Design House Quotes

I think there are two types of writers, the architects and the gardeners. The architects plan everything ahead of time, like an architect building a house. They know how many rooms are going to be in the house, what kind of roof they're going to have, where the wires are going to run, what kind of plumbing there's going to be. They have the whole thing designed and blueprinted out before they even nail the first board up. The gardeners dig a hole, drop in a seed and water it. They kind of know what seed it is, they know if planted a fantasy seed or mystery seed or whatever. But as the plant comes up and they water it, they don't know how many branches it's going to have, they find out as it grows. And I'm much more a gardener than an architect.

We need houses as we need clothes, architecture stimulates fashion. It’s like hunger and thirst — you need them both.

The problem with the designated driver program, it's not a desirable job, but if you ever get sucked into doing it, have fun with it. At the end of the night, drop them off at the wrong house.

Hey.” [Leo] squeezed her hand, though Hazel sensed nothing romantic in the gesture. “Machines are designed to work.” “Uh, what?” “I figure the universe is basically like a machine. I don’t know who made it, if it was the Fates, or the gods, or capital-G God, or whatever. But it chugs along the way it’s supposed to most of the time. Sure, little pieces break and stuff goes haywire once in a while, but mostly . . . things happen for a reason. Like you and me meeting.” “Leo Valdez,” Hazel marveled, “you’re a philosopher.

They would find this House of Hades. They'd take the Doors of Death. And by the gods, if Leo had to design a grabber arm long enough to snatch Percy and Annabeth out of Tartarus, then that's what he would do. Nemesis wanted him to wreak vengeance on Gaea? Leo would be happy to oblige. He was going to make Gaea sorry she had ever messed with Leo Valdez. "Yeah." He took one last look at the cityscape of Rome, turning bloodred in the sunset. "Festus, raise the sails. We've got some friends to save.

...we take comfort in the symmetries we find in life because they suggest a design where there is none.

These houses had been plunked down with an alarming randomness -- unevenly spaced, on crooked lines, like whoever had designed the place had said, "We'll just follow this cat, and wherever he sits down, we'll build something.

Myth makes Echo the subject of longing and desire. Physics makes Echo the subject of distance and design. Where emotion and reason are concerned both claims are accurate. And where there is no Echo there is no description of space or love. There is only science.

They kidded him, calling him Admiral, but for once Leo accepted the title. This was his ship. He hadn't come this far to be stopped. They would find this House of Hades. They'd take the Doors of Death. And by the gods, if Leo had to design a grabber arm long enough to snatch Percy and Annabeth out of Tartarus, then that's what he would do. Nemesis wanted to wreak havoc on Gaea? Leo would be happy to oblige. He was going to make Gaea sorry she ever messed with Leo Valdez. "Yeah," He took once last look at the cityscape of Rome, turning bloodred in the sunset. "Festus, raise the sails. We've got some friends to save.

The Revolutionary Hill Estates had not been designed to accommodate a tragedy. Even at night, as if on purpose, the development held no looming shadows and no gaunt silhouettes. It was invincibly cheerful, a toyland of white and pastel houses whose bright, uncurtained windows winked blandly through a dappling of green and yellow leaves … A man running down these streets in desperate grief was indecently out of place.

If I knew for a certainty that a man was coming to my house with the conscious design of doing me good, I should run for my life.

Children always forgive their mothers. That's the way God's designed them. He gives them two arms, two legs, and a heart that will cry 'mother' until the day it stops beating.

Those who think money can't buy happiness just don't know where to shop … People would be happier and healthier if they took more time off and spent it with their family and friends, yet America has long been heading in the opposite direction. People would be happier if they reduced their commuting time, even if it meant living in smaller houses, yet American trends are toward even larger houses and ever longer commutes. People would be happier and healthier if they took longer vacations even if that meant earning less, yet vacation times are shrinking in the United States, and in Europe as well. People would be happier, and in the long run and wealthier, if they bought basic functional appliances, automobiles, and wristwatches, and invested the money they saved for future consumption; yet, Americans and in particular spend almost everything they have – and sometimes more – on goods for present consumption, often paying a large premium for designer names and superfluous features.

That thing the nature of which is totally unknown to you is usually what you need to find, and finding it is a matter of getting lost. The word ‘lost’ comes from the old Norse ‘los’ meaning the disbanding of an army…I worry now that people never disband their armies, never go beyond what they know. Advertising, alarmist news, technology, incessant busyness, and the design of public and private life conspire to make it so. A recent article about the return of wildlife to suburbia described snow-covered yards in which the footprints of animals are abundant and those of children are entirely absent. Children seldom roam, even in the safest places… I wonder what will come of placing this generation under house arrest.

Tonight feels like a board game co-designed by M. C. Escher on a bender and Stephen King in a fever.

I would give a woman not more rights, but more privileges. Instead of sending her to seek such freedom as notoriously prevails in banks and factories, I would design specially a house in which she can be free.

The mind can only construct a new model of a house from the bricks of a previous design.

Have nothing in your house that you do not know to be useful, or believe to be beautiful"- 1834

In one universe, they are gorgeous, straight-teethed, long-legged, wrapped in designer fashions, and given sports cars on their sixteenth birthdays. Teacher smile at them and grade them on the curve. They know the first names of the staff. They are the Pride of the Trojans. Oops – I mean Pride of the Blue Devils. In Universe #2, they throw parties wild enough to attract college students. They worship the stink of Eau de Jocque. They rent beach houses in Cancún during Spring Break and get group-rate abortions before prom.

The idea of a Supreme Being who creates a world in which one creature is designed to eat another in order to subsist, and then pass a law saying, "Thou shalt not kill," is so monstrously, immeasurably, bottomlessly absurd that I am at a loss to understand how mankind has entertained or given it house room all this long.

Sometimes we’re on a collision course, and we just don’t know it. Whether it’s by accident or by design, there’s not a thing we can do about it. A woman in Paris was on her way to go shopping, but she had forgotten her coat - went back to get it. When she had gotten her coat, the phone had rung, so she’d stopped to answer it; talked for a couple of minutes. While the woman was on the phone, Daisy was rehearsing for a performance at the Paris Opera House. And while she was rehearsing, the woman, off the phone now, had gone outside to get a taxi. Now a taxi driver had dropped off a fare earlier and had stopped to get a cup of coffee. And all the while, Daisy was rehearsing. And this cab driver, who dropped off the earlier fare; who’d stopped to get the cup of coffee, had picked up the lady who was going to shopping, and had missed getting an earlier cab. The taxi had to stop for a man crossing the street, who had left for work five minutes later than he normally did, because he forgot to set off his alarm. While that man, late for work, was crossing the street, Daisy had finished rehearsing, and was taking a shower. And while Daisy was showering, the taxi was waiting outside a boutique for the woman to pick up a package, which hadn’t been wrapped yet, because the girl who was supposed to wrap it had broken up with her boyfriend the night before, and forgot. When the package was wrapped, the woman, who was back in the cab, was blocked by a delivery truck, all the while Daisy was getting dressed. The delivery truck pulled away and the taxi was able to move, while Daisy, the last to be dressed, waited for one of her friends, who had broken a shoelace. While the taxi was stopped, waiting for a traffic light, Daisy and her friend came out the back of the theater. And if only one thing had happened differently: if that shoelace hadn’t broken; or that delivery truck had moved moments earlier; or that package had been wrapped and ready, because the girl hadn’t broken up with her boyfriend; or that man had set his alarm and got up five minutes earlier; or that taxi driver hadn’t stopped for a cup of coffee; or that woman had remembered her coat, and got into an earlier cab, Daisy and her friend would’ve crossed the street, and the taxi would’ve driven by. But life being what it is - a series of intersecting lives and incidents, out of anyone’s control - that taxi did not go by, and that driver was momentarily distracted, and that taxi hit Daisy, and her leg was crushed.

My fear represented the failure of the human system. It is a sad truth of our creation: Something is amiss in our design, there are loose ends of our psychology that are simply not wrapped up. My fears were the dirty secrets of evolution. They were not provided for, and I was forced to construct elaborate temples to house them.

The campaign, on its face, was not designed to win anything.

If only everyone could know we’ve been created by and for God! If only we could all comprehend that we’re precious to Him, housing mirrored souls designed to reflect His glory.

Modernist design at large has housed the intellect and the eye, but it has left the body and the other senses, as well as our memories, imagination and dreams, homeless.

...we need tits and arse because they have got to be available to us; to be pawed, fucked, wanked over. Because we’re men? No. Because we’re consumers. Because those are things we like, things we intrinsically feel or have been conned into believing will give us value, release satisfaction. We value them so we need to at least have the illusion of their availability. For tits and arse read coke, crisps, speedboats, cars, houses, computers, designer labels, replica shirts. That’s why advertising and pornography are similar; they sell the illusion of availability and the non-consequence of consumption.

Mr. Guppy suspects everybody....of entertaining... Sinister designs upon him....he in the most ingenious manner takes infinite pains to counterplot, where there is no plot; and plays the deepest games of chess without any adversary

Well, yeah," Dovey said. "That's America. We watch shows about rich people's houses and their designer dresses and we drool. It's patriotic.

She paused before him with a smile which seemed at once designed to admit him to her familiarity, and to remind him of the restrictions it imposed.

