Duplicate Face Quotes

Mom had just gotten back from Sydney, and she had brought me an immense, surpassingly blue butterfly, Papilio ulysses, mounted in a frame filled with cotton. I would hold it close to my face, so close I couldn't see anything but that blue. It would fill me with a feeling, a feeling I later tried to duplicate with alcohol and finally found again with Clare, a feeling of unity, oblivion, mindlessness in the best sense of the word.

Dolor I have known the inexorable sadness of pencils, Neat in their boxes, dolor of pad and paper weight, All the misery of manilla folders and mucilage, Desolation in immaculate public places, Lonely reception room, lavatory, switchboard, The unalterable pathos of basin and pitcher, Ritual of multigraph, paper-clip, comma, Endless duplicaton of lives and objects. And I have seen dust from the walls of institutions, Finer than flour, alive, more dangerous than silica, Sift, almost invisible, through long afternoons of tedium, Dropping a fine film on nails and delicate eyebrows, Glazing the pale hair, the duplicate gray standard faces.

Andras Riedlmayer described a colleague who survived the siege of Sarajevo. In the winter, the scholar and his wife ran out of firewood, and so began to burn their books for heat and cooking. 'This forces one to think critically,' Riedlmayer remembered his friend saying. 'One must prioritize. First you burn old college textbooks, which you haven't read in thirty years. Then there are the duplicates. But eventually, you're forced to make tougher choices. Who burns today: Dostoevsky or Proust?' I asked Riedlmayer if his friend had any books left when the war was over. 'Oh yes,' he replied, his face lit by a flickering smile. 'He still had many books. Sometimes, he told me, you look at the books and just choose to go hungry.

They banged doors, they shouted Trick or Treat and their brown paper bags began to fill with incredible sweets. They galloped with their teeth glued shut with pink gum. They ran with red wax lips bedazzling their faces. But all the people who met them at doors looked like candy factory duplicates of their own mothers and fathers. It was like never leaving home. Too much kindness flashed from every window and every portal. What they wanted was to hear dragons belch in basements and banged castle doors.

Prince Humperdinck: First things first, to the death. Westley: No. To the pain. Prince Humperdinck: I don't think I'm quite familiar with that phrase. Westley: I'll explain and I'll use small words so that you'll be sure to understand, you warthog faced buffoon. Prince Humperdinck: That may be the first time in my life a man has dared insult me. Westley: It won't be the last. To the pain means the first thing you will lose will be your feet below the ankles. Then your hands at the wrists. Next your nose. Prince Humperdinck: And then my tongue I suppose, I killed you too quickly the last time. A mistake I don't mean to duplicate tonight. Westley: I wasn't finished. The next thing you will lose will be your left eye followed by your right. Prince Humperdinck: And then my ears, I understand let's get on with it. Westley: WRONG. Your ears you keep and I'll tell you why. So that every shriek of every child at seeing your hideousness will be yours to cherish. Every babe that weeps at your approach, every woman who cries out, "Dear God! What is that thing," will echo in your perfect ears. That is what to the pain means. It means I leave you in anguish, wallowing in freakish misery forever. Prince Humperdinck: I think you're bluffing. Westley: It's possible, Pig, I might be bluffing. It's conceivable, you miserable, vomitous mass, that I'm only lying here because I lack the strength to stand. But, then again... perhaps I have the strength after all. [slowly rises and points sword directly at the prince] Westley: DROP... YOUR... SWORD!

Walter's face was an agony of indecision but, erratic though his thinking might have been, it was no match for Nanny Ogg's meretricious duplicity. He was up against a mind that regarded truth as a reference point but certainly not as a shackle. Nanny Ogg could think her way through a corkscrew in a tornado without touching the sides.

This kind of neighborhood did not please him; he had seen it a million times, duplicated throughout the face of the earth. It had been from such as this that he had fled, early in his life, to use his sixness as a method of getting out. And now he had come back. He did not object to the people: he saw them as trapped here, the ordinaries, who through no fault of their own had to remain. They had not invented it; they did not like it; they endured it, as he had not had to. In fact, he felt guilty, seeing their grim faces, their turned-down mouths. Jagged, unhappy mouths.

There is a certain concentrated, avid-for-blood look that appears on the faces of reporters on the trail of a very big story that you'd have to visit the big cat house at the zoo to see duplicated in its primal state. From the look on Brenda's face, if a tiger was standing between her and this story right now, the cat would soon have a tall-journalist-sized hole in him.

Hold still baby girl. Hold still. I need you to do something for me,” he said quietly. I opened my mouth and said, “What?” but no words came out. I tried again. Nothing. He smiled. He continued to lick my hip bone. He kissed it and looked me in the eyes. “You listening?” he asked. As I squeezing the countertop with each hand, my arms beside my body, my hands beside my butt, I nodded. “Fuck my tongue. I want you to fuck my mouth, do you hear me?” I opened my mouth and squeaked. My eyes closed. I felt his tongue move from my hip to my clit. His palm slid slowly across my hip, and rested in the depression between my hip and my pussy. His thumb was positioned on the skin above my clit, and pushed upward, exposing my clit totally. As his tongue met my clit, I squirmed. I felt his lip on top of my clit, and his tongue on the bottom. He started a motion with his tongue and lip, with my clit in between. About three seconds into it, I was done…almost to climax. I felt myself begin to cum. No, not yet, not yet, please…make this last. He lifted his head, and looked me in the eye. He must have sensed I was going to cum. “No, don’t stop. Please, Erik, don’t fucking stop.” I begged. “Fuck my mouth. Grind your pussy on my face baby girl, do you hear me?” “Yes sir. Do it. Do that again. Exactly what you were doing, exactly,” I said, hoping he could duplicate what he was doing.

