly meet those standards. A second reason that makes us susceptible to embarrassment is that we’ve been taught to take our cue in evaluating ourselves from what we assume (often erroneously) to be others’ opinions of us.

And the places she turns up in Jamaica are all the more curious. I remember being at sound-system dances and hearing everyone from Bob Marley Kenny Rogers (yes, Kenny Rogers) to Sade to Yellowman to Beenie Man being blasted at top volume while the crowd danced and drank up a storm. But once the selector (DJ in American parlance) began to play a Celine Dion song, the crowd went buck wild and some people started firing shots in the air.... I also remember always hearing Celine Dion blasting at high volume whenever I passed through volatile and dangerous neighborhoods, so much that it became a cue to me to walk, run or drive faster if I was ever in a neighborhood I didn't know and heard Celine Dion mawking over the airwaves.

In theory, taarof means putting others before yourself. In practice, it means when someone comes to your house, you have to offer them food; but since your guest is supposed to taarof, they have to refuse; and then you, the host, must taarof back, insisting that it's really no trouble at all, and that they absolutely must eat; and so on, until one party gets too bewildered and finally gives in... It's not an American Social Cue. When Mom met Dad's parents for the first time, they offered her a drink, which she politely declined- and that was that. She really did want something to drink, but she didn't know how to go about asking.

The game is a dominance game called I Must Impress This Woman. Failure makes the active player play harder. Wear a hunched back or a withered arm; you will then experience the invisibility of the passive player. I'm never impressed -- no woman ever is -- it's just a cue that you like me and I'm supposed to like that. If you really like me, maybe I can get you to stop. Stop; I want to talk to you! Stop; I want to see you! Stop; I'm dying and disappearing! SHE: Isn't it just a game? HE: Yes, of course. SHE: And if you play the game, it means you like me, doesn't it? HE: Of course. SHE: Then if it's just a game and you like me, you can stop playing. Please stop. HE: No. SHE: Then I won't play. HE: Bitch! You want to destroy me. I'll show you. (He plays harder) SHE: All right. I'm impressed. HE: You really are sweet and responsive after all. You've kept your femininity. You're not one of those hysterical feminist bitches who wants to be a man and have a penis. You're a woman. SHE: Yes. (She kills herself)

Donnelly subtly eyes them while facing us too. “Those mugs are bugging Beckett.” I can’t detect Beckett’s annoyance. But not a second later, he realigns the mugs in a neat row. Maximoff gesticulates from his chest to Sulli, speaking extremely fucking empathetically to his cousin. I skim him, a smile playing at my lips, and I take a swig of coffee. “He’s about to hug her.” On cue, Maximoff wraps his arms around his cousin, and she squeezes him back. Akara bounces his ball. “She’ll buy a Sagittarius something for me. Wait for it…” We watch Sulli scan the shelves and then veer to a display of zodiac jewelry. She plucks a silver Sagittarius keychain off a hook. Spending 24/7 with a person has this effect.

She could not have created this moment, these lovely faces, these candles flickering, the flash of the silverware, the fragrances of the food hanging over the table, the heads turning this way and that, the voices murmuring and laughing. She looked at Walter, who was so far away from her, all the way at the other end of the table, having a laugh with Andrea, who had a beautiful suit on, navy blue with a tiny waist and white collar and cuffs. As if on cue, Walter turned from Andrea and looked at Rosanna, and they agreed in that instant: something had created itself from nothing—a dumpy old house had been filled, if only for this moment, with twenty-three different worlds, each one of them rich and mysterious.

As children become increasingly less connected to adults, they rely more and more on each other; the whole natural order of things change. In the natural order of all mammalian cultures, animals or humans, the young stay under the wings of adults until they themselves reach adulthood. Immature creatures were never meant to bring one another to maturity. They were never meant to look to one another for primary nurturing, modelling, cue giving or mentoring. They are not equipped to give one another a sense of direction or values. As a result of today`s shift to this peer orientation, we are seeing the increasing immaturity, alienation, violence and precocious sexualization of North American Youth. The disruption of family life, rapid economic and social changes to human culture and relationships, and the erosion of stable communities are at the core of this shift.