Hate destroys, love builds: be a creator. Fear closes, love opens: be an advocate for life. Guilt stagnates, love permits: be a peaceful warrior. Anger takes away, love gives: be a foundation for life. A defeatist attitude makes its own bed while love has the power to design its very own house.

Everyone wants to be a God. We manufacture our own worlds, duping ourselves with things to escape the reality we call our lives. Drugs, alcohol, sex, work, school. Bigger houses, newer cars and designer clothes are the universes we invent to exert our god-like rule. We can't control the weather, but it's always a perfect seventy-two degrees in our central-air controlled worlds.

Happiness is a house with many rooms, but at its core is a hearth around which we gather with family, friends, the community, and sometimes even strangers to find the best part of ourselves.

Why can't you summon a command line and search your real-world home for 'Honda car keys,' and specify rooms in your house to search instead of folders or paths in your computer's home directory? It's a crippling design flaw in the real-world interface.

I'm trained as an architect; writing is like architecture. In buildings, there are design motifs that occur again and again, that repeat -- patterns, curves. These motifs help us feel comfortable in a physical space. And the same works in writing, I've found. For me, the way words, punctuation and paragraphs fall on the page is important as well -- the graphic design of the language. That was why the words and thoughts of Estha and Rahel, the twins, were so playful on the page ... I was being creative with their design. Words were broken apart, and then sometimes fused together. "Later" became "Lay. Ter." "An owl" became "A Nowl." "Sour metal smell" became "sourmetal smell." Repetition I love, and used because it made me feel safe. Repeated words and phrases have a rocking feeling, like a lullaby. They help take away the shock of the plot -- death, lives destroyed or the horror of the settings -- a crazy, chaotic, emotional house, the sinister movie theater.

[Public housing projects] are not lacking in natural leaders,' [Ellen Lurie, a social worker in East Harlem] says. 'They contain people with real ability, wonderful people many of them, but the typical sequence is that in the course of organization leaders have found each other, gotten all involved in each others' social lives, and have ended up talking to nobody but each other. They have not found their followers. Everything tends to degenerate into ineffective cliques, as a natural course. There is no normal public life. Just the mechanics of people learning what s going on is so difficult. It all makes the simplest social gain extra hard for these people.

Decisions lead to options, options to choices, choices to freedom. We all design out own reality, write our own script, build our own house...or prison...or coffin.

ERANNA TO SAPPHO O You wild adept at throwing! Like a spear by other things, I'd lain there beside my next of kin. Your strain flung me far. To where's beyond my knowing. None can bring me back again. Sisters think upon me as they twine, and the house is full of warm relation. I alone am out of the design, and I tremble like a supplication; for the lovely goddess all creation bowers in legend lives this life of mine. SAPPHO TO ERANNA With unrest I want to inundate you, want to brandish you, you vine-wreathed stave. Want, like death itself, to penetrate you and to pass you onwards like the grave to the All: to all these things that wait you.

Things you can buy with half a million dollars: a car that looks more like a space creature than a car. A designer platinum purse to carry a small dog. A small dog. A performance by your favorite musical artist for your birthday. A diamond-encrusted bottle of Dominican rum. A mansion. A yacht. A hundred acres of land. Houses, but not homes. All four years of college or beautician school & certificate. Five hundred flights to the Dominican Republic. A half million Dollar Store chess sets, with their accompanying boxes. A hundred thousand copies of Shakespeare's The Tempest. Apparently a father.

What about your family?" "Please. They have to tell me I'm a good designer. That's their job." Diana thought of her mother saying, I didn't expect you to win. "Not necessarily." "Oh man, do you have one of those though-love families? I just don't buy into that." "Why not?" Diana asked cautiously. "Because the whole world loves to tell us what we can't do, that we aren't good enough. The people in your own house should be on your side. It's the people who never learn the word impossible who make history, because they're the ones who keep trying.

Then he explained in a whisper that the plan was composed entirely of awesome. It was made and designed by the House of Awesome, from materials found in the deep awesome mines of Awesometania and it would be recorded in the Annals of Awesome - and nowhere else, because any other book would catch fire and explode from the awesome - and by its awesomeness it would be known from now until the crack of doom.

Success is not a stereotype. Success is not a Ferrari. Success is not an automobile. It’s not a house. It’s not a place. It’s not money in the bank. It’s not a million dollars. That’s not success. Success is the continual unfolding of the design of your own life and pulling it off. That’s what success is.

Follow the loglo outward, to where the growth is enfolded into the valleys and the canyons, and you find the land of the refugees. They have fled from the true America, the America of atomic bombs, scalpings, hip-hop, chaos theory, cement overshoes, snake handlers, spree killers, space walks, buffalo jumps, drive-bys, cruise missiles; Sherman's March, gridlock, motorcycle gangs, and bungee jumping. They have parallel-parked their bimbo boxes in identical computer-designed Burbclave street patterns and secreted themselves in symmetrical sheetrock shitholes with vinyl floors and ill-fitting woodwork and no sidewalks, vast house farms out in the loglo wilderness, a culture medium for a medium culture.

If I were the Devil . . . I mean, if I were the Prince of Darkness, I would of course, want to engulf the whole earth in darkness. I would have a third of its real estate and four-fifths of its population, but I would not be happy until I had seized the ripest apple on the tree, so I should set about however necessary to take over the United States. I would begin with a campaign of whispers. With the wisdom of a serpent, I would whisper to you as I whispered to Eve: “Do as you please.” “Do as you please.” To the young, I would whisper, “The Bible is a myth.” I would convince them that man created God instead of the other way around. I would confide that what is bad is good, and what is good is “square”. In the ears of the young marrieds, I would whisper that work is debasing, that cocktail parties are good for you. I would caution them not to be extreme in religion, in patriotism, in moral conduct. And the old, I would teach to pray. I would teach them to say after me: “Our Father, which art in Washington” . . . If I were the devil, I’d educate authors in how to make lurid literature exciting so that anything else would appear dull an uninteresting. I’d threaten T.V. with dirtier movies and vice versa. And then, if I were the devil, I’d get organized. I’d infiltrate unions and urge more loafing and less work, because idle hands usually work for me. I’d peddle narcotics to whom I could. I’d sell alcohol to ladies and gentlemen of distinction. And I’d tranquilize the rest with pills. If I were the devil, I would encourage schools to refine yound intellects but neglect to discipline emotions . . . let those run wild. I would designate an athiest to front for me before the highest courts in the land and I would get preachers to say “she’s right.” With flattery and promises of power, I could get the courts to rule what I construe as against God and in favor of pornography, and thus, I would evict God from the courthouse, and then from the school house, and then from the houses of Congress and then, in His own churches I would substitute psychology for religion, and I would deify science because that way men would become smart enough to create super weapons but not wise enough to control them. If I were Satan, I’d make the symbol of Easter an egg, and the symbol of Christmas, a bottle. If I were the devil, I would take from those who have and I would give to those who wanted, until I had killed the incentive of the ambitious. And then, my police state would force everybody back to work. Then, I could separate families, putting children in uniform, women in coal mines, and objectors in slave camps. In other words, if I were Satan, I’d just keep on doing what he’s doing. (Speech was broadcast by ABC Radio commentator Paul Harvey on April 3, 1965)

You may hang your walls with tapestry instead of whitewash or paper; or you may cover them with mosaic; or have them frescoed by a great painter: all this is not luxury, if it be done for beauty's sake, and not for show: it does not break our golden rule: Have nothing in your houses which you do not know to be useful or believe to be beautiful

I hadn't thought about it until just now, but the night Daniel rang our bell in the winter of 1970 was the end of November, the same time of year she died twenty-seven years later. I don't know what's that supposed to tell you; nothing, except that we take comfort in the symmetries we find in life because they suggest a design where there is none.

Let’s call it the scarcity diversion. Here’s the playbook. First, allow elites to hoard a resource like money or land. Second, pretend that arrangement is natural, unavoidable—or better yet, ignore it altogether. Third, attempt to address social problems caused by the resource hoarding only with the scarce resources left over. So instead of making the rich pay all their taxes, for instance, design a welfare state around the paltry budget you are left with when they don’t. Fourth, fail. Fail to drive down the poverty rate. Fail to build more affordable housing. Fifth, claim this is the best we can do. Preface your comments by saying, “In a world of scarce resources…” Blame government programs. Blame capitalism. Blame the other political party. Blame immigrants. Blame anyone you can except those who most deserve it. “Gaslighting” is not too strong a phrase to describe such pretense.

There is a Western phenomenon called the male midlife crisis. Very often it is heralded by divorce. What history might have done to you, you bring about on purpose: separation from woman and child. Don’t tell me that such men aren’t tasting the ancient flavors of death and defeat. In America, with divorce achieved, the midlifer can expect to be more recreational, more discretionary. He can almost design the sort of crisis he is going to have: motorbike, teenage girlfriend, vegetarianism, jogging, sports car, mature boyfriend, cocaine, crash diet, powerboat, new baby, religion, hair transplant. Over here, now, there’s no angling around for your male midlife crisis. It is brought to you and it is always the same thing. It is death.

You know how it is when some great king enters a large city and dwells in one of its houses; because of his dwelling in that single house, the whole city is honored, and enemies and robbers cease to molest it. Even so is it with the King of all; He has come into our country and dwelt in one body amidst the many, and in consequence the designs of the enemy against mankind have been foiled and the corruption of death, which formerly held them in its power, has simply ceased to be. For the human race would have perished utterly had not the Lord and Savior of all the Son of God, come among us to put an end to death.