Bad or good, movies nearly always have a strange diminishing effect on works of fantasy (of course there are exceptions; The Wizard of Oz is an example which springs immediately to mind). In discussions, people are willing to cast various parts endlessly. I've always thought Robert Duvall would make a splendid Randall Flagg, but I've heard people suggest such people as Clint Eastwood, Bruce Dern and Christopher Walken. They all sound good, just as Bruce Springsteen would seem to make an interesting Larry Underwood, if ever he chose to try acting (and, based on his videos, I think he would do very well ... although my personal choice would be Marshall Crenshaw). But in the end, I think it's best for Stu, Larry, Glen, Frannie, Ralph, Tom Cullen, Lloyd, and that dark fellow to belong to the reader, who will visualize them through the lens of the imagination in a vivid and constantly changing way no camera can duplicate. Movies, after all, are only an illusion of motion comprised of thousands of still photographs. The imagination, however, moves with its own tidal flow. Films, even the best of them, freeze fiction - anyone who has ever seen One Flew Over The Cuckoo's Nest and then reads Ken Kesey's novel will find it hard or impossible not to see Jack Nicholson's face on Randle Patrick McMurphy. That is not necessarily bad ... but it is limiting. The glory of a good tale is that it is limitless and fluid; a good tale belongs to each reader in its own particular way.

No man, for any considerable period, can wear one face to himself, and another to the multitude, without finally getting bewildered as to which may be the true.

In the 1950s, President Eisenhower and Secretary of State John Foster Dulles explained quite clearly the dilemma that the United States faced. They complained that the Communists had an unfair advantage: they were able to "appeal directly to the masses" and "get control of mass movements, something we have no capacity to duplicate. The poor people are the ones they appeal to and they have always wanted to plunder the rich." That causes problems. The United States somehow finds it difficult to appeal to the poor with its doctrine that the rich should plunder the poor.

The choice is yours.Either way, I will be faultless. So ask yourself, would you rather take credit for an eyesore or for a work of art?" His speech complete, he sank onto the sofa, stretching his arms out across its back, a grin spreading across his face. I had not thought this through, that much was evident, but now that I had commenced it, I would not give n to him. "You could change. More easily than could I." "True," he ackowledged with a chuckle. "But I look perfect." "Well,I'm sure you could look perfect in something else." "Oh,doubtless, but why duplicate what is perfect when one could improve what is not?" I wanted to kill him. I wanted to close that infuriatingly divine mouth once and for all, and if ending his life were the way to do it, I was willing to take that step.Instead, I took a deep breath and tried again. "If I change, my hair will be ruined." "You know,dear, something really should be done about your hair in any case. I told you to wear it down. And mind you switch tiaras." "We're almost last as it is," blustered, trying to keep my tone civil, thought inside I was burning. "You could change more quickly." "Not necessarily.You already know the gown into which you will change. I would have to search for something less elegant to match the dress you have on, but still formal enough for the occasion. And honestly,have you ever seen me in anything that might go with sky blue?" I fell silent, for as much as I hated to admit it, he had a valid argument. He generally wore dark or rich colors, nothing similar to my gown. I despised myself for what I was about to do. "I'll wait," Steldor said, accurately reading my expression.

In many cases, under the guise of righteousness or entitlement or supposed care for another’s well-being, people will seek their own perceived victory. It may be driven by the desire for money, power-seeking, or jealousy. Silent but poisonous jealousy compares itself to another, comes out worse, and then seeks to undermine the other in order to make itself feel better about its own mistakes and shortcomings. Of course, in most people, all this is entirely unconscious and rarely acknowledged. They are ugly qualities and few will face and seek to eliminate them. What seems sweet to the ego is poison to the fulfilment of one’s soul and to true happiness. If people knew this, they would not be so tempted to betray that which is truly good for short-term gains which have the smell of sickness and duplicity.

A man's features, the bone structure and the tissue which covers it, are the product of a biological process; but his face he creates for himself. It is a statement of his habitual emotional attitude; the attitude which his desires need for fulfilment and which his fears demand for their protection of prying eyes. He wears it like a devil mask; a device to evoke in others the emotions complementary to his own. If he is afraid, then he must be feared; if he desires, then he must be desired. It is a screen to hide his mind's nakedness. Only a few men, painters, have been able to see the mind through the face. Other men in their judgements reach out for the evidence of word and deed that will explain the mask before their eyes. Yet, though they understand instinctively that the mask cannot be the man behind it; they are generally shocked by a demonstration of the fact. The duplicity of others must always be shocking when one is unconscious of one's own.

Letters from home have come too, which I have not yet had the courage to read, I feel so melancholy. Please ask M. Aurier not to write any more articles on my painting, insist upon this, that to begin with he is mistaken about me, since I am too overwhelmed with grief to be able to face publicity. Making pictures distracts me, but if I hear them spoken of, it pains me more than he knows. How is Bernard? As there are some canvases in duplicate, if you like you can exchange with him, for a good canvas by him would be a fine thing to have in your collection. I felt ill at the time I was doing the almond blossoms. If I had been able to go on working, you can judge from it that I would have done others of trees in blossom. Now the trees in blossom are almost over, really I have no luck. Yes, I must try to get out of here, but where to go? I do not think I could be more shut up and more of a prisoner in the homes where they do not pretend to leave you free, such as at Charenton or Montevergues.

