Elegance Says It All Quotes

It's not very easy to grow up into a woman. We are always taught, almost bombarded, with ideals of what we should be at every age in our lives: "This is what you should wear at age twenty", "That is what you must act like at age twenty-five", "This is what you should be doing when you are seventeen." But amidst all the many voices that bark all these orders and set all of these ideals for girls today, there lacks the voice of assurance. There is no comfort and assurance. I want to be able to say, that there are four things admirable for a woman to be, at any age! Whether you are four or forty-four or nineteen! It's always wonderful to be elegant, it's always fashionable to have grace, it's always glamorous to be brave, and it's always important to own a delectable perfume! Yes, wearing a beautiful fragrance is in style at any age!

I walk through the black Indiana night, under a ceiling of stars, and think about the phrase "elegance and euphoria," and how it describes exactly what I feel with Violet. For once, I don't want to be anyone but Theodore Finch, the boy she sees. He understands what it is to be elegant and euphoric and a hundered different people most of them flawed and stupid, part asshole, part screwup, part freak, a boy who wants to be easy for the folks around him so that he doesn't worry them and, most of all, easy for himself. A boy who belongs - here in the world, here in his own skin. He is exactly who I want to be and what I want my epitaph to say: The Boy Violet Markey Loves.

Music. A flower in a vase on the tray. A January rose, it wouldn't last long, all big and full-blown like that. He loved things like this, fragile, that wouldn't last. She touched its silver-mauve petals, a hundred layers like an old-fashioned petticoat. The Japanese would say that's their elegance, the brevity of their beauty.

I want to say one last thing, and it’s important. Though I am a generally happy person who feels comfortable in my skin, I do beat myself up because I am influenced by a societal pressure to be thin. All the time. I feel it the same way anybody who picks up a magazine and sees Keira Knightley’s elegantly bony shoulder blades poking out of a backless dress does. I don’t know if I’ve ever seen my shoulder blades once. Honestly, I’m dubious that any part of my body could be so sharp and firm as to be described as a “blade.” I feel it when I wake up in the morning and try on every single pair of my jeans and everything looks bad and I just want to go back to sleep. But my secret is: even though I wish I could be thin, and that I could have the ease of lifestyle that I associate with being thin, I don’t wish for it with all of my heart. Because my heart is reserved for way more important things.

There's a look of mischief in his eyes. 'Smilla. Why is it that such an elegant and petite girl like you has such a rough voice.' I'm sorry,' I say, 'if I give you the impression that it is only my mouth that's rough. I do my best to be rough all over.

..when I say that "he's a truly nasty man," I mean he has so thoroughly renounced everything good that he might have inside him that he's already like a corpse even though he's still alive. Because truly nasty people hate everyone, to be sure, but most of all themselves. Can't you tell when a person hates himself? He becomes a living cadaver, it numbs all his negative emotions but also all the good ones so he won't feel nauseated by who he is.

Who am I to say that these things might not be forever? Who is Peter Van Houten to assert as fact the conjecture that our labor is temporary? All I know of heaven and all I know of death is in this park; an elegant universe in ceaseless motion, teeming with ruined ruins and screaming children.

She lived her life believing in the power of simplicity. Whether it had to do with fashion, work or relationships, she used to say, "Boil it all down to what counts the most: What is the essence of what you are trying to do, what is the most important thing? Things only get complicated when you are trying to address too many issues.

She said, “Do you see how I’m wearing this apron? It means I’m working. For a living.” The unconcerned expression didn’t flag. He said, “I’ll take care of it.” She echoed, “Take care of it?” “Yeah. How much do you make in an hour? I’ll take care of it. And I’ll talk to your manager.” For a moment, Blue was actually lost for words. She had never believed people who claimed to be speechless, but she was. She opened her mouth, and at first, all that came out was air. Then something like the beginning of a laugh. Then finally, she managed to sputter, “I am not a prostitute.” The Aglionby boy appeared puzzled for a long moment, and then realization dawned. “Oh, that was not how I meant it. That is not what I said.” “That is what you said! You think you can just pay me to talk to your friend? Clearly you pay most of your female companions by the hour and don’t know how it works with the real world, but . . . but . . .” Blue remembered that she was working to a point, but now what that point was. Indignation had eliminated all higher functions and all that remained was the desire to slap him. The boy opened his mouth to protest, and her thought came back to her all in a rush. “Most girls, when they’re interested in a guy, will sit with them for free.” To his credit, the Aglionby boy didn’t speak right away. Instead, he thought for a moment and then he said, without heat, “You said you were working for living. I thought it’d be rude to not take that into account. I’m sorry you’re insulted. I see where you’re coming from, but I feel it’s a little unair that you’re not doing the same for me.” “I feel you’re being condescending,” Blue said. In the background, she caught a glimpse of Soldier Boy making a plane of his hand. It was crashing and weaving toward the table surface while Smudgy Boy gulped laughter down. The elegant boy held his palm over his face in exaggerated horror, fingers spread just enough that she could see him wince. “Dear God,” remarked Cell Phone boy. “I don’t know what else to say.” “Sorry,” she recommended. “I said that already.” Blue considered. “Then ‘bye.’” He made a little gesture at his chest that she thought was supposed to mean he was curtsying or bowing or something sarcastically gentleman-like.