Housing projects are a great metaphor for the government's relationship to poor folks: these huge islands built mostly in the middle of nowhere, designed to warehouse lives. People are still people, though, so we turned the projects into real communities, poor or not. We played in fire hydrants and had cookouts and partied, music bouncing off concrete walls. But even when we could shake off the full weight of those imposing buildings and try to just live, the truth of our lives and struggle was still invisible to the larger country. The rest of the country was freed of any obligation to claim us. Which was fine, because we weren't really claiming them, either.

Slowly what she composed with the new day was her own focus, to bring together body and mind. This was made with an effort, as if all the dissolutions and dispersions of her self the night before were difficult to reassemble. She was like an actress who must compose a face, an attitude to meet the day. The eyebrow pencil was no mere charcoal emphasis on blond eyebrows, but a design necessary to balance a chaotic asymmetry. Make up and powder were not simply applied to heighten a porcelain texture, to efface the uneven swellings caused by sleep, but to smooth out the sharp furrows designed by nightmares, to reform the contours and blurred surfaces of the cheeks, to erase the contradictions and conflicts which strained the clarity of the face’s lines, disturbing the purity of its forms. She must redesign the face, smooth the anxious brows, separate the crushed eyelashes, wash off the traces of secret interior tears, accentuate the mouth as upon a canvas, so it will hold its luxuriant smile. Inner chaos, like those secret volcanoes which suddenly lift the neat furrows of a peacefully ploughed field, awaited behind all disorders of face, hair, and costume, for a fissure through which to explode. What she saw in the mirror now was a flushed, clear-eyed face, smiling, smooth, beautiful. The multiple acts of composure and artifice had merely dissolved her anxieties; now that she felt prepared to meet the day, her true beauty emerged which had been frayed and marred by anxiety.

There is no odor so bad as that which arises from goodness tainted. It is human, it is divine, carrion. If I knew for a certainty that a man was coming to my house with the conscious design of doing me good, I should run for my life, as from that dry and parching wind of the African deserts called the simoom, which fills the mouth and nose and ears and eyes with dust till you are suffocated, for fear that I should get some of his good done to me, - some of its virus mingled with my blood. No, -in this case I would rather suffer evil the natural way.

She slammed through the world, a tornado in the form of a girl, and left a trail of destruction behind her. That’s what she’d been like at seventeen, anyway. Maybe becoming a supermodel and fashion designer had changed that, but it seemed as impossible as switching out the bones of your skeleton.

...I continued to sit there hour after hour watching the unrelenting rain slosh against the glass, thinking of our life together, Lotte's and mine, how everything in it was designed to give a sense of permanence, the chair against the wall that was there when we went to sleep and there again when we awoke, the little habits that quoted from the day before and predicted the day to come, though in truth it was all just an illusion, just as solid matter is an illusion, just as our bodies are an illusion, pretending to be one thing when really they are millions upon millions of atoms coming and going, some arriving while others are leaving us forever, as if each of us were only a great train station, only not even that since at least in a train station the stones and the tracks and the glass roof stay still while everything else rushes through it, no, it was worse than that, more like a giant empty field where every day a circus erected and dismantled itself, the whole thing from top to bottom, but never the same circus, so what hope did we really have of ever making sense of ourselves, let alone one another?

For us to deem a work of architecture elegant, it is hence not enough that it look simple: we must feel that the simplicity it displays has been hard won, that it flows from the resolution of demanding technical or natural predicament. Thus we call the Shaker staircase in Pleasant Hill elegant because we know--without ever having constructed one ourselves--that a staircase is a site complexity, and that combinations of treads, risers and banisters rarely approach the sober intelligibility of the Sharkers' work. We deem a modern Swiss house elegant because we not how seamlessly its windows have been joined to their concrete walls, and how neatly the usual clutter of construction has been resolved away. We admire starkly simple works that we intuit would, without immense effort, have appeared very complicated. (p 209)

More fantastic still were his stories about life in the Welsh children’s home. It was an enchanted place, he said, designed to keep kids safe from the monsters, on an island where the sun shined every day and nobody ever got sick or died. Everyone lived together in a big house that was protected by a wise old bird—or so the story went. As I got older, though, I began to have doubts.

Almost as an article of faith, some individuals believe that conspiracies are either kooky fantasies or unimportant aberrations. To be sure, wacko conspiracy theories do exist. There are people who believe that the United States has been invaded by a secret United Nations army equipped with black helicopters, or that the country is secretly controlled by Jews or gays or feminists or black nationalists or communists or extraterrestrial aliens. But it does not logically follow that all conspiracies are imaginary. Conspiracy is a legitimate concept in law: the collusion of two or more people pursuing illegal means to effect some illegal or immoral end. People go to jail for committing conspiratorial acts. Conspiracies are a matter of public record, and some are of real political significance. The Watergate break-in was a conspiracy, as was the Watergate cover-up, which led to Nixon’s downfall. Iran-contra was a conspiracy of immense scope, much of it still uncovered. The savings and loan scandal was described by the Justice Department as “a thousand conspiracies of fraud, theft, and bribery,” the greatest financial crime in history. Often the term “conspiracy” is applied dismissively whenever one suggests that people who occupy positions of political and economic power are consciously dedicated to advancing their elite interests. Even when they openly profess their designs, there are those who deny that intent is involved. In 1994, the officers of the Federal Reserve announced they would pursue monetary policies designed to maintain a high level of unemployment in order to safeguard against “overheating” the economy. Like any creditor class, they preferred a deflationary course. When an acquaintance of mine mentioned this to friends, he was greeted skeptically, “Do you think the Fed bankers are deliberately trying to keep people unemployed?” In fact, not only did he think it, it was announced on the financial pages of the press. Still, his friends assumed he was imagining a conspiracy because he ascribed self-interested collusion to powerful people. At a World Affairs Council meeting in San Francisco, I remarked to a participant that U.S. leaders were pushing hard for the reinstatement of capitalism in the former communist countries. He said, “Do you really think they carry it to that level of conscious intent?” I pointed out it was not a conjecture on my part. They have repeatedly announced their commitment to seeing that “free-market reforms” are introduced in Eastern Europe. Their economic aid is channeled almost exclusively into the private sector. The same policy holds for the monies intended for other countries. Thus, as of the end of 1995, “more than $4.5 million U.S. aid to Haiti has been put on hold because the Aristide government has failed to make progress on a program to privatize state-owned companies” (New York Times 11/25/95). Those who suffer from conspiracy phobia are fond of saying: “Do you actually think there’s a group of people sitting around in a room plotting things?” For some reason that image is assumed to be so patently absurd as to invite only disclaimers. But where else would people of power get together – on park benches or carousels? Indeed, they meet in rooms: corporate boardrooms, Pentagon command rooms, at the Bohemian Grove, in the choice dining rooms at the best restaurants, resorts, hotels, and estates, in the many conference rooms at the White House, the NSA, the CIA, or wherever. And, yes, they consciously plot – though they call it “planning” and “strategizing” – and they do so in great secrecy, often resisting all efforts at public disclosure. No one confabulates and plans more than political and corporate elites and their hired specialists. To make the world safe for those who own it, politically active elements of the owning class have created a national security state that expends billions of dollars and enlists the efforts of vast numbers of people.

We call it hypocrisy, but it is schizophrenia, a modest ranch-house life with Draconian military adventures; a land of equal opportunity where a white culture sits upon a Black; a horizontal community of Christian love and a vertical hierarchy of churches--the cross was well-designed! a land of family, a land of illicit heat; a politics of principle, a politics of property; nation of mental hygiene with movies and TV reminiscent of a mental pigpen; patriots with a detestation of obscenity who pollute their rivers; citizens with a detestation of government control who cannot bear any situation not controlled. The list must be endless, the comic profits are finally small--the society was able to stagger on like a 400-lb. policeman walking uphill because living in such an unappreciated and obese state it did not at least have to explode in schizophrenia--life went on. Boys could go patiently to church at home and wait their turn to burn villages in Vietnam.

Outside the moon had come out. It was full, a disk of bright silver. I saw a large, dramatic spider web on my back porch that must have been made while I was in the house with my mind in turmoil; the spider was just finishing the outer circle of it. The moon illuminated the strands of the big taut web so that it seemed to be made of pure light. It was dazzling, geometric and mysterious, and it calmed me just to stop and look at it, at the elaboration and power of life that could make such a design.

In one universe, they are gorgeous, straight-teethed, long-legged, wrapped in designer fashions, and given sport cars on their sixteenth birthdays, Teachers smile at them and grade them on the curve. They know the first names of the staff. They are the pride of the school. In Universe #2, they throw parties wild enough to attract college students. They worship stink of Eau de Jocque. They rent beach houses in Cancun during Spring Break and get group-rate abortions before the prom. But they are so cute. And they cheer on our boys, inciting them to violence and, we hope, victory. They’re are our role models- the Girls Who Have It All. I bet none of them ever stutter or screw up or feel like their brains are dissolving into marshmallow fluff.

