Duplicate Friends Quotes

Sometimes duplicity and treason are markers of the enemy, and sometimes, the failed intention of a masterful ally. But, nevertheless, as they burden you with a vexing brand of love, they become nothing more than the kiss of Judas, pressing a crown of thorns into your flesh.

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.

The life that I touch for good or ill will touch another life, and that in turn another, until who knows where the trembling stops or in what far place and time my touch will be felt. Our lives are linked together. No man is an island. But there is another truth, the sister of this one, and it is that every man is an island. It is a truth that often the tolling of a silence reveals even more vividly than the tolling of a bell. We sit in silence with one another, each of us more or less reluctant to speak, for fear that if he does, he may sound life a fool. And beneath that there is of course the deeper fear, which is really a fear of the self rather than of the other, that maybe truth of it is that indeed he is a fool. The fear that the self that he reveals by speaking may be a self that the others will reject just as in a way he has himself rejected it. So either we do not speak, or we speak not to reveal who we are but to conceal who we are, because words can be used either way of course. Instead of showing ourselves as we truly are, we show ourselves as we believe others want us to be. We wear masks, and with practice we do it better and better, and they serve us well –except that it gets very lonely inside the mask, because inside the mask that each of us wears there is a person who both longs to be known and fears to be known. In this sense every man is an island separated from every other man by fathoms of distrust and duplicity. Part of what it means to be is to be you and not me, between us the sea that we can never entirely cross even when we would. “My brethren are wholly estranged from me,” Job cries out. “I have become an alien in their eyes.” The paradox is that part of what binds us closest together as human beings and makes it true that no man is an island is the knowledge that in another way every man is an island. Because to know this is to know that not only deep in you is there a self that longs about all to be known and accepted, but that there is also such a self in me, in everyone else the world over. So when we meet as strangers, when even friends look like strangers, it is good to remember that we need each other greatly you and I, more than much of the time we dare to imagine, more than more of the time we dare to admit. Island calls to island across the silence, and once, in trust, the real words come, a bridge is built and love is done –not sentimental, emotional love, but love that is pontifex, bridge-builder. Love that speak the holy and healing word which is: God be with you, stranger who are no stranger. I wish you well. The islands become an archipelago, a continent, become a kingdom whose name is the Kingdom of God.

The path of destiny pulls you forward. It exhumes you from a state of being and propels you towards the juncture you were created for. A new frontier that you are forced to tread with a cross on your back, heavy as a boulder. When you fall to your knees at the hands of your betrayer, you can only hope to find the one sent to carry you burden- shoulder the journey towards your final punishment. Sometimes duplicity and treason are markers of the ememy, and sometimes, the failed intention of a masterful ally. But, nevertheless, as they burden you with a vexing brand of love, they become nothing more than the kisdd of Judas, pressing a crown of thorns into your flesh. Seemingly with out reason- vastly disappointing, Although I am submerged in violent water, I will rise above. My enemies, my friends, are incapable of derailing me from destiny’s design. So, I press forward-move-rely on the hope of the future- create the possible out of the impossible as I weave into life’s grand tapestry. I believe in the things that wait for me- my enemies, my friends- most of all love. It is the finish line I hunger for, the promise of love in all of its glory. I can endure all things in the hold name of love. And I will.

The path of destiny pulls you forward. It exhumes you from a state of being and propels you towards the juncture you were created for. A new frontier that you are forced to tread with a cross on your back, heavy as a boulder. When you fall to your knees at the hands of your betrayer, you can only hope to find the one sent to carry you burden- shoulder the journey towards your final punishment. Sometimes duplicity and treason are markers of the enemy and sometimes, the failed intention of a masterful ally. But, nevertheless, as they burden you with a vexing brand of love, they become nothing more than the kiss of Judas, pressing a crown of thorns into your flesh. Seemingly without reason— vastly disappointing. Although I am submerged in violent water, I will rise above. My enemies, my friends, are incapable of derailing me from destiny’s design. So, I press forward-move-rely on the hope of the future- create the possible out of the impossible as I weave into life’s grand tapestry. I believe in the things that wait for me- my enemies, my friends- most of all love. It is the finish line I hunger for, the promise of love in all of its glory. I can endure all things in the hold name of love. And I will.