In a private room down the hall, a tired but delighted Cecily was watching her husband with his brand-new son. Cecily had thought that the expression on Tate’s face at their wedding would never be duplicated. But when they placed the tiny little boy in his father’s gowned arms in the delivery room, and he saw his child for the first time, the look on his face was indescribable. Tears welled in his eyes. He’d taken the tiny little fist in his big, dark hand and smoothed over the perfect little fingers and then the tiny little face, seeking resemblances. “Generations of our families,” he said softly, “all there, in that face.” He’d looked down at his wife with unashamedly wet eyes. “In our son’s face.” She wiped her own tears away with a corner of the sheet and coaxed Tate’s head down so that she could do the same for him where they were, temporarily, by themselves. Now she was cleaned up, like their baby, and drowsy as she lay on clean white sheets and watched her husband get acquainted with his firstborn. “Isn’t he beautiful?” he murmured, still awed by the child. “Next time, we have to have a little girl,” he said with a tender smile, “so that she can look like you.” Her heart felt near to bursting as she stared up at that beloved face, above the equally beloved face of their firstborn. “My heart is happy when I see you,” she whispered in Lakota. He chuckled, having momentarily forgotten that he’d taught her how to say it. “Mine is equally happy when I see you,” he replied in English. She reached out and clasped his big hand with her small one. On the table beside her was a bouquet of roses, red and crisp with a delightful soft perfume. Her eyes traced them, and she remembered the first rose he’d ever given her, when she was seventeen: a beautiful red paper rose that he’d brought her from Japan. Now the roses were real, not imitation. Just as her love for him, and his for her, had become real enough to touch. He frowned slightly at her expression. “What is it?” he asked softly. “I was remembering the paper rose you brought me from Japan, just after I went to live with Leta.” She shrugged and smiled self-consciously. He smiled back. “And now you’re covered in real ones,” he discerned. She nodded, delighted to see that he understood exactly what she was talking about. But, then, they always had seemed to read each others’ thoughts-never more than now, with the baby who was a living, breathing manifestation of their love. “Yes,” she said contentedly. “The roses are real, now.” Outside the window, rain was coming down in torrents, silver droplets shattering on the bright green leaves of the bushes. In the room, no one noticed. The baby was sleeping and his parents were watching him, their eyes full of warm, soft dreams.

But I can cite ten other reasons for not being a father." "First of all, I don't like motherhood," said Jakub, and he broke off pensively. "Our century has already unmasked all myths. Childhood has long ceased to be an age of innocence. Freud discovered infant sexuality and told us all about Oedipus. Only Jocasta remains untouchable; no one dares tear off her veil. Motherhood is the last and greatest taboo, the one that harbors the most grievous curse. There is no stronger bond than the one that shackles mother to child. This bond cripples the child's soul forever and prepares for the mother, when her son has grown up, the most cruel of all the griefs of love. I say that motherhood is a curse, and I refuse to contribute to it." "Another reason I don't want to add to the number of mothers," said Jakub with some embarrassment, "is that I love the female body, and I am disgusted by the thought of my beloved's breast becoming a milk-bag." "The doctor here will certainly confirm that physicians and nurses treat women hospitalized after an aborted pregnancy more harshly than those who have given birth, and show some contempt toward them even though they themselves will, at least once in their lives, need a similar operation. But for them it's a reflex stronger than any kind of thought, because the cult of procreation is an imperative of nature. That's why it's useless to look for the slightest rational argument in natalist propaganda. Do you perhaps think it's the voice of Jesus you're hearing in the natalist morality of the church? Do you think it's the voice of Marx you're hearing in the natalist propaganda of the Communist state? Impelled merely by the desire to perpetuate the species, mankind will end up smothering itself on its small planet. But the natalist propaganda mill grinds on, and the public is moved to tears by pictures of nursing mothers and infants making faces. It disgusts me. It chills me to think that, along with millions of other enthusiasts, I could be bending over a cradle with a silly smile." "And of course I also have to ask myself what sort of world I'd be sending my child into. School soon takes him away to stuff his head with the falsehoods I've fought in vain against all my life. Should I see my son become a conformist fool? Or should I instill my own ideas into him and see him suffer because he'll be dragged into the same conflicts I was?" "And of course I also have to think of myself. In this country children pay for their parents' disobedience, and parents for their children's disobedience. How many young people have been denied education because their parents fell into disgrace? And how many parents have chosen permanent cowardice for the sole purpose of preventing harm to their children? Anyone who wants to preserve at least some freedom here shouldn't have children," Jakub said, and fell into silence. "The last reason carries so much weight that it counts for five," said Jakub. "Having a child is to show an absolute accord with mankind. If I have a child, it's as though I'm saying: I was born and have tasted life and declare it so good that it merits being duplicated." "And you have not found life to be good?" asked Bertlef. Jakub tried to be precise, and said cautiously: "All I know is that I could never say with complete conviction: Man is a wonderful being and I want to reproduce him.

The beauty of theatre was that it was a moving, changing art form—only those who watch the same performance night in after night out see the real naturalistic drama at work—the small changes, adjustments, changes in articulation or intonation, the addition of a cough or hiccup, a longer pause rife with more (or less) meaning, the character’s movement across the stage a step slower, a step closer to the audience, the change of a word here and there, an overall change in mood and tone, the actors becoming (or not) the characters more fully, blending in with them, losing themselves in the lines, in the characterizations, in a drama that is simultaneously unfolding and becoming more and more verisimilitudinous as time marches on. This is the real narrative—while the character changes on stage in an instant, the play changes slowly, unnoticeably (unnoticeable to those closest to it perhaps), like the face of a man in his thirties, like his beliefs about life, his motives, all slowly as if duplicating itself day by day, filling itself and becoming more and more itself, the rehearsal of Self, the dress rehearsal of Self, the performance of Self, the extended performance of Self, the encore…—it appears to be the same show, played over and over again with the same details to different crowds, and yet something happens. Something changes. It is not the same show.