Sorrow and profound fatigue are at the heart of Dewey's silence. It had been his ambition to learn "exactly what happened in that house that night." Twice now he'd been told, and the two versions were very much alike, the only serious discrepancy being that Hickock attributed all four deaths to Smith, while Smith contended that Hickock had killed the two women. But the confessions, though they answered questions of how and why, failed to satisfy his sense of meaningful design. The crime was a psychological accident, virtually an impersonal act; the victims might as well have been killed by lightning. Except for one thing: they had experienced prolonged terror, they had suffered. And Dewey could not forget their sufferings. Nonetheless, he found it possible to look at the man beside him without anger - with, rather, a measure of sympathy - for Perry Smith's life had been no bed of roses but pitiful, an ugly and lonely progress toward one mirage and then another. Dewey's sympathy, however, was not deep enough to accommodate either forgiveness or mercy. He hoped to see Perry and his partner hanged - hanged back to back.

I hadn't realized how supremely shit-housed I was until we stumbled into our room at the Embassy Suites. You ever been so drunk you forgot that you have to shit until the last minute? Well I was at that stage. I nearly had my pants completely off when SlingBlade snaked past me and got into the toilet first. Fine, I go get out of my bar clothes and change into a t-shirt and pink Gap boxers to sleep in. I wait patiently for about three minutes, then I start pounding on the door, screaming at him that I am going to shit on his bed if he doesn't get out of there. A short time later he opens the door laughing his ass off, and says, "That was perhaps the most prodigious shit ever. I just put that toilet into therapy." I take a gander into the bathroom. It looks like Revelations. The toilet is overflowing, brown shit water is spilling out all over the bathroom floor, and the tank is making demonic gurgling noises. THE MOTHERFUCKER CLOGGED UP A HOTEL TOILET! Hotel toilets are industrial size; they are designed to be able to accommodate repeated elephant-sized shits, and their ram-jet engine flushes generate enough force to suck down a human infant, yet skinny ass 170-pound SlingBlade completely killed ours.

In his original design the solicitor's clerk seemed to have forgotten the need for a staircase to link both the floors, and what he had provided had the appearance of an afterthought. Doorways had been punched in the eastern wall and a rough wooden staircase - heavy planks on an uneven frame with one warped unpainted banister, the whole covered with a sloping roof of corrugated iron - hung precariously at the back of the house, in striking contrast with the white-pointed brickwork of the front, the white woodwork and the frosted glass of doors and windows. For this house Mr.Biswas had paid five thousand five hundred dollars.

In his corner of West London, and in his self-preoccupied daily round, it was easy for Clive to think of civilization as the sum of all the arts, along with design, cuisine, good wine, and the like. But now it appeared that this was what it really was- square miles of meager modern houses whose principal purpose was the support of TV aerials and dishes; factories producing worthless junk to be advertised on the televisions and, in dismal lots, lorries queuing to distribute it, and everywhere else, roads and the tyranny of traffic.

They walked in silence through the little streets of Chinatown. Women from all over the world smiled at them from open windows, stood on the doorsteps inviting them in. Some of the rooms were exposed to the street. Only a curtain concealed the beds. One could see couples embracing. There were Syrian women wearing their native costume, Arabian women with jewelry covering their half-naked bodies, Japanese and Chinese women beckoning slyly, big African women squatting in circles, chatting together. One house was filled with French whores wearing short pink chemises and knitting and sewing as if they were at home. They always hailed the passers-by with promises of specialities. The houses were small, dimly lit, dusty, foggy with smoke, filled with dusky voices, the murmurs of drunkards, of lovemaking. The Chinese adorned the setting and made it more confused with screens and curtains, lanterns, burning incense, Buddhas of gold. It was a maze of jewels, paper flowers, silk hangings, and rugs, with women as varied as the designs and colors, inviting men who passed by to sleep with them.

He said, I won't have one of those things in the house. It gives a young girl a false notion of beauty, not to mention anatomy. If a real woman was built like that she'd fall on her face. She said, If we don't let her have one like all the other girls she'll feel singled out. It'll become an issue. She'll long for one and she'll long to turn into one. Repression breeds sublimation. You know that. He said, It's not just the pointy plastic tits, it's the wardrobes. The wardrobes and that stupid male doll, what's his name, the one with the underwear glued on. She said, Better to get it over with when she's young. He said, All right but don't let me see it. She came whizzing down the stairs, thrown like a dart. She was stark naked. Her hair had been chopped off, her head was turned back to front, she was missing some toes and she'd been tattooed all over her body with purple ink, in a scrollwork design. She hit the potted azalea, trembled there for a moment like a botched angel, and fell. He said, I guess we're safe.

I sometimes wish my childhood had been less obsessed with the question of why we are here. But that must be the question of any childhood. To write about your mother and father is to tell the story of your own close call, to count all the ways you never should have existed. To write about home is to write about how you dropped from space, dragging ellipses behind you like a comet, and how you entered your country and state and city, and finally your four-cornered house, and finally your mother's body and finally your own. From the galaxy to the grain and back again. From the fingerprint to the grand design. Despite all the conspiracies of the universe, we are here; every moment we are here we arrive.

Exploitation thrives when it comes to the essentials, like housing and food. Most of the 12 million Americans who take out high-interest payday loans do so not to buy luxury items or cover unexpected expenses but to pay the rent or gas bill, buy food, or meet other regular expenses. Payday loans are but one of many financial techniques—from overdraft fees to student loans for for-profit colleges—specifically designed to pull money from the pockets of the poor.46 If the poor pay more for their housing, food, durable goods, and credit, and if they get smaller returns on their educations and mortgages (if they get returns at all), then their incomes are even smaller than they appear. This is fundamentally unfair.

This was a world unto itself that lay between the Canadian River and the Rio Grande as if it had been designated on the day that God made it as the place where men would come to fight and kill one another. The Texans had brought their women and their children and their slaves right into the middle of the war land and expected to set up houses and fields and herds and live as if they were in Maryland, and were surprised on moonlit nights like this when Comanche arrows sang through the air in the dark.

Imagine if all the car makers in the world were to sit down together to design one extremely simple, embellishment-free, functional car that was made from the most environmentally-sustainable materials, how cheap to buy and humanity-and-Earth-considerate that vehicle would be. And imagine all the money that would be saved by not having different car makers duplicating their efforts, competing and trying to out-sell each other, and overall how much time that would liberate for all those people involved in the car industry to help those less fortunate and suffering in the world. Likewise, imagine when each house is no longer designed to make an individualised, ego-reinforcing, status-symbol statement for its owners and all houses are constructed in a functionally satisfactory, simple way, how much energy, labour, time and expense will be freed up to care for the wellbeing of the less fortunate and the planet.

Like every girl, I only need to look up and a little to the right of me to see the hysteria that belongs to me, the one that hangs om a hook like an empty jacket and flutters with disappointment that I cannot wear her all the time. I call her my hysteric, and this personal hysteric of mine is designer made (though I'm not sure who made her), flattering and comfortable, attractive even, if you're around people who like that sort of thing. She is not anyone, my hysteric; she is blank, electricity dancing around a filament, singing to kill.

By elevating physical violence over the other facets of a battered woman’s experience,” law professor Leigh Goodmark wrote in 2004, “the legal system sets the standard by which the stories of battered women are judged. If there is no [legally designated] assault, she is not a victim, regardless of how debilitating her experience has been, how complete her isolation, or how horrific the emotional abuse she has suffered. And by creating this kind of myopia about the nature of domestic violence, the legal system does battered women a grave injustice.

But usually not. Usually she thinks of the path to his house, whether deer had eaten the tops of the fiddleheads, why they don't eat the peppermint saprophytes sprouting along the creek; or she visualizes the approach to the cabin, its large windows, the fuchsias in front of it where Anna's hummingbirds always hover with dirty green plumage and jeweled throats. Sometimes she thinks about her dream, the one in which her mother wakes up with no hands. The cabin smells of oil paint, but also of pine. The painter's touch is sexual and not sexual, as she herself is....When the memory of that time came to her, it was touched by strangeness because it formed no pattern with the other events in her life. It lay in her memory like one piece of broken tile, salmon-coloured or the deep green of wet leaves, beautiful in itself but unusable in the design she was making