Why croak with dishonesty when your target subject discovers, listens, and witnesses beyond the veil of your duplicity? Your proliferation of misinformation, disinformation, gossips, polemics, planted intrigues, lies, calumny, misjudgement, and all other forms of smear campaign, may deceive gullible hearts but you cannot destroy the unparalleled truth which is in the hands of your target victim. ~ Angelica Hopes, K.H. Trilogy

Show Pleasant Riderhood a Wedding in the street, and she only saw two people taking out a regular license to quarrel and fight. Show her a Christening, and she saw a little heathen personage having a quite superfluous name bestowed upon it, inasmuch as it would be commonly addressed by some abusive epithet; which little personage was not in the least wanted by anybody, and would be shoved and banged out of everybody's way, until it should grow big enough to shove and bang. Show her a Funeral, and she saw an unremunerative ceremony in the nature of a black masquerade, conferring a temporary gentility on the performers, at an immense expense, and representing the only formal party ever given by the deceased. Show her a live father, and she saw but a duplicate of her own father, who from her infancy had been taken with fits and starts of discharging his duty to her, which duty was always incorporated in the form of a fist or a leathern strap, and being discharged hurt her. All things considered, therefore, Pleasant Riderhood was not so very, very bad.

Security means the state of being free from danger or threat. Danger means the possibility of suffering harm or injury. The possibility of something unwelcome or unpleasant happening. There are times I have to stress as I express the correct, precise, real and honest definitions; so that the deceptive, politically motivated folks who destructively branded me as “threat to danger” would realise their double denial duplicity, dishonesty and hypocrisy. Have you at least questioned the personal motives and faulty malicious and intentional misjudgment or at least be honestly curious to discern the motive of a cunning person who warns you against another as a danger, a threat or a risk to life or security? Did the political harridan mean political threat to her political coalition or a danger to reveal the harridan's creative deception matched with her political ambitious power links? ~ Angelica Hopes, K.H. Trilogy

Oh, oh, you will be sorry for that word! Give me back my book and take my kiss instead. Was it my enemy or my friend I heard, "What a big book for such a little head!" Come, I will show you now my newest hat, And you may watch me purse my mouth and prink! Oh, I shall love you still, and all of that. I never again shall tell you what I think. I shall be sweet and crafty, soft and sly; You will not catch me reading any more: I shall be called a wife to pattern by; And some day when you knock and push the door, Some sane day, not too bright and not too stormy, I shall be gone, and you may whistle for me.

Nothing improper was occurring, on the surface, but she hadn't said a word about her new friend to Max; and by consistently failing to mention and event of significance in her day she was practising a form of duplicity.

In Friendster's wake, a throng of social networking sites blossomed in San Francisco attempting to duplicate its appeal. Each tackled the idea of connecting people in a slightly different way. One was Tickle, a service which, on observing Friendster’s broad-based appeal, altered its own service, which had previously been based on self-administered quizzes and tests. Two of the other new social sites—LinkedIn and Tribe.net—were founded by friends of Abrams.

Far from being repelled by the duplicity around him, Elliott felt ever more drawn to the game of skulduggery and double cross. The Venlo debacle had been “as disastrous as it was shameful,” but he also found it fascinating, an object lesson in how highly intelligent people could be duped if persuaded to believe what they most wanted to believe. He was learning quickly.

He writes neither in the character of a Frenchman nor an Englishman, but in the fawning character of that creature known in all countries, and a friend to none - a courtier. Whether it be the Court of Versailles, or the Court of St. James, or Carlton-House, or the Court in expectation, signifies not; for the caterpillar principle of all Courts and Courtiers are alike. They form a common policy throughout Europe, detached and separate from the interest of Nations: and while they appear to quarrel, they agree to plunder. Nothing can be more terrible to a Court or Cartier than the Revolution of France. That which is a blessing to Nations is bitterness to them: and as their existence depends on the duplicity of a country, they tremble at the approach of principles, and dread the precedent that threatens their overthrow.