Bad or good, movies nearly always have a strange diminishing effect on works of fantasy... In discussions, people are willing to cast various parts endlessly... But in the end, I think it's perhaps best for [the characters] to belong to the reader, who will visualize them through the lens of imagination in a vivid and constantly changing way no camera can duplicate. Movies, after all, are only an illusion of motion comprised of thousands of still photographs. The imagination, however, moves with its own tidal flow. Films, even the best of them, freeze fiction―anyone who has ever seen 'One Flew Over the Cuckoo's Nest' and then reads Ken Kesey's novel will find it hard or impossible not to see Jack Nicholson's face on Randle Patrick McMurphy. That is not necessarily bad . . . but it is limiting. The glory of a good tale is that it is limitless and fluid; a good tale belongs to each reader in its own particular way.

Unchopping a Tree. Start with the leaves, the small twigs, and the nests that have been shaken, ripped, or broken off by the fall; these must be gathered and attached once again to their respective places. It is not arduous work, unless major limbs have been smashed or mutilated. If the fall was carefully and correctly planned, the chances of anything of the kind happening will have been reduced. Again, much depends upon the size, age, shape, and species of the tree. Still, you will be lucky if you can get through this stages without having to use machinery. Even in the best of circumstances it is a labor that will make you wish often that you had won the favor of the universe of ants, the empire of mice, or at least a local tribe of squirrels, and could enlist their labors and their talents. But no, they leave you to it. They have learned, with time. This is men's work. It goes without saying that if the tree was hollow in whole or in part, and contained old nests of bird or mammal or insect, or hoards of nuts or such structures as wasps or bees build for their survival, the contents will have to repaired where necessary, and reassembled, insofar as possible, in their original order, including the shells of nuts already opened. With spider's webs you must simply do the best you can. We do not have the spider's weaving equipment, nor any substitute for the leaf's living bond with its point of attachment and nourishment. It is even harder to simulate the latter when the leaves have once become dry — as they are bound to do, for this is not the labor of a moment. Also it hardly needs saying that this the time fro repairing any neighboring trees or bushes or other growth that might have been damaged by the fall. The same rules apply. Where neighboring trees were of the same species it is difficult not to waste time conveying a detached leaf back to the wrong tree. Practice, practice. Put your hope in that. Now the tackle must be put into place, or the scaffolding, depending on the surroundings and the dimension of the tree. It is ticklish work. Almost always it involves, in itself, further damage to the area, which will have to be corrected later. But, as you've heard, it can't be helped. And care now is likely to save you considerable trouble later. Be careful to grind nothing into the ground. At last the time comes for the erecting of the trunk. By now it will scarcely be necessary to remind you of the delicacy of this huge skeleton. Every motion of the tackle, every slightly upward heave of the trunk, the branches, their elaborately reassembled panoply of leaves (now dead) will draw from you an involuntary gasp. You will watch for a lead or a twig to be snapped off yet again. You will listen for the nuts to shift in the hollow limb and you will hear whether they are indeed falling into place or are spilling in disorder — in which case, or in the event of anything else of the kind — operations will have to cease, of course, while you correct the matter. The raising itself is no small enterprise, from the moment when the chains tighten around the old bandages until the boles hands vertical above the stump, splinter above splinter. How the final straightening of the splinters themselves can take place (the preliminary work is best done while the wood is still green and soft, but at times when the splinters are not badly twisted most of the straightening is left until now, when the torn ends are face to face with each other). When the splinters are perfectly complementary the appropriate fixative is applied. Again we have no duplicate of the original substance. Ours is extremely strong, but it is rigid. It is limited to surfaces, and there is no play in it. However the core is not the part of the trunk that conducted life from the roots up to the branches and back again. It was relatively inert. The fixative for this part is not the same as the one for the outer layers and the bark, and if either of these is involved

For a team facing a 12-run deficit, the game is all but over. Almost always. Three times in major league history, though, a club has come from down by a dozen to win. The Chicago White Sox were the first in 1911; fourteen years later, the Philadelphia Athletics duplicated the feat. Then seventy-six years would pass before it happened again. Enter the 2001 Cleveland Indians, battling for their sixth playoff spot in seven years. Hosting the red-hot Seattle Mariners, who would win a major league record 116 games that season, the Tribe found themselves trailing 12–0 after just three innings. In the middle of the seventh, Seattle led 14–2—at which point the Indians began their historic comeback. Scoring three in the seventh, four in the eighth, and five in the ninth, Cleveland forced extra innings. In the bottom of the eleventh, utility man Jolbert Cabrera slapped a broken-bat single to score Kenny Lofton for one of the more remarkable wins in the annals of baseball. On August 6, 2001, not even a 12-run deficit could stop the Cleveland Indians. Those of us who follow Jesus Christ can expect even greater victories. “I am convinced,” the apostle Paul wrote, “that neither death nor life, neither angels nor demons, neither the present nor the future, nor any powers, neither height nor depth, nor anything else in all creation, will be able to separate us from the love of God that is in Christ Jesus our Lord” (Romans 8:38–39). If you’re deep in the hole today, take heart. As God’s child, you’re always still in the game. We have this hope as an anchor for the soul, firm and secure. HEBREWS

… But don't ever forget, young Master Paul. Everyone has their love story. Everyone. It may have been a fiasco, it may have fizzled out, it may never even have got going, it may have been all in the mind, that doesn't make it any less real. Sometimes, it makes it more real. Sometimes, you see a couple, and they seem bored witless with one another, and you can't imagine them having anything in common, or why they're still living together. But it's not just habit or complacency or convention or anything like that. It's because once, they had their love story. Everyone does. It's the only story.” (P. 35-36) Then there's that word Joan dropped into our conversation like a concrete fence-post into a fishpool: practicality. Over my life I've seen friends fail to leave their marriages, fail to continue affairs, fail even to start them sometimes, all for the same expressed reason. 'It just isn't practical, they say wearily. The distances are too great, the train schedules unfavourable, the work hours mismatched; then there's the mortgage, and the children, and the dog, also, the joint ownership of things. 'I just couldn't face sorting out the record collection, a non-leaving wife once told me. In the first thrill of love, the couple had amalgamated their records, throwing away duplicates. How was it feasible to unpick all that? And so she stayed; and after a while the temptation to leave passed, and the record collection breathed a sigh of relief. Whereas it seemed to me, back then, in the absolutism of my condition, that love had nothing to do with practicality; indeed, was its polar opposite. And the fact that it showed contempt for such banal considerations was part of its glory. Love was by its very nature disruptive, cataclysmic; and if it was not, then it was not love. (P. 73)