There was music from my neighbor's house through the summer nights. In his blue gardens men and girls came and went like moths among the whisperings and the champagne and the stars. At high tide in the afternoon I watched his guests diving from the tower of his raft, or taking the sun on the hot sand of his beach while his two motor-boats slit the waters of the Sound, drawing aquaplanes over cataracts of foam. On week-ends his Rolls-Royce became an omnibus, bearing parties to and from the city between nine in the morning and long past midnight, while his station wagon scampered like a brisk yellow bug to meet all trains. And on Mondays eight servants, including an extra gardener, toiled all day with mops and scrubbing-brushes and hammers and garden-shears, repairing the ravages of the night before. Every Friday five crates of oranges and lemons arrived from a fruiterer in New York--every Monday these same oranges and lemons left his back door in a pyramid of pulpless halves. There was a machine in the kitchen which could extract the juice of two hundred oranges in half an hour if a little button was pressed two hundred times by a butler's thumb. At least once a fortnight a corps of caterers came down with several hundred feet of canvas and enough colored lights to make a Christmas tree of Gatsby's enormous garden. On buffet tables, garnished with glistening hors-d'oeuvre, spiced baked hams crowded against salads of harlequin designs and pastry pigs and turkeys bewitched to a dark gold. In the main hall a bar with a real brass rail was set up, and stocked with gins and liquors and with cordials so long forgotten that most of his female guests were too young to know one from another. By seven o'clock the orchestra has arrived, no thin five-piece affair, but a whole pitful of oboes and trombones and saxophones and viols and cornets and piccolos, and low and high drums. The last swimmers have come in from the beach now and are dressing up-stairs; the cars from New York are parked five deep in the drive, and already the halls and salons and verandas are gaudy with primary colors, and hair shorn in strange new ways, and shawls beyond the dreams of Castile. The bar is in full swing, and floating rounds of cocktails permeate the garden outside, until the air is alive with chatter and laughter, and casual innuendo and introductions forgotten on the spot, and enthusiastic meetings between women who never knew each other's names. The lights grow brighter as the earth lurches away from the sun, and now the orchestra is playing yellow cocktail music, and the opera of voices pitches a key higher. Laughter is easier minute by minute, spilled with prodigality, tipped out at a cheerful word. The groups change more swiftly, swell with new arrivals, dissolve and form in the same breath; already there are wanderers, confident girls who weave here and there among the stouter and more stable, become for a sharp, joyous moment the centre of a group, and then, excited with triumph, glide on through the sea-change of faces and voices and color under the constantly changing light. Suddenly one of the gypsies, in trembling opal, seizes a cocktail out of the air, dumps it down for courage and, moving her hands like Frisco, dances out alone on the canvas platform. A momentary hush; the orchestra leader varies his rhythm obligingly for her, and there is a burst of chatter as the erroneous news goes around that she is Gilda Gray's understudy from the FOLLIES. The party has begun.

It’s not the drug that causes the junkie it’s the laws that causes the junkie because of course the drug laws means that he can’t go and get help because he is afraid of being arrested. He also can’t have a normal life because the war on drugs has made drugs so expensive and has made drug contracts unenforceable which means they can only be enforced through criminal violence. It becomes so profitable to sell drugs to addicts that the drug dealers have every incentive to get people addicted by offering free samples and to concentrate their drug to the highest possible dose to provoke the greatest amount of addiction as possible. Overall it is a completely staggering and completely satanic human calamity. It is the new gulag and in some ways much more brutal than the soviet gulag. In the soviet gulags there was not a huge prison rape problem and in this situation your life could be destroyed through no fault of your own through sometimes, no involvement of your own and the people who end up in the drug culture are walled off and separated as a whole and thrown into this demonic, incredibly dangerous, underworld were the quality of the drugs can’t be verified. Were contracts can’t be enforced except through breaking peoples kneecaps and the price of drugs would often led them to a life of crime. People say “well, I became a drug addict and I lost my house, family, and my job and all that.” It’s not because you became a drug addict but, because there is a war on drugs which meant that you had to pay so much for the drugs that you lost your house because you couldn't go and find help or substitutes and ended up losing your job. It’s all nonsense. The government can’t keep drugs out of prisons for heaven’s sakes. The war on drugs is not designed to be won. Its designed to continue so that the government can get the profits of drug running both directly through the CIA and other drug runners that are affiliated or through bribes and having the power of terrorizing the population. To frame someone for murder is pretty hard but to palm a packet of cocaine and say that you found it in their car is pretty damn easy and the government loves having that power." -Stefan Molyneux

Tenants able to pay their rent in full each month could take advantage of legal protections designed to keep their housing safe and decent. Not only could they summon a building inspector without fear of eviction, but they also had the right to withhold rent until certain repairs were made.12 But when tenants fell behind, these protections dissolved. Tenants in arrears were barred from withholding or escrowing rent; and they tempted eviction if they filed a report with a building inspector. It was not that low-income renters didn’t know their rights. They just knew those rights would cost them.

No surprises" is the motto of the franchise ghetto, its Good Housekeeping seal, subliminally blazoned on every sign and logo that make up the curves and grids of light that outline the Basin. The people of America, who live in the world's most surprising and terrible country, take comfort in that motto. Follow the loglo outward, to where the growth is enfolded into the valleys and the canyons, and you find the land of the refugees. They have fled from the true America, the America of atomic bombs, scalpings, hip-hop, chaos theory, cement overshoes, snake handlers, spree killers, space walks, buffalo jumps, drive-bys, cruise missiles, Sherman's March, gridlock, motorcycle gangs, and bun-gee jumping. They have parallel-parked their bimbo boxes in identical computer-designed Burbclave street patterns and secreted themselves in symmetrical sheetrock shitholes with vinyl floors and ill-fitting woodwork and no sidewalks, vast house farms out in the loglo wilderness, a culture medium for a medium culture. The only ones left in the city are street people, feeding off debris; immigrants, thrown out like shrapnel from the destruction of the Asian powers; young bohos; and the technomedia priesthood of Mr. Lee's Greater Hong Kong. Young smart people like Da5id and Hiro, who take the risk of living in the city because they like stimulation and they know they can handle it.

The gravel road widened into a large turnaround where three similar looking and designed brothels sat waiting for customers. They were called Sheila's Front Porch, Tawny's High Five Ranch and Miss Delilah's House of Holies. "Nice," Rachel said as we surveyed the scene. "why are these places always named after women -- as if women actually own them?" "You got me. I guess Mister Dave's House of Holies wouldn't go over so well with the guys." Rachel smiled. "You're right. I guess it's a shrewd move. Name a place of female degradation and slavery after a female and it doesn't sound so bad, does it? It's packaging.

You’re sure you want to do this,” Galen says, eyeing me like I’ve grown a tiara of snakes on my head. “Absolutely.” I unstrap the four-hundred-dollar silver heels and spike them into the sand. When he starts unraveling his tie, I throw out my hand. “No! Leave it. Leave everything on.” Galen frowns. “Rachel would kill us both. In our sleep. She would torture us first.” “This is our prom night. Rachel would want us to enjoy ourselves.” I pull the thousand-or-so bobby pins from my hair and toss them in the sand. Really, both of us are right. She would want us to be happy. But she would also want us to stay in our designer clothes. Leaning over, I shake my head like a wet dog, dispelling the magic of hairspray. Tossing my hair back, I look at Galen. His crooked smile almost melts me where I stand. I’m just glad to see a smile on his face at all. The last six months have been rough. “Your mother will want pictures,” he tells me. “And what will she do with pictures? There aren’t exactly picture frames in the Royal Caverns.” Mom’s decision to mate with Grom and live as his queen didn’t surprise me. After all, I am eighteen years old, an adult, and can take care of myself. Besides, she’s just a swim away. “She keeps picture frames at her house though. She could still enjoy them while she and Grom come to shore to-“ “Okay, ew. Don’t say it. That’s where I draw the line.” Galen laughs and takes off his shoes. I forget all about Mom and Grom. Galen, barefoot in the sand, wearing an Armani tux. What more could a girl ask for? “Don’t look at me like that, angelfish,” he says, his voice husky. “Disappointing your grandfather is the last thing I want to do.” My stomach cartwheels. Swallowing doesn’t help. “I can’t admire you, even from afar?” I can’t quite squeeze enough innocence in there to make it believable, to make it sound like I wasn’t thinking the same thing he was. Clearing his throat, he nods. “Let’s get on with this.” He closes the distance between us, making foot-size potholes with his stride. Grabbing my hand, he pulls me to the water. At the edge of the wet sand, just out of reach of the most ambitious wave, we stop. “You’re sure?” he says again. “More than sure,” I tell him, giddiness swimming through my veins like a sneaking eel. Images of the conference center downtown spring up in my mind. Red and white balloons, streamers, a loud, cheesy DJ yelling over the starting chorus of the next song. Kids grinding against one another on the dance floor to lure the chaperones’ attention away from a punch bowl just waiting to be spiked. Dresses spilling over with skin, matching corsages, awkward gaits due to six-inch heels. The prom Chloe and I dreamed of. But the memories I wanted to make at that prom died with Chloe. There could never be any joy in that prom without her. I couldn’t walk through those doors and not feel that something was missing. A big something. No, this is where I belong now. No balloons, no loud music, no loaded punch bowl. Just the quiet and the beach and Galen. This is my new prom. And for some reason, I think Chloe would approve.

In cases like this, I recommend that my clients make a personal altar in a corner of their house. Although I use the word “altar,” there is no need to worry about the direction it faces or the design. Just make a corner that is shrine-like. I recommend the top shelf in a bookcase because locating it above eye level makes it more shrine-like. One theme underlying my method of tidying is transforming the home into a sacred space, a power spot filled with pure energy. A comfortable environment, a space that feels good to be in, a place where you can relax—these are the traits that make a home a power spot. Would you rather live in a home like this or in one that resembles a storage shed? The answer, I hope, is obvious.

Now Fëanor's heart was still bitter at his humiliation before Mandos, and he looked at Melkor in silence, pondering if indeed he might yet trust him so far as to aid him in his flight. And Melkor, seeing that Fëanor wavered, and knowing the the Silmarils held his heart in thrall, said at last: 'Here is a strong place, and well guarded; but think not that the Silmarils will lie safe in any treasury within the realm of the Valar!' But his cunning overreached his aim; his words touched too deep, and awoke a fire more fierce than he designed; and Fëanor looked upon Melkor with eyes that burned through his fair semblance and pierced the cloaks of his mind, perceiving his fierce lust for the Silmarils. Then hate overcome Fëanor's fear, and he cursed Melkor and bade him be gone, saying: 'Get thee gone from my gate, thou jail-crow of Mandos!' And he shut the doors of his house in the face of the mightiest of the dwellers of Eä.