I don’t know when I started to realize that my country’s past was incomprehensible and obscure to me, a real shadowy terrain, nor can I remember the precise moment when all that i’d believed so trustworthy and predictable—the place I’d grown up, whose language I speak and customs I know, the place whose past I was taught in school and in university, whose present I have become accustomed to interpreting and pretending I understand—began to turn into a place of shadows out of whcih jumped horrible creatures as soon as we dropped our guard. With time I have come to think that this is the true reason why writers write aboutn the places of childhood and adolescence and even their early touth: you don’t write about what you know and understand, and much less do you write because you know and understand, but because you understand that all your knowledge and comprehension is false, a mirage and an illusion, so your books are not, could not be, more than elaborate displays of disorientation: extensive and multifarious declarations of preplexity. All that I thought was so clear, you then think, now turns out to be full of duplicities and hidden intentions, like a friend who betrays us. To that revelation, which is always annoying and often frankly painful, the writer responds in the only way one knows how: with a book. And that’s how you try to mitigate your disconcertion, reduce the space between what you don’t know and what can be known, and most of all resolve your profound disagreement with that unpredictable reality. “Out of the quarrel with others we make rhetoric,” wrote Yeats. “Out of the quarrel with ourselves we make poetry.” And what happens when both quarrels arise at the same time, when fighting with the world is a reflection or a transfiguration of the subterranean but constant confrontation you have with yourself? Then you write a book like the one I’m writing now, and blindly trust that the book will mean something to somebody else.

Mrs Coote was a good friend of their mother and the source for the ‘small thin sour woman’ who comes to tea to be served ‘wafer-thin bread and butter’ sandwiches in Company.96 Mr Coote was a dedicated, highly professional philatelist and obtained many of Frank’s rarer stamps for him.97 For Beckett remembered his brother as being a much keener collector than he ever was himself.98 Memories of such hours spent browsing, but also bickering, with his brother over their favourite stamps insinuate themselves into Beckett’s mature writing. Jacques Moran asks in Molloy: Do you know what he was doing? Transferring to the album of duplicates, from his good collection properly so-called, certain rare and valuable stamps which he was in the habit of gloating over daily and could not bring himself to leave, even for a few days. Show me your new Timor, the five reis orange, I said. He hesitated. Show it to me! I cried.99

However that may be, after prolonged research on myself, I brought out the fundamental duplicity of the human being. Then I realized, as a result of delving in my memory, that modesty helped me to shine, humility to conquer, and virtue to oppress. I used to wage war by peaceful means and eventually used to achieve, through disinterested means, everything I desired. For instance, I never complained that my birthday was overlooked; people were even surprised, with a touch of admiration, by my discretion on this subject. But the reason for my disinterestedness was even more discreet: I longed to be forgotten in order to be able to complain to myself. Several days before the famous date (which I knew very well) I was on the alert, eager to let nothing slip that might arouse the attention and memory of those on whose lapse I was counting (didn’t I once go so far as to contemplate falsifying a friend’s calendar?). Once my solitude was thoroughly proved, I could surrender to the charms of a virile self-pity.

Years later I saw a film - poignantly sad, and for me unbearably so - about a scientist who had invented a kind of total sense recorder, not just video but audio and smellio and touchio and the rest, which he set to play every afternoon in a given place a given time, for as long as the mechanism lasted. The scene he projected was that of a dozen or so young couples dancing on a terrace in the same holiday house, on the same island, where the recorder itself was kept. Then this young man comes across it while it is playing and at first is convinced he is watching a real occurrence: he sees this beautiful girl, in her slinky 1930s outfit, dancing and laughing and chattering with her friends, and he falls in love with her on the spot. Second day, same time around, he comes to the island at a slightly different time so he sees a slightly different excerpt, and still doesn't twig and falls deeper in love. And so on and so forth for various days until he happens on a duplicate bit and realises something is wrong. But by then, of course, he is irretrievably hooked. So what does he do? He digs out the machine, fiddles with its insides until he has grasped its workings, and then sets it up in recording mode and records himself into the scene in a desperate last-ditch attempt to join the dancers. Which works, and there he stays: trapped there amongst them in a virtual dimension, forever young, forever re-enacting the same little loop of life, over and over.