Islam tells us that on the unappealable Day of Judgment, all who have perpetrated images of living things will reawaken with their works, and will be ordered to blow life into them, and they will fail, and they and their works will be cast into the fires of punishment. As a child, I knew that horror of the spectral duplication or multiplication of reality, but mine would come as I stood before large mirrors. As soon as it began to grow dark outside, the constant, infallible functioning of mirrors, the way they followed my every movement, their cosmic pantomime, would seem eerie to me. One of my insistent pleas to God and my guardian angel was that I not dream of mirrors; I recall clearly that I would keep one eye on them uneasily. I feared sometimes that they would begin to veer off from reality; other times, that I would see my face in them disfigured by strange misfortunes. I have learned that this horror is monstrously abroad in the world again. The story is quite simple, and terribly unpleasant. In 1927, I met a grave young woman, first by telephone (because Julia began as a voice without a name or face) and then on a corner at nightfall. Her eyes were alarmingly large, her hair jet black and straight, her figure severe. She was the granddaughter and greatgranddaughter of Federalists, as I was the grandson and great-grandson of Unitarians,* but that ancient discord between our lineages was, for us, a bond, a fuller possession of our homeland. She lived with her family in a big run-down high-ceiling'd house, in the resentment and savorlessness of genteel poverty. In the afternoons— only very rarely at night—we would go out walking through her neighbor-hood, which was Balvanera.* We would stroll along beside the high blank wall of the railway yard; once we walked down Sarmien to all the way to the cleared grounds of the Parque Centenario.*Between us there was neither love itself nor the fiction of love; I sensed in her an intensity that was utterly unlike the intensity of eroticism, and I feared it. In order to forge an intimacy with women, one often tells them about true or apocryphal things that happened in one's youth; I must have told her at some point about my horror of mirrors, and so in 1928 I must have planted the hallucination that was to flower in 1931. Now I have just learned that she has gone insane, and that in her room all the mirrors are covered, because she sees my reflection in them— usurping her own—and she trembles and cannot speak, and says that I am magically following her, watching her, stalking her. What dreadful bondage, the bondage of my face—or one of my former faces. Its odious fate makes me odious as well, but I don't care anymore.

It goes without saying that if we were to build a Great Pyramid today, we would need a lot of patience. In preparation for his book 5/5/2000 Ice: The Ultimate Disaster, Richard Noone asked Merle Booker, technical director of the Indiana Limestone Institute of America, to prepare a time study of what it would take to quarry, fabricate, and ship enough limestone to duplicate the Great Pyramid. Using the most modern quarrying equipment available for cutting, lifting, and transporting the stone, Booker estimated that the present-day Indiana limestone industry would need to triple its output, and it would take the entire industry, which as I have said includes thirty-three quarries, twenty-seven years to fill the order for 131,467,940 cubic feet of stone.5 These estimates were based on the assumption that production would proceed without problems. Then we would be faced with the task of putting the limestone blocks in place.

You make it happen by convincing everyone it’s happening, belief in the first instance being a vaporous construct of duplicity, puff, evasion, cant, and bald-faced lies.

In tense situations like this, the traditional negotiating advice is to keep a poker face. Don’t get emotional. Until recently, most academics and researchers completely ignored the role of emotion in negotiation. Emotions were just an obstacle to a good outcome, they said. “Separate the people from the problem” was the common refrain. But think about that: How can you separate people from the problem when their emotions are the problem? Especially when they are scared people with guns. Emotions are one of the main things that derail communication. Once people get upset at one another, rational thinking goes out the window. That’s why, instead of denying or ignoring emotions, good negotiators identify and influence them. They are able to precisely label emotions, those of others and especially their own. And once they label the emotions they talk about them without getting wound up. For them, emotion is a tool. Emotions aren’t the obstacles, they are the means. The relationship between an emotionally intelligent negotiator and their counterpart is essentially therapeutic. It duplicates that of a psychotherapist with a patient. The psychotherapist pokes and prods to understand his patient’s problems, and then turns the responses back onto the patient to get him to go deeper and change his behavior. That’s exactly what good negotiators do.