How many were the aquarelles she painted for me; what a revelation it was when she showed me the lilac tree that grows out of mixed blue and red! Sometimes, in our St Petersburg house, from a secret compartment in the wall of her dressing room (and my birth room), she would produce a mass of jewelry for my bedtime amusement. I was very small then, and those flashing tiaras and chokers and rings seemed to me hardly inferior in mystery and enchantment to the illumination in the city during imperial fêtes, when, in the padded stillness of a frosty night, giant monograms, crowns, and other armorial designs, made of coloured electric bulbs - sapphire, emerald, ruby - glowed with a kind of charmed constraint above snow-lined cornices on housefronts along residential streets.

THE FAIR HAD A POWERFUL and lasting impact on the nation’s psyche, in ways both large and small. Walt Disney’s father, Elias, helped build the White City; Walt’s Magic Kingdom may well be a descendant. Certainly the fair made a powerful impression on the Disney family. It proved such a financial boon that when the family’s third son was born that year, Elias in gratitude wanted to name him Columbus. His wife, Flora, intervened; the baby became Roy. Walt came next, on December 5, 1901. The writer L. Frank Baum and his artist-partner William Wallace Denslow visited the fair; its grandeur informed their creation of Oz. The Japanese temple on the Wooded Island charmed Frank Lloyd Wright, and may have influenced the evolution of his “Prairie” residential designs. The fair prompted President Harrison to designate October 12 a national holiday, Columbus Day, which today serves to anchor a few thousand parades and a three-day weekend. Every carnival since 1893 has included a Midway and a Ferris Wheel, and every grocery store contains products born at the exposition. Shredded Wheat did survive. Every house has scores of incandescent bulbs powered by alternating current, both of which first proved themselves worthy of large-scale use at the fair; and nearly every town of any size has its little bit of ancient Rome, some beloved and be-columned bank, library or post office. Covered with graffiti, perhaps, or even an ill-conceived coat of paint, but underneath it all the glow of the White City persists. Even the Lincoln Memorial in Washington can trace its heritage to the fair.

What will be lost, and what saved, of our civilization probably lies beyond our powers to decide. No human group has ever figured out how to design its future. That future may be germinating today not in a boardroom in London or an office in Washington or a bank in Tokyo, but in some antic outpost or other -- a kindly British orphanage in the grim foothills of Peru, a house for the dying in a back street of Calcutta run by a fiercely single-minded Albanian nun, an easy-going French medical team at the starving edge of the Sahel, a mission to Somalia by Irish social workers who remember their own Great Hunger, a nursery program to assist convict-mothers at a New York Prison -- in some unheralded corner where a great-hearted human being is committed to loving o9utcasts in an extraordinary way.

HAZEL WASN’T PROUD OF CRYING. After the tunnel collapsed, she wept and screamed like a two-year-old throwing a tantrum. She couldn’t move the debris that separated her and Leo from the others. If the earth shifted any more, the entire complex might collapse on their heads. Still, she pounded her fists against the stones and yelled curses that would’ve earned her a mouth-washing with lye soap back at St. Agnes Academy. Leo stared at her, wide-eyed and speechless. She wasn’t being fair to him. The last time the two of them had been together, she’d zapped him into her past and shown him Sammy, his great-grandfather—Hazel’s first boyfriend. She’d burdened him with emotional baggage he didn’t need, and left him so dazed they had almost gotten killed by a giant shrimp monster. Now here they were, alone again, while their friends might be dying at the hands of a monster army, and she was throwing a fit. “Sorry.” She wiped her face. “Hey, you know…” Leo shrugged. “I’ve attacked a few rocks in my day.” She swallowed with difficulty. “Frank is…he’s—” “Listen,” Leo said. “Frank Zhang has moves. He’s probably gonna turn into a kangaroo and do some marsupial jujitsu on their ugly faces.” He helped her to her feet. Despite the panic simmering inside her, she knew Leo was right. Frank and the others weren’t helpless. They would find a way to survive. The best thing she and Leo could do was carry on. She studied Leo. His hair had grown out longer and shaggier, and his face was leaner, so he looked less like an imp and more like one of those willowy elves in the fairy tales. The biggest difference was his eyes. They constantly drifted, as if Leo was trying to spot something over the horizon. “Leo, I’m sorry,” she said. He raised an eyebrow. “Okay. For what?” “For…” She gestured around her helplessly. “Everything. For thinking you were Sammy, for leading you on. I mean, I didn’t mean to, but if I did—” “Hey.” He squeezed her hand, though Hazel sensed nothing romantic in the gesture. “Machines are designed to work.” “Uh, what?” “I figure the universe is basically like a machine. I don’t know who made it, if it was the Fates, or the gods, or capital-G God, or whatever. But it chugs along the way it’s supposed to most of the time. Sure, little pieces break and stuff goes haywire once in a while, but mostly…things happen for a reason. Like you and me meeting.” “Leo Valdez,” Hazel marveled, “you’re a philosopher.” “Nah,” he said. “I’m just a mechanic. But I figure my bisabuelo Sammy knew what was what. He let you go, Hazel. My job is to tell you that it’s okay. You and Frank—you’re good together. We’re all going to get through this. I hope you guys get a chance to be happy. Besides, Zhang couldn’t tie his shoes without your help.” “That’s mean,” Hazel chided, but she felt like something was untangling inside her—a knot of tension she’d been carrying for weeks. Leo really had changed. Hazel was starting to think she’d found a good friend. “What happened to you when you were on your own?” she asked. “Who did you meet?” Leo’s eye twitched. “Long story. I’ll tell you sometime, but I’m still waiting to see how it shakes out.” “The universe is a machine,” Hazel said, “so it’ll be fine.” “Hopefully.” “As long as it’s not one of your machines,” Hazel added. “Because your machines never do what they’re supposed to.” “Yeah, ha-ha.” Leo summoned fire into his hand. “Now, which way, Miss Underground?” Hazel scanned the path in front of them. About thirty feet down, the tunnel split into four smaller arteries, each one identical, but the one on the left radiated cold. “That way,” she decided. “It feels the most dangerous.” “I’m sold,” said Leo. They began their descent.

I would like there to exist spaces that are stable, unmoving, intangible, untouched and almost untouchable, unchanging, deep-rooted; places that might be points of reference, of departure, of origin: My birthpalce, the cradle of my family, the house where I may have been born, the tree I may have seen grow (that my father may have planted the day I was born), the attic of my childhood filled with intact memories . . . Such places don't exist, and it's because they do'nt exist that space becomes a question, ceases to be self-evident, ceases to be incorporated, ceases to be appropriated. Space is a doubt: I have constantly to mark it, to designate it, It is never mine, never given to me, I have to conquer it. My spaces are fragile: time is going to wear them away, to destroy them. Nothing will any longer reseble waht was, my memories will betray me, oblivion will infiltrate my memory, I shall look at a few old yellowing photographs with broken edges without recognising them. The words 'Phone directory available within' or 'Snacks served at any hour' will no longer be written up in a semi-circle in white porcelain letter on the window of the little café in the Rue Coquillière. Space melts like sand running through one's fingers. Time bears it away and leaves me only Shapeless shreds: To write: to try meticulously to retain something, to cause something to survive; to wrest a few precise scraps from the void as it grows, to leave somewhere a furrow, a trace, a mark or a few signs. Paris 1973-1974

I do not think the African, Caribbean, and Blacks have studied to any degree and depth and seriousness the rise of modern Japan. Went into a war and loss. They sustained two atomic bombs. Had their country occupied. Now the people who defeated them are now begging them for commercial space. What did they do, that we have forgotten how to do? They did some serious astute planning. Not loud mouthing, not boasting. They did not get on the radio or any platform or call them any names, but they did what they had to do. If we are carrying out a well designed plan for liberation any literate person can contribute and share leadership. So if the leader dies while you are on page 13 move to page 14 and continue the struggle. Bury the man, continue the plan. I think any person who calls them self a leader, preacher, policy maker of any kind, should ask and answer the question in his own lifetime... How will my people stay on this earth? How will they be educated? How will they be schooled, and how will they be housed and how will they be defended. The answers to these questions will create the concept of enduring nationhood, because it creates the concept of enduring responsibility.

1. Those who first set themselves to discover nature’s secrets and designs, fearlessly opposing mankind’s early ignorance, deserve our praise;   2. For they began the quest to measure what once was unmeasurable, to discern its laws, and conquer time itself by understanding.   3. New eyes were needed to see what lay hidden in ignorance, new language to express the unknown,   4. New hope that the world would reveal itself to inquiry and investigation.   5. They sought to unfold the world’s primordial sources, asking how nature yields its abundance and fosters it,   6. And where in its course everything goes when it ends, either to change or cease.   7. The first inquirers named nature’s elements atoms, matter, seeds, primal bodies, and understood that they are coeval with the world;   8. They saw that nothing comes from nothing, so that discovering the elements reveals how the things of nature exist and evolve.   9. Fear holds dominion over people when they understand little, and need simple stories and legends to comfort and explain; 10. But legends and the ignorance that give them birth are a house of limitations and darkness. 11. Knowledge is freedom, freedom from ignorance and its offspring fear; knowledge is light and liberation, 12. Knowledge that the world contains itself, and its origins, and the mind of man, 13. From which comes more know­ledge, and hope of knowledge again. 14. Dare to know: that is the motto of enlightenment.  