I never knew I never knew that everything was falling through That everyone I knew was waiting on a cue To turn and run when all I needed was the truth But that's how it's got to be It's coming down to nothing more than apathy I'd rather run the other way than stay and see The smoke and who's still standing when it clears Everyone knows I'm in Over my head Over my head With eight seconds left in overtime She's on your mind She's on your mind Let's rearrange I wish you were a stranger I could disengage Just say that we agree and then never change Soften a bit until we all just get along But that's disregard Find another friend and you discard As you lose the argument in a cable car Hanging above as the canyon comes between Everyone knows I'm in Over my head Over my head With eight seconds left in overtime She's on your mind She's on your mind Everyone knows I'm in Over my head Over my head With eight seconds left in overtime She's on your mind She's on your ... And suddenly I become a part of your past I'm becoming the part that don't last I'm losing you and its effortless Without a sound we lose sight of the ground In the throw around Never thought that you wanted to bring it down I won't let it go down till we torch it ourselves And everyone knows I'm in Over my head Over my head With eight seconds left in overtime She's on your mind She's on your mind Everyone knows She's on your mind Everyone knows I'm in over my head I'm in over my head I'm over my... Everyone knows I'm in Over my head Over my head With eight seconds left in overtime She's on your mind She's on your mind.

You're just going to stand there?" I asked. Uriel folded his arms and tapped his chin with one fingertip. "Mmmm. It does seem that perhaps she deserves some form of aid. Perhaps if I'd had the presence of mind to see to it that some sort of agent had been sent to balance the scales, to giver her that one tiny bit of encouragement, that one flicker of inspiration that turned the tide..." He shook his head sadly. "Things might be different now." And, as if on cue, Mortimer Lindquist, ectomancer, limped out of the lower hallway and into the electrical-junction room, with Sir Stuart's shade at his right hand. Mort took a look around, his dark eyes intent, and then his gaze locked onto Molly. "Hey," he croaked. "You. Arrogant bitch ghost.

Prayer before Birth I am not yet born; O hear me. Let not the bloodsucking bat or the rat or the stoat or the club-footed ghoul come near me. I am not yet born, console me. I fear that the human race may with tall walls wall me, with strong drugs dope me, with wise lies lure me, on black racks rack me, in blood-baths roll me. I am not yet born; provide me With water to dandle me, grass to grow for me, trees to talk to me, sky to sing to me, birds and a white light in the back of my mind to guide me. I am not yet born; forgive me For the sins that in me the world shall commit, my words when they speak me, my thoughts when they think me, my treason engendered by traitors beyond me, my life when they murder by means of my hands, my death when they live me. I am not yet born; rehearse me In the parts I must play and the cues I must take when old men lecture me, bureaucrats hector me, mountains frown at me, lovers laugh at me, the white waves call me to folly and the desert calls me to doom and the beggar refuses my gift and my children curse me. I am not yet born; O hear me, Let not the man who is beast or who thinks he is God come near me. I am not yet born; O fill me With strength against those who would freeze my humanity, would dragoon me into a lethal automaton, would make me a cog in a machine, a thing with one face, a thing, and against all those who would dissipate my entirety, would blow me like thistledown hither and thither or hither and thither like water held in the hands would spill me. Let them not make me a stone and let them not spill me. Otherwise kill me.

What people look like, or, rather, the race they have been assigned or are perceived to belong to, is the visible cue to their caste. It is the historic flash card to the public of how they are to be treated, where they are expected to live, what kinds of positions they are expected to hold, whether they belong in this section of town or that seat in a boardroom, whether they should be expected to speak with authority on this or that subject, whether they will be administered pain relief in a hospital, whether their neighborhood is likely to adjoin a toxic waste site or to have contaminated water flowing from their taps, whether they are more or less likely to survive childbirth in the most advanced nation in the world, whether they may be shot by authorities with impunity.