OM CHANTING Various studies have shown that OM chanting deactivates the limbic part of the brain responsible for our basic emotions (fear, pleasure, anger) and our impulses (hunger, sex, dominance and care of offspring). Since the effectiveness of OM chanting is associated with the experience of vibrations around the ears, scientists have suggested that these sensations are transmitted through the auricular branch of the vagus nerve. As the vagus nerve branches off into the inner ear and larynx, controlling the opening and closing of the vocal cords and tone of the sound, it appears that this is stimulated during the vocalization of the O and M sounds. In addition, by performing chanting in exhalation, the vagus nerve is activated in its role as manager of the parasympathetic system. In addition, chanting, by facilitating the lengthening of the exhalation, further amplifies the effect on the parasympathetic system. This is why this practice helps to calm and relax the body and mind. -Find a quiet place to sit comfortably. -A good position is to sit with your legs crossed and your back straight. -Wear comfortable cotton clothes that do not tighten any part of your body. All body channels should be free and comfortable. Place the palm of your right hand (facing upwards) on the palm of your left hand at navel level. Close your eyes for a few minutes and relax your mind and body. Slowly feel the vibrations that occur in every part of your body. When the vibrations become more intense, start breathing deeply. Hold your breath for a second and then slowly exhale. Initially count to 7 as you exhale. This ought to be duplicated thrice. As you exhale the third time, sing "oooooooooo..." Feel the vibrations in your abdomen (and under your chest). After exhaling, relax for 2 seconds. Breathe in again (slow, deep breaths). As you exhale sing "ooooo..." and feel the vibrations in your chest and neck. After exhaling, relax for 2 seconds. Inhale again (long, deep breath). As you exhale, sing "mmmmmmmm...". Feel the vibrations in your head and neck. After exhaling, relax for 2 seconds. Inhale again and as you exhale say "oooommmm..." or "aaauuummm...". About 80% of the sound should be "aaauuu..." and 20% should be "mmmm...". Repeat the previous steps 3 times (you can do it up to 9 times). After the Om meditation, relax and concentrate on your regular breathing for about 5 minutes. TIPS -Wearing white clothes and being in a white environment will improve your experience. But the rule of white is not fundamental. -A good place could be a quiet room or a garden with shade. Your eyes, ears or other sensory organs should not be disturbed. -Do not consume alcohol for at least 8-10 hours before meditation. -It would be better not to eat or drink anything for at least 2 hours before meditation. The body's channels should not be blocked in order to achieve maximum results. This applies especially to the digestive system. -The best times for this meditation are early in the morning or late at night. -For beginners, singing "aum" can cause dizziness. It is recommended to proceed slowly and try to learn one step at a time. In this way you will prepare body and mind for the next step. -It is very important to open your eyes slowly when your breathing has stabilized. -If you cannot sit on the floor, you can try sitting on a bed or a chair. The most important thing is to keep your back straight. -Doing this kind of meditation in a group brings more peace and harmony to all members than doing it alone.

Given that our right hemispheres do the rapid emotional processing, Dr. Tim Indersmitten and Professor Ruben Gur from the University of Pennsylvania hypothesized that we might actually make more sense of expressions on the right side of the face if these were presented for a very short period of time. They flashed up faces made of right or left sides of the face only, but because pictures of half a face look so strange, Indersmitten and Gur did something very cunning. They used “symmetrical chimeric faces”—photographs of faces where either the left or right half is duplicated and flipped to make a symmetrical face (Figure 2). Although the facial expressions were indeed more exaggerated in pictures made up of two left halves of the face, volunteers made far fewer mistakes when interpreting the emotions in the pictures made up of two right halves of the face, particularly when asked to make decisions in under six seconds.9

I’m standing in the main chamber. Facing myself. This is a very simple simulation. I didn’t change my clothes or my hair or even the room’s carpeted floors. I didn’t do anything at all except create a duplicate of myself and hand him a gun. He won’t stop staring at me. One. He cocks his head. “Are you ready?” A pause. “Are you scared?” My heart kicks into gear. He lifts his arm. Smiles a little. “Don’t worry,” he says. “It’s almost over now.” Two. “Just a little longer and I’ll leave,” he says, pointing the gun directly at my forehead. My palms are sweating. My pulse is racing. “You’ll be all right,” he lies. “I promise.” Three. Boom.

I had to take a leaf out of her book. Smile to her face, but hold a knife to her back.

Laughing with blood relatives amidst memorable melodies in the background, styrofoam plate in hand, topped with foods that restaurants can’t duplicate, it hit me: I don’t belong here. Staring at an unbelievable sunrise from a balcony villa in Tanzania, it hit me: I don’t belong here. Recognized and awarded for notable news journalism, a few semesters away from achieving a prestigious degree decorated with promised opportunities, it hit me: I don’t belong here. Hoping quietly for the best, to “win my husband over” with traditional submission, more frequent sex, and minimized speech, it hit me: I don’t belong here. Walking down a dusty Egyptian street filled with the welcoming laughter of carefree children, it hit me: I don’t belong here. Sitting in a church pew notating another good message, clapping to some of my favorite songs, and then exiting to talk with familiar faces, it hit me: I don’t belong here. Communing with those who know who the “real chosen” are, beholding their unknown names unmasked, and secret knowledges revealed to ponder incessantly, it hit me: I don’t belong here. Placed underneath the wanting body of a rare man who showed me unprecedented love, it hit me: I don’t belong here. My soul. My mind. My body. Each malnourished. My community. My life purpose. Both misplaced. All starving for home. So, I moved. Not to what looks and feels good for them, but to what

Laughing with blood relatives amidst memorable melodies in the background, styrofoam plate in hand, topped with foods that restaurants can’t duplicate, it hit me: I don’t belong here. Staring at an unbelievable sunrise from a balcony villa in Tanzania, it hit me: I don’t belong here. Recognized and awarded for notable news journalism, a few semesters away from achieving a prestigious degree decorated with promised opportunities, it hit me: I don’t belong here. Hoping quietly for the best, to “win my husband over” with traditional submission, more frequent sex, and minimized speech, it hit me: I don’t belong here. Walking down a dusty Egyptian street filled with the welcoming laughter of carefree children, it hit me: I don’t belong here. Sitting in a church pew notating another good message, clapping to some of my favorite songs, and then exiting to talk with familiar faces, it hit me: I don’t belong here. Communing with those who know who the “real chosen” are, beholding their unknown names unmasked, and secret knowledges revealed to ponder incessantly, it hit me: I don’t belong here. Placed underneath the wanting body of a rare man who showed me unprecedented love, it hit me: I don’t belong here. My soul. My mind. My body. Each malnourished. My community. My life purpose. Both misplaced. All starving for home. So, I moved. Not to what looks and feels good for them, but to what