Inevitably came the time when he angrily repudiated his former paladin Yasser Arafat. In fact, he described him to me as 'the Palestinian blend of Marshal Petaín and Papa Doc.' But the main problem, alas, remained the same. In Edward's moral universe, Arafat could at last be named as a thug and a practitioner of corruption and extortion. But he could only be identified as such to the extent that he was now and at last aligned with an American design. Thus the only truly unpardonable thing about 'The Chairman' was his readiness to appear on the White House lawn with Yitzhak Rabin and Bill Clinton in 1993. I have real knowledge and memory of this, because George Stephanopoulos—whose father's Orthodox church in Ohio and New York had kept him in touch with what was still a predominantly Christian Arab-American opinion—called me more than once from the White House to help beseech Edward to show up at the event. 'The feedback we get from Arab-American voters is this: If it's such a great idea, why isn't Said signing off on it?' When I called him, Edward was grudging and crabby. 'The old man [Arafat] has no right to sign away land.' Really? Then what had the Algiers deal been all about? How could two states come into being without mutual concessions on territory?

The charm of a city, now we come to it, is not unlike the charm of flowers. It partly depends on seeing time creep across it. Charm needs to be fleeting. Nothing could be less palatable than a museum-city propped up by prosthetic devices of concrete. Paris is not in danger of becoming a museum-city, thanks to the restlessness and greed of promoters. Yet their frenzy to demolish everything is less objectionable than their clumsy determination to raise housing projects that cannot function without the constant presence of an armed police force… All these banks, all these glass buildings, all these mirrored facades are the mark of a reflected image. You can no longer see what’s happening inside, you become afraid of the shadows. The city becomes abstract, reflecting only itself. People almost seem out of place in this landscape. Before the war, there were nooks and crannies everywhere. Now people are trying to eliminate shadows, straighten streets. You can’t even put up a shed without the personal authorization of the minister of culture. When I was growing up, my grandpa built a small house. Next door the youth club had some sheds, down the street the local painter stored his equipment under some stretched-out tarpaulin. Everybody added on. It was telescopic. A game. Life wasn’t so expensive — ordinary people would live and work in Paris. You’d see masons in blue overalls, painters in white ones, carpenters in corduroys. Nowadays, just look at Faubourg Sainte-Antoine — traditional craftsmen are being pushed out by advertising agencies and design galleries. Land is so expensive that only huge companies can build, and they have to build ‘huge’ in order to make it profitable. Cubes, squares, rectangles. Everything straight, everything even. Clutter has been outlawed. But a little disorder is a good thing. That’s where poetry lurks. We never needed promoters to provide us, in their generosity, with ‘leisure spaces.’ We invented our own. Today there’s no question of putting your own space together, the planning commission will shut it down. Spontaneity has been outlawed. People are afraid of life.

What was glimpsed in Aquarius—what was envisioned, believed in, prophesied, predicted, doubted, and forewarned—is made, in Pisces, manifest. Those solitary visions that, but a month ago, belonged only to the dreamer, will now acquire the form and substance of the real. We were of our own making, and we shall be our own end. And after Pisces? Out of the womb, the bloody birth. We do not follow: we cannot cross from last to first. Aries will not admit a collective point of view, and Taurus will not relinquish the subjective. Gemini's code is an exclusive one. Cancer seeks a source, Leo, a purpose, and Virgo, a design; but these are projects undertaken singly. Only in the zodiac's second act will we begin to show ourselves: in Libra, as a notion, in Scorpio, as a quality, and in Sagittarius, as a voice. In Capricorn we will gain memory, and in Aquarius, vision; it is only in Pisces, the last and oldest of the zodiacal signs, that we acquire a kind of selfhood, something whole. But the doubled fish of Pisces, that mirrored womb of self and self-awareness, is an ourobouros of mind—both the will of fate, and the fated will—and the house of self-undoing is a prison built by prisoners, airless, door-less, and mortared from within. These alterations come upon us irrevocably, as the hands of the clock-face come upon the hour.

One afternoon in the fall of 2015, while I was writing this book, I was driving in my car and listening to SiriusXM Radio. On the folk music station the Coffee House, a song came on with a verse that directly spoke to me—so much so that I pulled off the road as soon as I could and wrote down the lyrics and the singer’s name. The song was called “The Eye,” and it’s written by the country-folk singer Brandi Carlile and her bandmate Tim Hanseroth and sung by Carlile. I wish it could play every time you open these pages, like a Hallmark birthday card, because it’s become the theme song of this book. The main refrain is: I wrapped your love around me like a chain But I never was afraid that it would die You can dance in a hurricane But only if you’re standing in the eye. I hope that it is clear by now that every day going forward we’re going to be asked to dance in a hurricane, set off by the accelerations in the Market, Mother Nature, and Moore’s law. Some politicians propose to build a wall against this hurricane. That is a fool’s errand. There is only one way to thrive now, and it’s by finding and creating your own eye. The eye of a hurricane moves, along with the storm. It draws energy from it, while creating a sanctuary of stability inside it. It is both dynamic and stable—and so must we be. We can’t escape these accelerations. We have to dive into them, take advantage of their energy and flows where possible, move with them, use them to learn faster, design smarter, and collaborate deeper—all so we can build our own eyes to anchor and propel ourselves and our families confidently forward.

The Second Koran tells us that the darkness in ourselves is a sinister thing. It waits until we relax, it waits until we reach the most vulnerable moments, and then it snares us. I want to be dutiful. I want to do what I should. But when I go back to the tube, I think of where I am going; to that small house and my empty room. What will I do tonight? Make more paper flowers, more wreaths? I am sick of them. Sick of the Nekropolis. I can take the tube to my mistress' house, or I can go by the street where Mardin's house is. I'm tired. I'm ready to go to my little room and relax. Oh, Holy One, I dread the empty evening. Maybe I should go by the street just to fill up time. I have all this empty time in front of me. Tonight and tomorrow and the week after and the next month and all down through the years as I never marry and become a dried-up woman. Evenings spent folding paper. Days cleaning someone else's house. Free afternoons spent shopping a bit, stopping in tea shops because my feet hurt. That is what lives are, aren't they? Attempts to fill our time with activity designed to prevent us from realizing that there is no meaning?

There is a story that Simonides was dining at the house of a wealthy nobleman named Scopas at Crannon in Thessaly, and chanted a lyric poem which he had composed in honor of his host, in which he followed the custom of the poets by including for decorative purposes a long passage referring to Castor and Pollux; whereupon Scopas with excessive meanness told him he would pay him half the fee agreed on for the poem, and if he liked he might apply for the balance to his sons of Tyndaraus, as they had gone halves in the panegyric. The story runs that a little later a message was brought to Simonides to go outside, as two young men were standing at the door who earnestly requested him to come out; so he rose from his seat and went out, and could not see anybody; but in the interval of his absence the roof of the hall where Scopas was giving the banquet fell in, crushing Scopas himself and his relations underneath the ruins and killing them; and when their friends wanted to bury them but were altogether unable to know them apart as they had been completely crushed, the story goes that Simonides was enabled by his recollection of the place in which each of them had been reclining at table to identify them for separate interment; and that this circumstance suggested to him the discovery of the truth that the best aid to clearness of memory consists in orderly arrangement. He inferred that persons desiring to train this faculty must select localities and form mental images of the facts they wish to remember and store those images in the localities, with the result that the arrangement of the localities will preserve the order of the facts, and the images of the facts will designate the facts themselves, and we shall employ the localities and images respectively as a wax writing tablet and the letters written on it.

Looking back into childhood is like turning a telescope the wrong way around. Everything appears in miniature, but with a clarity it probably does not deserve; moreover it has become concentrated and stylized, taking shape in symbolism. Thus it is that I sometimes see my infant self as having been set down before a blank slate on which to construct a map or schema of the external world, and as hesitantly beginning to sketch it, with many false starts and much rubbing-out, the anatomy of my universe. Happiness and sorrow, love and friendship, hostility, a sense of guilt and more abstract concepts still, must all find a place somewhere, much as an architect lays out the plan of a house he is designing - hall, dining-room and bedrooms - but must not forget the bathroom. In a child’s map, too, some of the rooms are connected by a serving-hatch, while others are sealed off behind baize doors. How can the fragments possibly be combined to make sense? Yet this map or finished diagram, constructed in the course of ten or twelve years’ puzzling, refuses to be ignored, and for some time to come will make itself felt as bones through flesh, to emerge as the complex organism which adults think of as their philosophy of life. Presumably it has its origins in both heredity and enviorment. So with heredity I shall begin.