… 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)

I’ll never forget the time I went duck-hunting with my buddy Mike Williams; you’ll read a lot about our adventures and shenanigans in this book. Mike and I were hunting blue-winged teal ducks, which tend to move en masse, so typically you’ll either shoot your limit or not see a duck. In other words, there is a lot of idle time involved with teal hunting, so we usually bring along our fishing poles. After a hunt with Mike one morning, in which we had not seen a single teal, I hooked a four-pound bass. Almost simultaneously, one lone blue-winged teal flew over our heads. As I was reeling in the bass, I reached for my shotgun, raised it with only my left hand, and shot the duck. Now, I’m right-handed but left-eye dominant. It was the first duck I ever shot left-handed, but it would be the first of many. I eventually made the switch to shooting left-handed permanently. It was the hardest obstacle I’ve ever had to overcome in hunting, but it made me a better shot because I’m left-eye dominant. When Mike and I went back to my dad’s house and told him what happened, Phil didn’t believe us, even though we had the teal and bass as evidence. He’d told us about a similar feat many times before, when his friend Hookin’ Bull Thompson pulled in a fish with one hand and shot a duck with the other. I had heard the story many time, but only then did I realize it had now been duplicated. No matter how many times we told Phil about what I did, he didn’t believe us. He thought we made the entire story up because of the countless times he’d bragged about witnessing his buddy’s epic feat. Now, Mike is one of the most honest people you’ll meet, so he couldn’t believe Phil thought we were lying to him. “I’m going to sign an affidavit about what you did,” Mike told me. “Maybe then he’ll believe us.” “Oh, drop it,” I said. “That’s just how my family rolls.

Violent Storm" Those who have chosen to pass the night Entertaining friends And intimate ideas in the bright, Commodious rooms of dreams Will not feel the slightest tremor Or be wakened by what seems Only a quirk in the dry run Of conventional weather. For them, The long night sweeping over these trees And houses will have been no more than one In a series whose end Only the nervous or morbid consider. But for us, the wide-awake, who tend To believe the worst is always waiting Around the next corner or hiding in the dry, Unsteady branch of a sick tree, debating Whether or not to fell the passerby, It has a sinister air. How we wish we were sunning ourselves In a world of familiar views And fixed conditions, confined By what we know, and able to refuse Entry to the unaccounted for. For now, Deeper and darker than ever, the night unveils Its dubious plans, and the rain Beats down in gales Against the roof. We sit behind Closed windows, bolted doors, Unsure and ill at ease While the loose, untidy wind, Making an almost human sound, pours Through the open chambers of the trees. We cannot take ourselves or what belongs To us for granted. No longer the exclusive, Last resorts in which we could unwind, Lounging in easy chairs, Recalling the various wrongs We had been done or spared, our rooms Seem suddenly mixed up in our affairs. We do not feel protected By the walls, nor can we hide Before the duplicating presence Of their mirrors, pretending we are the ones who stare From the other side, collected In the glassy air. A cold we never knew invades our bones. We shake as though the storm were going to hurl us down Against the flat stones Of our lives. All other nights Seem pale compared to this, and the brilliant rise Of morning after morning seems unthinkable. Already now the lights That shared our wakefulness are dimming And the dark brushes against our eyes.

Do not trust a duplicity-practising friend, and also trust not a friend; for if the friend becomes angry, then all secrets he will reveal.

Ruining your work behind your back, but talking sweetly in front of you, such a person is a duplicity-practising friend, who is like a pot containing poison, but has a layer of milk on top.

The first single was tracked at Media Arts Studio in Hermosa Beach, south of L.A.; the label copy helpfully dates the session—October 9, 1980. The producer is identified as “Screwy Louie.” The A side is a cover of “Under the Boardwalk,” the Drifters’ 1964 R&B ballad. David Hidalgo takes the soaring lead (his first solo vocal on record), effortlessly duplicating the tug of Johnny Moore’s original performance. But the number receives a twist in the band’s hands: in place of the lush string instrumental break on the Bert Berns–produced original, one hears a Tex–Mex button accordion solo. The flip was a rendering of “Volver, Volver,” a bolero penned by Fernando Z. Maldonado that had been an enormous hit for the Mexican ranchera superstar Vicente Fernández in 1976. Returning to his original role as the group’s ballad specialist, Cesar Rosas takes the lead vocal. Here the band offers an old-school East Side spin on the swaying, lushly romantic number, bringing some unidentified friends into the studio to scream and howl in the background, in the manner of the “live” supporting casts on Cannibal and the Headhunters’ “Land of 1000 Dances” or the Premiers’ “Farmer John.