I feel to that the gap between my new life in New York and the situation at home in Africa is stretching into a gulf, as Zimbabwe spirals downwards into a violent dictatorship. My head bulges with the effort to contain both worlds. When I am back in New York, Africa immediately seems fantastical – a wildly plumaged bird, as exotic as it is unlikely. Most of us struggle in life to maintain the illusion of control, but in Africa that illusion is almost impossible to maintain. I always have the sense there that there is no equilibrium, that everything perpetually teeters on the brink of some dramatic change, that society constantly stands poised for some spasm, some tsunami in which you can do nothing but hope to bob up to the surface and not be sucked out into a dark and hungry sea. The origin of my permanent sense of unease, my general foreboding, is probably the fact that I have lived through just such change, such a sudden and violent upending of value systems. In my part of Africa, death is never far away. With more Zimbabweans dying in their early thirties now, mortality has a seat at every table. The urgent, tugging winds themselves seem to whisper the message, memento mori, you too shall die. In Africa, you do not view death from the auditorium of life, as a spectator, but from the edge of the stage, waiting only for your cue. You feel perishable, temporary, transient. You feel mortal. Maybe that is why you seem to live more vividly in Africa. The drama of life there is amplified by its constant proximity to death. That’s what infuses it with tension. It is the essence of its tragedy too. People love harder there. Love is the way that life forgets that it is terminal. Love is life’s alibi in the face of death. For me, the illusion of control is much easier to maintain in England or America. In this temperate world, I feel more secure, as if change will only happen incrementally, in manageable, finely calibrated, bite-sized portions. There is a sense of continuity threaded through it all: the anchor of history, the tangible presence of antiquity, of buildings, of institutions. You live in the expectation of reaching old age. At least you used to. But on Tuesday, September 11, 2001, those two states of mind converge. Suddenly it feels like I am back in Africa, where things can be taken away from you at random, in a single violent stroke, as quick as the whip of a snake’s head. Where tumult is raised with an abruptness that is as breathtaking as the violence itself.

Brian came in heavy at that moment on his guitar, the rapid, high-pitched squeal ranging back and forth as his fingers flew along the frets. As the intro's tempo grew more rapid, Bekka heard Derek's subtle bass line as it worked its way in. After another few seconds Will came in, slow at first, but racing along to match the others' pace. When their combined efforts seemed unable to get any heavier, David jumped into the mix. As the sound got nice and heavy, Bekka began to rock back-and-forth onstage. In front of her, hundreds of metal-lovers began to jump and gyrate to their music. She matched their movements for a moment, enjoying the connection that was being made, before stepping over to the keyboard that had been set up behind her. Sliding her microphone into an attached cradle, she assumed her position and got ready. Right on cue, all the others stopped playing, throwing the auditorium into an abrupt silence. Before the crowd could react, however, Bekka's fingers began to work the keys, issuing a rhythm that was much softer and slower than what had been built up. The audience's violent thrash-dance calmed at that moment and they began to sway in response. Bekka smiled to herself. This is what she lived for.

Is she pleasing to the eye?" Gabriel went to an inset sideboard to pour himself a brandy. "She's bloody ravishing," he muttered. Looking more and more interested, his father asked, "What is the problem with her, then?" "She's a perfect little savage. Constitutionally incapable of guarding her tongue. Not to mention peculiar: She goes to balls but never dances, only sits in the corner. Two of the fellows I went drinking with last night said they'd asked her to waltz on previous occasions. She told one of them that a carriage horse had recently stepped on her foot, and she told the other that the butler had accidentally slammed her leg in the door." Gabriel took a swallow of brandy before finishing grimly, "No wonder she's a wallflower." Sebastian, who had begun to laugh, seemed struck by that last comment. "Ahhh," he said softly. "That explains it." He was silent for a moment, lost in some distant, pleasurable memory. "Dangerous creatures, wallflowers. Approach them with the utmost caution. They sit quietly in corners, appearing abandoned and forlorn, when in truth they're sirens who lure men to their downfall. You won't even notice the moment she steals the heart right out of your body- and then it's hers for good. A wallflower never gives your heart back." "Are you finished amusing yourself?" Gabriel asked, impatient with his father's flight of fancy. "Because I have actual problems to deal with." Still smiling, Sebastian reached for some chalk and applied it to the tip of his cue stick. "Forgive me. The word makes me a bit sentimental.