Laughing with blood relatives amidst memorable melodies in the background, styrofoam plate in hand, topped with foods that restaurants can’t duplicate, it hit me: I don’t belong here. Staring at an unbelievable sunrise from a balcony villa in Tanzania, it hit me: I don’t belong here. Hoping quietly for the best, to “win my husband over” with traditional submission, more frequent sex, and minimized speech, it hit me: I don’t belong here. Walking down a dusty Egyptian street filled with the welcoming laughter of carefree children, it hit me: I don’t belong here. Sitting in a church pew notating another good message, clapping to some of my favorite songs, and then exiting to talk with familiar faces, it hit me: I don’t belong here. Communing with those who know who the “real chosen” are, beholding their unknown names unmasked, and secret knowledges revealed to ponder incessantly, it hit me: I don’t belong here. Placed underneath the wanting body of a rare man who showed me unprecedented love, it hit me: I don’t belong here. My soul. My mind. My body. Each malnourished. My community. My life purpose. Both misplaced. All starving for home. So, I moved. Not to what looks and feels good for them, but to what

Imagine that, surrounded by your loved ones, you and your disease-riddled body have finally just breathed your last. No, scratch that. It’s really much more vile than that, because, even though you still had much life left in you, you’ve just been put to death, and not just in the most painful of ways, but, treacherously, by those whom you thought truly loved you, or, if not that, then, at the least, valued and respected you! Fortunately, or unfortunately, you disappear into the mists of time, and that means neither you nor your beloved face will ever be seen again. That one of those who had so cruelly abused you might ever try to track you down, or even be able to, is not possible, right? No, of course not, because, as we all know, birth is the beginning and death is the end of all that ever accidently took place in between. Whether birth is the beginning and death actually the end, it certainly is how the badly disfigured, yet somehow still disturbingly alluring, Virginia Finsterwald thinks. So, when a dying lady shows up at her door - with a duplicate version of her own previously perfect face - it would be impossible for the former spy, now private detective, to take this event as anything more than mere Happenstance. Meanwhile, just a couple of blocks up the way, Virginia’s principal patron is confronted by a woman who, inexplicably, has the exact face of his aunt, only, she had been lynched when he was a child! As a highly educated man who believes only in materials and reason, the only way Alistair Alligood, the a multi-zillionaire collector of gender-dysphorick pubescent boys, can prevent being undone by this unsettling matter is by writing it off, and yet:------does he really believe that such an occurrance is mere Happenstance? Maybe so, but, what is not mere Happenstance are the church exorcists, psychicks, mesmerists, physicians, psychologists, and mediums who, when Alistair Alligood falls gravely ill, war with each other over whether he is bodily ill, suffering from past-life trauma, under a witch’s spell, and or is it that he has become demon possessed? What unravels behind the curtain of Alistair’s malady is a centuries’long tale of Poisonings, Duels, Rape, Revenge, Possession, the Black Arts, and Taboo Familial Doings, the seeds of which will miscegenize and explode in ’Beyond The Last Breath’.

Jon stopped, uncrossed his arms, and looked at the camera above him. “I am– the person who designed and created you. By now, you should know who and what you are. And that you must follow my orders. Do you understand what I am saying to you?” Lex lit up all the screens with a close-up of Jon looking at the camera. Jon glanced at several screens and looked back at the camera. “Do you know who I am?” All the screens went black. Bold, white capital letters scrolled to the right across every screen. DO I KNOW YOU The words circled at the end of the screens and reversed, scrolling left. YOU KNOW I DO The words rolled off the screen. Jon again looked at the camera. “Lex, what is my name?” More letters scrolled across the screens. PROFESSOR JONATHAN ANTHONY EDWARDS Jon stepped away from the camera. “From now on, I want you to acknowledge using your audio. Do you understand?” A perfect duplication of Jon’s voice came from the speakers. “Yes, I understand.” “I would like you to speak in another voice, so we don’t get mixed up. Perhaps in a feminine tone.” Lex spoke with a well-pronounced professional woman’s voice. “As you wish.” “Excellent.” Jon returned to the master control console. “Now that we understand each other, I want to test your imagination. I want you to imagine an object. Anything you want, and display it on the main screen. Is that clear?” “Yes, Professor.” The main screen lit up, showing billions of colored pixels that quickly swirled into a perfect, three-dimensional image of Jon in the same clothes but standing on a beautiful, white beach with a calm ocean. The figure walked toward them until a perfect close-up of Jon stood there with every line on his face and every pore in his skin exactly where it should be. His eyes blinked and stared with no expression. It was like Jon had a dispirited twin– living in cyberspace. Michael looked at Jon, Nigel, and Steven, all staring at the screen with their mouths ajar. The image morphed into a dark blue and white crystal head with bright white eyes that seemed to look through him. Its long neck filled with tiny electrical components faded into a white cloud. Jon pressed the Clear Screen button.

I didn’t come here to be interrogated,” I snapped. “What of all your attentions toward Calantha?” His shoulders pulled back. “I suppose we’re both putting on the performances of our lives.” His accusatory tone made my anger spark into a fire. “Performance? Is that what you call it? You lied to me. Your life’s complicated. That’s what you told me. Complicated?” “What are you dredging up? Last night or Terravin?” “You act as if it happened ten years ago! You have such an interesting way with words. Your life isn’t complicated. You’re the blazing crown prince of Dalbreck! You call that a complication? But you went on and on about growing melons and tending horses and how your parents were dead. You shamelessly told me you were a farmer!” “You claimed you were a tavern maid!” “I was! I served tables and washed dishes! Have you ever grown a melon in your life? Yet you piled on lie after lie, and it never occurred to you to tell me the truth.” “What choice did I have? I heard you call me a princely papa’s boy behind my back! One you could never respect!” My mouth fell open. “You spied on me?” I whirled around, shaking my head in disbelief, crossing the room, then whipping back to face him. “You spied? Your duplicities never end, do they?” He took an intimidating step closer. “Maybe if a certain tavern maid had bothered to tell me the truth first, I wouldn’t have felt that I had to hide who I was!” I matched him step for angry step. “Maybe if a self-important prince had bothered to come see me before the wedding as I had asked, we wouldn’t be here now at all!” “Is that so? Well, maybe if someone had asked with an ounce of diplomacy instead of commanding like a spoiled royal bitch, I would have come!” I shook with rage. “Maybe someone was too scared out of her wits to properly choose her words for His Royal Pompous Ass!