Yet this honesty demanded emotional deception, fraud in a virtuous cause, a sacred duplicity. He was telling MI6 every secret truth he could find while lying to his colleagues and his bosses, his family, his best friend, his estranged wife and his new lover.

Somebody is in a queer state of mind, perhaps behaves oddly, and no reason for this can be discovered at the time. Later—a month, a year, 10 years—the cause of this effect reveals itself. Because of where or what or how I am now, I behaved in such a fashion then.”54 Priestley called this the “future-influencing-present effect”—not unlike what later researchers would call presentiment but unfolding in many cases across a much longer timeframe of an individual’s life. In his 1964 book Man & Time, Priestley described several examples. One letter-writer was a WWII veteran with what we would now call PTSD, who experienced a “breakdown” during the war and relapses of his condition thereafter. He credited his recovery to a somewhat older woman with children whom he met and married after the war and, by the time of his writing, had a teenage daughter with. But “for a year before he met his wife or knew anything about her, he used to pass the gate of her country cottage on the local bus. And he never did this without feeling that he and that cottage were somehow related.”55 Another, older letter writer recalled being a girl during the First World War and when out walking one night in London, “found herself looking up at a hospital, quite strange to her, with tears streaming down her cheeks.” Years later, she moved in with a woman friend, and they remained partners for 25 years. “This friend was then taken ill and she died in that same hospital at which the girl so many years before had stared through her inexplicable tears.”56 Priestley also gives an example from two acquaintances of his own: Dr A began to receive official reports from Mrs B, who was in charge of one branch of a large department. These were not personal letters signed by Mrs B, but the usual duplicated official documents. Dr A did not know Mrs B, had never seen her, knew nothing about her except that she had this particular job. Nevertheless, he felt a growing excitement as he received more and more of these communications from Mrs B. This was so obvious that his secretary made some comment on it. A year later he had met Mrs B and fallen in love with her. They are now most happily married. He believes … that he felt this strange excitement because the future relationship communicated it to him; we might say that one part of his mind, not accessible to consciousness except as a queer feeling, already knew that Mrs B was to be tremendously important to him.57

The Hunter of the Damned has a duplicity of the intimacy of a good friend telling stories around the fire with the unsettling truth that lies within every reach of our society. The book is raw and heartfelt, it will take a piece of your soul, but it will leave you with a true understanding of child exploitation. A must for every parent. “ ⁃ Tara Waln, Keeping it Hidden

The material things found in this world Are hard to amass but easily lost; And in the end, anyway, all is left behind. Is it not wiser then to use what we get In ways conducive to the benefit of the world? In this dark age friends and patrons Are hard to please and easy to anger; Kindness is met with deceit, and eventually All go their separate ways. Is this not a sad world in which we live? The people of this negative age With duplicity and cunning pursue their goals Of wealth, power, and material possessions. If instead they dedicated all to spiritual ends. They would be happier in both this life and the next. Wasting time with people of solely vain concerns Is empty of all meaning and hope, Harming us both here and hereafter. But dedicating ourselves to the guru and Three Jewels Fulfills all hopes for now and forever. Cyclic existence is like a fiery pit, and the sufferings Of birth, sickness, age, and death fall like rain To see this, and not strive for liberation: What could be more foolish? When illness befalls us we find it hard To endure the pain for but a few days; What then would we do if reborn in the hells? It is important to avoid negativity And cultivate the ways of goodness.

All one must do is remember basic math. If one system that administers medical payments require hundreds of duplicate services, equipment, software, & databases, and must make profits for passive investors, and must pay thousands of executives millions of dollars, then it is mathematically impossible for that system to be more efficient than one that must provide the same medical payments without those expenses and overhead. Not even an inordinate amount of waste and fraud in any single-payer system would likely match the legalized fraud of the private healthcare insurance system. It is simply basic math.