In his book Politics, which is the foundation of the study of political systems, and very interesting, Aristotle talked mainly about Athens. But he studied various political systems - oligarchy, monarchy - and didn't like any of the particularly. He said democracy is probably the best system, but it has problems, and he was concerned with the problems. One problem that he was concerned with is quite striking because it runs right up to the present. He pointed out that in a democracy, if the people - people didn't mean people, it meant freemen, not slaves, not women - had the right to vote, the poor would be the majority, and they would use their voting power to take away property from the rich, which wouldn't be fair, so we have to prevent this. James Madison made the same pint, but his model was England. He said if freemen had democracy, then the poor farmers would insist on taking property from the rich. They would carry out what we these days call land reform. and that's unacceptable. Aristotle and Madison faced the same problem but made the opposite decisions. Aristotle concluded that we should reduce ineqality so the poor wouldn't take property from the rich. And he actually propsed a visin for a city that would put in pace what we today call welfare-state programs, common meals, other support systems. That would reduce inequality, and with it the problem of the poor taking property from the rich. Madison's decision was the opposite. We should reduce democracy so the poor won't be able to get together to do this. If you look at the design of the U.S. constitutional system, it followed Madison's approach. The Madisonian system placed power in the hands of the Senate. The executive in those days was more or less an administrator, not like today. The Senate consisted of "the wealth of the nation," those who had sympathy for property owners and their rights. That's where power should be. The Senate, remember, wasn't elected. It was picked by legislatures, who were themselves very much subject to control by the rich and the powerful. The House, which was closer to the population, had much less power. And there were all sorts of devices to keep people from participation too much - voting restrictions and property restrictions. The idea was to prevent the threat of democracy. This goal continues right to the present. It has taken different forms, but the aim remains the same.

At every instant the objects and events in the world around us bombard us with impressions. As they do so they produce a phantasia, a mental impression. From this the mind generates a perception (hypolepsis), which might best be compared to a print made from a photographic negative. Ideally this print will be an accurate and faithful representation of the original. But it may not be. It may be blurred, or it may include shadow images that distort or obscure the original. Chief among these are inappropriate value judgments: the designation as “good” or “evil” of things that in fact are neither good nor evil. For example, my impression that my house has just burned down is simply that—an impression or report conveyed to me by my senses about an event in the outside world. By contrast, my perception that my house has burned down and I have thereby suffered a terrible tragedy includes not only an impression, but also an interpretation imposed upon that initial impression by my powers of hypolepsis. It is by no means the only possible interpretation, and I am not obliged to accept it. I may be a good deal better off if I decline to do so. It is, in other words, not objects and events but the interpretations we place on them that are the problem. Our duty is therefore to exercise stringent control over the faculty of perception, with the aim of protecting our mind from error.

Terms BEN MARCUS, THE 1. False map, scroll, caul, or parchment. It is comprised of the first skin. In ancient times, it hung from a pole, where wind and birds inscribed its surface. Every year, it was lowered and the engravings and dents that the wind had introduced were studied. It can be large, although often it is tiny and illegible. Members wring it dry. It is a fitful chart in darkness. When properly decoded (an act in which the rule of opposite perception applies), it indicates only that we should destroy it and look elsewhere for instruction. In four, a chaplain donned the Ben Marcus and drowned in Green River. 2. The garment that is too heavy to allow movement. These cloths are designed as prison structures for bodies, dogs, persons, members. 3. Figure from which the antiperson is derived; or, simply, the antiperson. It must refer uselessly and endlessly and always to weather, food, birds, or cloth, and is produced of an even ratio of skin and hair, with declension of the latter in proportion to expansion of the former. It has been represented in other figures such as Malcolm and Laramie, although aspects of it have been co-opted for uses in John. Other members claim to inhabit its form and are refused entry to the house. The victuals of the antiperson derive from itself, explaining why it is often represented as a partial or incomplete body or system--meaning it is often missing things: a knee, the mouth, shoes, a heart

Romantic literature often presents the individual as somebody caught in a struggle against the state and the market. Nothing could be further from the truth. The state and the market are the mother and father of the individual, and the individual can survive only thanks to them. The market provides us with work, insurance and a pension. If we want to study a profession, the government’s schools are there to teach us. If we want to open a business, the bank loans us money. If we want to build a house, a construction company builds it and the bank gives us a mortgage, in some cases subsidised or insured by the state. If violence flares up, the police protect us. If we are sick for a few days, our health insurance takes care of us. If we are debilitated for months, social security steps in. If we need around-the-clock assistance, we can go to the market and hire a nurse – usually some stranger from the other side of the world who takes care of us with the kind of devotion that we no longer expect from our own children. If we have the means, we can spend our golden years at a senior citizens’ home. The tax authorities treat us as individuals, and do not expect us to pay the neighbours’ taxes. The courts, too, see us as individuals, and never punish us for the crimes of our cousins. Not only adult men, but also women and children, are recognised as individuals. Throughout most of history, women were often seen as the property of family or community. Modern states, on the other hand, see women as individuals, enjoying economic and legal rights independently of their family and community. They may hold their own bank accounts, decide whom to marry, and even choose to divorce or live on their own. But the liberation of the individual comes at a cost. Many of us now bewail the loss of strong families and communities and feel alienated and threatened by the power the impersonal state and market wield over our lives. States and markets composed of alienated individuals can intervene in the lives of their members much more easily than states and markets composed of strong families and communities. When neighbours in a high-rise apartment building cannot even agree on how much to pay their janitor, how can we expect them to resist the state? The deal between states, markets and individuals is an uneasy one. The state and the market disagree about their mutual rights and obligations, and individuals complain that both demand too much and provide too little. In many cases individuals are exploited by markets, and states employ their armies, police forces and bureaucracies to persecute individuals instead of defending them. Yet it is amazing that this deal works at all – however imperfectly. For it breaches countless generations of human social arrangements. Millions of years of evolution have designed us to live and think as community members. Within a mere two centuries we have become alienated individuals. Nothing testifies better to the awesome power of culture.

Biography is the medium through which the remaining secrets of the famous dead are taken from them and dumped out in full view of the world. The biographer at work, indeed, is like the professional burglar, breaking into a house, rifling through certain drawers that he has good reason to think contain the jewelry and money, and triumphantly bearing his loot away. The voyeurism and busybodyism that impel writers and readers of biography alike are obscured by an apparatus of scholarship designed to give the enterprise an appearance of banklike blandness and solidity. The biographer is portrayed almost as a kind of benefactor. He is seen as sacrificing years of his life to his task, tirelessly sitting in archives and libraries and patiently conducting interviews with witnesses. There is no length he will not go to, and the more his book reflects his industry the more the reader believes that he is having an elevating literary experience, rather than simply listening to backstairs gossip and reading other people’s mail. The transgressive nature of biography is rarely acknowledged, but it is the only explanation for biography’s status as a popular genre. The reader’s amazing tolerance (which he would extend to no novel written half as badly as most biographies) makes sense only when seen as a kind of collusion between him and the biographer in an excitingly forbidden undertaking: tiptoeing down the corridor together, to stand in front of the bedroom door and try to peep through the keyhole.

1)    The woman has intuitive feelings that she is at risk. 2)    At the inception of the relationship, the man accelerated the pace, prematurely placing on the agenda such things as commitment, living together, and marriage. 3)    He resolves conflict with intimidation, bullying, and violence. 4)    He is verbally abusive. 5)    He uses threats and intimidation as instruments of control or abuse. This includes threats to harm physically, to defame, to embarrass, to restrict freedom, to disclose secrets, to cut off support, to abandon, and to commit suicide. 6)    He breaks or strikes things in anger. He uses symbolic violence (tearing a wedding photo, marring a face in a photo, etc.). 7)    He has battered in prior relationships. 8)    He uses alcohol or drugs with adverse affects (memory loss, hostility, cruelty). 9)    He cites alcohol or drugs as an excuse or explanation for hostile or violent conduct (“That was the booze talking, not me; I got so drunk I was crazy”). 10)   His history includes police encounters for behavioral offenses (threats, stalking, assault, battery). 11)   There has been more than one incident of violent behavior (including vandalism, breaking things, throwing things). 12)   He uses money to control the activities, purchase, and behavior of his wife/partner. 13)   He becomes jealous of anyone or anything that takes her time away from the relationship; he keeps her on a “tight leash,” requires her to account for her time. 14)   He refuses to accept rejection. 15)   He expects the relationship to go on forever, perhaps using phrases like “together for life;” “always;” “no matter what.” 16)   He projects extreme emotions onto others (hate, love, jealousy, commitment) even when there is no evidence that would lead a reasonable person to perceive them. 17)   He minimizes incidents of abuse. 18)   He spends a disproportionate amount of time talking about his wife/partner and derives much of his identity from being her husband, lover, etc. 19)   He tries to enlist his wife’s friends or relatives in a campaign to keep or recover the relationship. 20)   He has inappropriately surveilled or followed his wife/partner. 21)   He believes others are out to get him. He believes that those around his wife/partner dislike him and encourage her to leave. 22)   He resists change and is described as inflexible, unwilling to compromise. 23)   He identifies with or compares himself to violent people in films, news stories, fiction, or history. He characterizes the violence of others as justified. 24)   He suffers mood swings or is sullen, angry, or depressed. 25)   He consistently blames others for problems of his own making; he refuses to take responsibility for the results of his actions. 26)   He refers to weapons as instruments of power, control, or revenge. 27)   Weapons are a substantial part of his persona; he has a gun or he talks about, jokes about, reads about, or collects weapons. 28)   He uses “male privilege” as a justification for his conduct (treats her like a servant, makes all the big decisions, acts like the “master of the house”). 29)   He experienced or witnessed violence as a child. 30)   His wife/partner fears he will injure or kill her. She has discussed this with others or has made plans to be carried out in the event of her death (e.g., designating someone to care for children).