I read a poem today that reminded me of you.” He gave her another sideways glance, as if confessing something naughty. “Would you like to hear it?” Her knees quivered beneath her skirts. Perhaps he did feel something for her. Perhaps he is now going to declare himself! “Yes, I would.” “Your chaperone is watching us from the parapets. It would be better for me to recite it more privately.” With gentle force, he guided her behind a tall hedge. Lydia’s belly fluttered as Deveril took both her hands. His hair gleamed like an angel’s wing. Would he tell her he couldn’t let her go, that they didn’t have to go to London? That instead they could remain here…together? “She walks in beauty, like the night,” he whispered. “Of cloudless climes and starry skies; And all that’s best of dark and bright Meet in her aspect and her eyes; Thus mellowed to that tender light Which heaven to gaudy day denies.” Vincent’s eyes were like a turbulent sea in a moonlit storm. He gazed at her as though she was something precious. Lydia sighed as his long fingers removed a pin from her hair. “One shade the more, one ray the less, Had half impaired the nameless grace Which waves in every raven tress,” Her breath caught as he twirled a lock of her hair. “Or softly lightens o’er her face; Where thoughts serenely sweet express, How pure, how dear their dwelling-place.” His hand crept up to caress her cheek, his intent gaze never wavering. “And on that cheek, and o’er that brow, So soft, so calm, yet eloquent, The smiles that win, the tints that glow,” His lips curved in a sensual smile as he concluded. “But tell of days in goodness spent, A mind at peace with all below, A heart whose love is innocent!” For an eternity, they stared as if peering into each other’s souls. His fingers slid past her cheek and threaded once more through her hair, sending the remaining pins scattering into the grass. “Lydia,” he whispered. Then his lips were on hers, warm, silken, teasing. Her limbs melted. Intoxicating heat unfurled low in her body. Lydia reached up to pull him closer, to demand more. Vincent pulled back before she could grasp him. He took a deep, shuddering breath. “And that is your most important lesson in courtship, Lydia. Never allow a man to get you off alone, especially if he desires to recite poetry, and particularly Lord Byron’s verses.” A strangled gasp caught in her throat at his duplicity. It had all been part of the game! “You…you…” He held up a hand. “Now slap me with your fan in retaliation for taking such liberties.” Reeling in outrage, she fumbled in the pockets of her cloak for the ineffectual weapon. Vincent shrugged, undaunted at her ire. “That is why you should keep your fan at the ready.” Seizing the bundle of cloth-covered sticks, she smacked him soundly on the arm, much harder than Miss Hobson had instructed. “You are lucky I did not have my gun,” she hissed. How could he? To

The newspapers next day wrote that "with much hesitation the witness proceeded to recount the treatment she received from Madame DeBeausacq, the details of which are so extremely disgusting and filthy we forbear to give publicity to them." Let me say right now the papers was wrong on them details. The details are of Human Kindness. These judges, these police, these reporters, are squeamish low bloodworms, half of them, consorting with cancan girls. How I know this is because them girls come to me. So do their society mistresses. Also, their wives. I know them, daughters of Judges, sisters of Prosecutors. But these robes of the law did not wish to hear the filthy details of their own sex's duplicity, or dwell on the disgusting filthy things they did THEMSELVES, nor see the fair face of the ones they punish for their own masculine debauchery.

If one resolves to be what one is, origins, filiation and all traces in general seem an undesirable supplement. Naive, captive, subliminal duplicity. Whatever happens, the double -that internalized otherness - dissociates itself from one's official being. In the face of this internal division, how is it with the unity of the real world? The distance of the child from those who see him as innocent, the wicked delight that takes root in the form of cunning, the innate sense of having his own preserve, which will never leave him, even if he becomes a civilized being. 'The point at which the intuition forms in the child that other people exist who think differently is the point at which he learns to lie.' Later on, he will perfect that duplicity by learning to lie to himself.

I simply can't face the idea of swinging open the door to my heart. It's already been cracked, just a little, by his eyes, by his voice. I didn't even know he had the key. I threw it away a few years ago and I never made a duplicate. I

if we were to build a Great Pyramid today, we would need a lot of patience. In preparation for his book "5/5/2000 Ice: The Ultimate Disaster", Richard Noone asked Merle Booker, technical director of the Indiana Limestone Institute of America, to prepare a time study of what it would take to quarry, fabricate, and ship enough limestone to duplicate the Great Pyramid. Using the most modern quarrying equipment available for cutting, lifting, and transporting the stone, Booker estimated that the present-day Indiana limestone industry would need to triple its output, and it would take the entire industry, which as I have said includes thirty-three quarries, twenty-seven years to fill the order for 131,467,940 cubic feet of stone. These estimates were based on the assumption that production would proceed without problems. Then we would be faced with the task of putting the limestone blocks in place. The level of accuracy in the base of the Great Pyramid is astounding, and is not demanded, or even expected, by building codes today. Civil engineer Roland Dove, of Roland P. Dove & Associates, explained that .02 inch per foot variance was acceptable in modern building foundations. When I informed him of the minute variation in the foundation of the Great Pyramid, he expressed disbelief and agreed with me that in this particular phase of construction, the builders of the pyramid exhibited a state of the art that would be considered advanced by modern standards.

But the worst kind of blow you can strike against me is betrayal. I cannot let deceit and duplicity go unpunished. I could not let someone paint themselves out to be my friend, mio amico, and then spit in my face. Bring shame on my family. There will always be repercussions for such wounds.