Play to your strengths. There are many roads to happiness, but almost all of them are found by pursuing your particular strengths, which are likely to change over time. Change is intimidating for almost everyone, as it requires us to move from the known to the unknown, and hence from the predictable to the unpredictable. For this reason, many people remain too long with jobs or hobbies that once suited them but do not anymore. Just because you once loved something doesn’t mean you are destined to always feel that way. Your changing sources of happiness are probably telling you that your old life doesn’t suit you anymore. Seek the original source. Our modern world provides numerous opportunities for happiness that resemble but do not duplicate the original sources. Some are perfectly fine (e.g., TV and movies), some probably do more harm than good (e.g., alcohol, drugs, and junk food), but none is as good as the ancestral originals. Time with family and friends sits at the top of our species’ checklist and is our best recipe for happiness.

Extended kinship groups - sometimes located on one plantation, more commonly extended over several - became the central units of slave life, ordering society, articulating values, and delineating identity by defining the boundaries of trust. They also became the nexus for incorporating the never-ending stream of arrivals from the seaboard states into the new society, cushioning the horror of the Second Middle Passage, and socializing the deportees to the realities of life on the plantation frontier. Playing the role of midwives, the earlier arrivals transformed strangers into brothers and sisters, melding the polyglot immigrants into one. In defining obligations and responsibilities, the family became the centerpole of slave life. The arrival of the first child provided transplanted slaves with the opportunity to link the world they had lost to the world that had been forced upon them. In naming their children for some loved one left behind, pioneer slaves restored the generational linkages for themselves and connected their children with grandparents they would never know. Some pioneer slaves reached back beyond their parents' generation, suggesting how slavery's long history on mainland North America could be collapsed by a single act. Along the same mental pathways that joined the charter and migration generations flowed other knowledge. Rituals carried from Africa might be as simple as the way a mother held a child to her breast or as complex as a cure for warts. Songs for celebrating marriage, ceremonies for breaking bread, and last rites for an honored elder survived in the minds of those forced from their seaboard homes, along with the unfulfilled promise of the Age of Revolution and evangelical awakenings. Still, the new order never quite duplicated the old. Even as transplanted slaves strained their memories to reconstruct what they had once known, slavery itself was being recast. The lush thicket of kin that deportees like Hawkins Wilson remembered had been obliterated by the Second Middle Passage. Although pioneer slaves worked assiduously to knit together a new family fabric, elevating elderly slaves into parents and deputizing friends as kin, of necessity they had to look beyond blood and marriage. Kin emerged as well from a new religious sensibility, as young men and women whose families had been ravaged by the Second Middle Passage embraced one another as brothers and sisters in Christ. A cadre of black evangelicals, many of who had been converted in the revivals of the late eighteenth century, became chief agents of the expansion of African-American Christianity. James Williams, a black driver who had been transferred from Virginia to the Alabama blackbelt, was just one of many believers who was 'torn away from the care and discipline of their respective churches.' Swept westward by the tide of the domestic slave trade, they 'retained their love for the exercises of religion.

Certain ARBs (Already Read Books) came in multiples over Christmas. She would write a nice thank-you and pass the duplicates on—to a friend, to a nurse—or leave them on a book-swap table in her building.

Nevertheless, they felt a powerful urge to impart their wisdom to their friends at ARPA. Thanks to the legal beagles’ strictures, they were reduced to getting their points across by a weird pantomime of asking inscrutable but cunningly pointed questions. “Somebody would be talking about the design for some element and we’d drop all these hints,” Shoch recalled. “We’d say, ‘You know, that’s interesting, but what happens if this error message comes back, and what happens if that’s followed by a delayed duplicate that was slowed down in its response from a distant gateway when the flow control wouldn’t take it but it worked its way back and got here late? What do you do then?’ There would be this pause and they’d say, ‘You’ve tried this!’ And we’d reply, ‘Hey, we never said that!’” Eventually they managed to communicate enough of Pup’s architecture for it to become a crucial part of the ARPANET standard known as TCP/IP, which to this date is what enables data packets to pass gracefully across the global data network known as the Internet—with a capital “I.