So,Batman,eh?" Effing St. Clair. I cross my arms and slouch into one of the plastic seats. I am so not in the mood for this.He takes the chair next to me and drapes a relaxed arm over the back of the empty seat on his other side. The man across from us is engrossed in his laptop,and I pretend to be engrossed in his laptop,too. Well,the back of it. St. Clair hums under his breath. When I don't respond,he sings quietly. "Jingle bells,Batman smells,Robin flew away..." "Yes,great,I get it.Ha ha. Stupid me." "What? It's just a Christmas song." He grins and continues a bit louder. "Batmobile lost a wheel,on the M1 motorway,hey!" "Wait." I frown. "What?" "What what?" "You're singing it wrong." "No,I'm not." He pauses. "How do you sing it?" I pat my coat,double-checking for my passport. Phew. Still there. "It's 'Jingle bells, Batman smells,Robin laid an egg'-" St. Clair snorts. "Laid an egg? Robin didn't lay an egg-" "'Batmobile lost a wheel,and the Joker got away.'" He stares at me for a moment,and then says with perfect conviction. "No." "Yes.I mean,seriously,what's up with the motorway thing?" "M1 motorway. Connects London to Leeds." I smirk. "Batman is American. He doesn't take the M1 motorway." "When he's on holiday he does." "Who says Batman has time to vacation?" "Why are we arguing about Batman?" He leans forward. "You're derailing us from the real topic.The fact that you, Anna Oliphant,slept in today." "Thanks." "You." He prods my leg with a finger. "Slept in." I focus on the guy's laptop again. "Yeah.You mentioned that." He flashes a crooked smile and shrugs, that full-bodied movement that turns him from English to French. "Hey, we made it,didn't we? No harm done." I yank out a book from my backpack, Your Movie Sucks, a collection of Roger Ebert's favorite reviews of bad movies. A visual cue for him to leave me alone. St. Clair takes the hint. He slumps and taps his feet on the ugly blue carpeting. I feel guilty for being so harsh. If it weren't for him,I would've missed the flight. St. Clair's fingers absentmindedly drum his stomach. His dark hair is extra messy this morning. I'm sure he didn't get up that much earlier than me,but,as usual, the bed-head is more attractive on him. With a painful twinge,I recall those other mornings together. Thanksgiving.Which we still haven't talked about.

I didn't have a choice." "Are you saying...What are you saying?" Is he...could he be talking about me? He runs a hand through his hair. I've never seen him this emotional before. He's always so controlled, so sure of himself. "I'm saying you're what I want, Emma. I'm saying I'm in love with you." He steps forward and lifts his hand to my cheek, blazing a line of fire with his fingertips as they trace down to my mouth. "How do you think it would make me feel to see you with Grom?" he whispers. "Like someone ripped my heart out and put it through Rachel's meat grinder, that's how. Probably worse. It would probably kill me. Emma, please don't cry." I throw my hands in the air. "Don't cry? Are you serious? Why did you come here, Galen? Did you think it would make me feel better to know that you do love me, but that it still won't work out? That I still have to mate with Grom for the greater good? Don't you tell me not to cry, Galen! I...c...c...can't h...h...help-" The waterworks soak me. Galen looks at me, hands by his side, helpless as a trapped crab. I'm bordering on hyperventilation, and pretty soon I'll start hiccupping. This is too much. His expression is so severe, it looks like he's in physical pain. "Emma," he breathes. "Emma, does this mean you feel the same way? Do you care for me at all?" I laugh, but it sounds sharper than I intended, because of a hiccup. "What does it matter how I feel, Galen? I think we pretty much covered why. No need to rehash things, right?" "It matters, Emma." He grabs my hand and pulls me to him again. "Tell me right now. Do you care for me?" "If you can't tell that I'm stupid in love with you, Galen, then you aren't a very good ambassador for the hum-" His mouth covers mine, cutting me off. This kiss isn't gentle like the first one. It's definitely not sweet. It's rough, demanding, searching. And disorienting. There's not a part of me that isn't melting against Galen, not a part that isn't combusting with his fevered touch. I accidentally moan into his lips. He takes it for his cue to lift me off my feet, to pull me up to his height for more leverage. I take his groan for my cue to kiss him harder. He ignores his cell phone ringing in his pocket. I ignore the rest of the universe. Even when headlights approach, I'm willing to overlook their intrusion and keep kissing. But, prince that he is, Galen is a little more refined than me at this moment. He gently pries his lips from mine and sets me down. His smile is both intoxicated and intoxicating. "We still need to talk." "Right," I say, but I'm shaking my head. He laughs. "I didn't come all the way to Atlantic City to make you cry." "I'm not crying." I lean into him again. He doesn't refuse my lips, but he doesn't do them justice either, planting a measly little kiss on them before stepping back.