Nevertheless, they felt a powerful urge to impart their wisdom to their friends at ARPA. Thanks to the legal beagles’ strictures, they were reduced to getting their points across by a weird pantomime of asking inscrutable but cunningly pointed questions. “Somebody would be talking about the design for some element and we’d drop all these hints,” Shoch recalled. “We’d say, ‘You know, that’s interesting, but what happens if this error message comes back, and what happens if that’s followed by a delayed duplicate that was slowed down in its response from a distant gateway when the flow control wouldn’t take it but it worked its way back and got here late? What do you do then?’ There would be this pause and they’d say, ‘You’ve tried this!’ And we’d reply, ‘Hey, we never said that!

The thought turned him topsy-turvy. It seemed to summarize the whole worthless way of the world--if there was one. And versions of it began to flutter wildly through his head. You have to look round to see straight. Good enough. Useful. And the rough places plain. But all that's geometry. But it measures the earth. You have to go slow to catch up. Eat to get thin? no, but fast to grow fat, that was a fine one. Then lose to win? fail to succeed? Risky. Stop to begin. The form made noiseless music--lumly lum lum or lum-lee-lee lum--like fill to empty, every physical extreme. Die to live was a bit old hat. But default to repay. And lie to be honest. He liked the ring of that. Flack! I'm white in order to be black. Sin first and saint later. Cruel to be kind, of course, and the hurts in the hurter--that's what they say--a lot of blap. That's my name, my nomination: Saint Later. Now then: humble to be proud; poor to be rich. Enslave to make free? That moved naturally. Also multiply to subtract. Dee dee dee. Young Saint Later. A list of them, as old as Pythagoras had. Even engenders odd. How would that be? Eight is five and three. There were no middle-aged saints--they were all old men or babies. Ah, god--the wise fool. The simpleton sublime. Babe in the woods, roach in the pudding, prince in the pauper, enchanted beauty in the toad. This was the wisdom of the folk and the philosopher alike--the disorder of the lyre, or the drawn-out bow of that sane madman, the holy Heraclitus. The poet Zeno. The logician Keats. Discovery after discovery: the more the mice eat, the fatter the cats. There were tears and laughter, for instance--how they shook and ran together into one gay grief. Dumb eloquence, swift still waters, shallow deeps. Let's see: impenitent remorse, careless anxiety, heedless worry, tense repose. So true of tigers. Then there was the friendly enmity of sun and snow, and the sweet disharmony of every union, the greasy mate of cock and cunt, the cosmic poles, war that's peace, the stumble that's an everlasting poise and balance, spring and fall, love, strife, health, disease, and the cold duplicity of Number One and all its warm divisions. The sameness that's in difference. The limit that's limitless. The permanence that's change. The distance of the near at home. So--to roam, stay home. Then pursue to be caught, submit to conquer. Method--ancient--of Chinese. To pacify, inflame. Love, hate. Kiss, kill. In, out, up, down, start, stop. Ah . . . from pleasure, pain. Like circumcision of the heart. Judgement and mercy. Sin and grace. It little mattered; everything seemed to Furber to be magically right, and his heart grew fat with satisfaction. Therefore there is good in every evil; one must lower away to raise; seek what's found to mourn its loss; conceive in stone and execute in water; turn profound and obvious, miraculous and commonplace, around; sin to save; destroy in order to create; live in the sun, though underground. Yes. Doubt in order to believe--that was an old one--for this the square IS in the circle. O Phaedo, Phaedo. O endless ending. Soul is immortal after all--at last it's proved. Between dead and living there's no difference but the one has whiter bones. Furber rose, the mosquitoes swarming around him, and ran inside.

I had, therefore, to resign myself to commissioning a duplicate from a jeweller in Madrid. They did the work very nicely. The claws are curiously shaped, but the true marvel is the stone; it is so very limpid and weighs many carats, but notice also how it is hollowed out! You see that drop of green oil which takes the place of the internal tear? It is a drop of poison, an Indian toxin which strikes so rapidly and so corrosively that it only requires to come into momentary contact with one of a man's mucous membranes to rob him of his senses and induce rigour mortis. 'It is instant death, certain but painless suicide, that I carry in this emerald. One bite' - and Ethal made as if to raise the ring to his lips - 'and with a single bound one has quit the mundane world of base instincts and crude works, to enter eternity. 'Look upon the truest of friends: a deus ex machina which defies public opinion and cheats the police of their prey...' He laughed briefly. 'After all, we live in difficult times, and today's magistrates are so very meticulous. Salute as I do, my dear friend, the poison which saves and delivers. It is at your service, if ever the day should come when you are weary of life!

Their heart does not allow them to practise duplicity: if they see their friend straying from the road, or committing any faults, they will speak to her about it; they cannot allow themselves to do anything else.

Thee asked me where I'd been and how I'd fared. I've been quite a step. . . and fared mighty well the whole ways. If a man'd fared any better'n me it'd unsettled his mind. I've had two eyes and seen sights so pretty there's no words to duplicate them. I've drunk the wine of astonishment. . .standing still, gazing. I've had two feet and no better land anywhere to walk on. Green plush grass in spring, and leaves like a carpet in fall. I've smelled white clover in daytime and quenched my thirst with live spring-water. I've earned my bread in the sweat of my brow, and still do, hard-scrabble like any other man, but making out. I've had for wife the one woman I'd choose, and been free to lift my voice to God. Though mighty backward, I reckon, in making out what He's had to say to me. I've fared so well. . . .that a jot more'n I'd be crying.

Jim Trelease: Until the "Call of the Wild", I'd always been aware I was reading a book; that is, I'd yet to be "lost" in one. Jack London gave me my first dose of "virtual reality" decades before the phrase was coined. I went immediately to his "White Fang" and then Jack O'Brien's "Silver Chief" series. For years afterwards I believed the whole experience was peculiar to me. It wasn't until I was in my fifties and read an old essay by Clifton Fadiman that I discovered the experience wasn't peculiar at all, that nearly all lifetime readers experience it with a singular book at some point. Fadiman explained that such a book is like one's first big kiss or first home run - they're unforgettable, and we spend the rest of our lives trying to duplicate or surpass them. In recent years, when my friend Stephen Krashen, the reading researcher, explored Fadiman's theory, he found it to be firmly grounded: teenagers who were avid readers could almost always name their "home run" book while unenthusiastic or reluctant readers could not.

The opposition between women who are people and women who are something less does not only rest in the vague contrast between the women of the comedies and the women of the tragedies. There are more explicit examples of women who may earn love, like Helena who pursued her husband through military brothels to marriage and honour in All’s Well, and women who must lose it through inertia and gormlessness, like Cressida. In The Taming of the Shrew Shakespeare contrasted two types in order to present a theory of marriage which is demonstrated by the explicit valuation of both kinds of wooing in the last scene. Kate is a woman striving for her own existence in a world where she is a stale, a decoy to be bid for against her sister’s higher market value, so she opts out by becoming unmanageable, a scold. Bianca has found the women’s way of guile and feigned gentleness to pay better dividends: she woos for herself under false colours, manipulating her father and her suitors in a perilous game which could end in her ruin. Kate courts ruin in a different way, but she has the uncommon good fortune to find Petruchio who is man enough to know what he wants and how to get it. He wants her spirit and her energy because he wants a wife worth keeping. He tames her like he might a hawk or a high-mettled horse, and she rewards him with strong sexual love and fierce loyalty. Lucentio finds himself saddled with a cold, disloyal woman, who has no objection to humiliating him in public. The submission of a woman like Kate is genuine and exciting because she has something to lay down, her virgin pride and individuality: Bianca is the soul of duplicity, married without earnestness or good-will. Kate’s speech at the close of the play is the greatest defence of Christian monogamy ever written. It rests upon the role of a husband as protector and friend, and it is valid because Kate has a man who is capable of being both, for Petruchio is both gentle and strong (it is a vile distortion of the play to have him strike her ever). The message is probably twofold: only Kates make good wives, and then only to Petruchios; for the rest, their cake is dough.

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.