The problem is that children believe what adults say and once they're adults themselves they exact their revenge by deceiving their own children. "Life has meaning and we grown-ups know what it is" is the universal lie that everyone is supposed to believe. Once you become an adult and you realize that's not true it's too late. The mystery remains intact but all your available energy has long ago been wasted on stupid things. All that's left is to anesthetize yourself by trying to hide the fact that you can't find any meaning in your life and then the better to convince yourself you deceive your own children. ... People aim for the stars and they end up like goldfish in a bowl. I wonder if it wouldn't be simpler just to teach children right from the start that life is absurd. That might deprive you of a few good moments in your childhood but it would save you a considerable amount of time as an adultnot to mention the fact that you'd be spared at least one traumatic experience i.e. the goldfish bowl.

You could hear the wind in the leaves, and on that wind traveled the screams of the kids on the playground in the distance, the little kids figuring out how to be alive, how to navigate a world that was not built for them by navigating a playground that was. . . Who am I to say that these things might not be forever? Who is Pete Van Houten to assert as fact the conjecture that our labor is temporary? All I know of heaven and all I know of death is in this park: an elegant universe in ceaseless motion, teeming with ruined ruins and screaming children.

I do not mean to say that I viewed those desires of mine that deviated from accepted standards as normal and orthodox; nor do I mean that I labored under the mistaken impression that my friends possessed the same desires. Surprisingly enough, I was so engrossed in tales of romance that I devoted all my elegant dreams to thoughts of love between man and maid, and to marriage, exactly as though I were a young girl who knew nothing of the world. I tossed my love for Omi onto the rubbish heap of neglected riddles, never once searching deeply for its meaning. Now when I write the word love, when I write affection, my meaning is totally different from my understanding of the words at that time. I never even dreamed that such desires as I had felt toward Omi might have a significant connection with the realities of my "life.

People who don't like math always accuse mathematicians of trying to make math complicated. (...) But anyone who does love math knows it's really the opposite: math rewards simplicity, and mathematicians value it above all else. So it's no surprise that Walter's favourite axiom was also the most simple in the realm of mathematics: the axiom of the empty set. The axiom of the empty set is the axiom of zero. it states that there must be a concept of nothingness, that there must be the concept of zero: zero value, zero items. Math assumes there's a concept of nothingness, but is it proven? No. But it must exist. And if we're being philosophical—which we today are—we can say that life itself is the axiom of the empty set. It begins in zero and ends in zero. We know that both states exist, but we will not be conscious of either experience: they are states that are necessary parts of life, even as they cannot be experienced as life. We assume the concept of nothingness, but we cannot prove it. But it must exist. So I prefer to think that Walter has not died but has instead proven for himself the axiom of the empty set, that he has proven the concept of zero. I know nothing else would have made him happier. An elegant mind wants elegant endings, and Walter had the most elegant mind. So I wish him goodbye; I wish him the answer to the axiom he so loved.

Red Fox The red fox crosses the ice intent on none of my business. It's winter and slim pickings. I stand in the bushy cemetery, pretending to watch birds, but really watching the fox who could care less. She pauses on the sheer glare of the pond. She knows I'm there, sniffs me in the wind at her shoulder. If I had a gun or dog or a raw heart, she'd smell it. She didn't get this smart for nothing. She's a lean vixen: I can see the ribs, the sly trickster's eyes, filled with longing and desperation, the skinny feet, adept at lies. Why encourage the notion of virtuous poverty? It's only an excuse for zero charity. Hunger corrupts, and absolute hunger corrupts absolutely, or almost. Of course there are mothers, squeezing their breasts dry, pawning their bodies, shedding teeth for their children, or that's our fond belief. But remember - Hansel and Gretel were dumped in the forest because their parents were starving. Sauve qui peut. To survive we'd all turn thief and rascal, or so says the fox, with her coat of an elegant scoundrel, her white knife of a smile, who knows just where she's going: to steal something that doesn't belong to her - some chicken, or one more chance, or other life.

Do you know what an involuntary act signifies? Psychoanalysts say that it reflects the insidious maneuvering of one’s hidden unconscious. What a pointless theory, in fact. When we do something involuntarily, this is the most visible sign of the power of our conscious will; for our will, when opposed by emotion, makes use all of its wiles to attain its ends.

Sauve qui peut. To survive we’d all turn thief and rascal, or so says the fox, with her coat of an elegant scoundrel, her white knife of a smile, who knows just where she’s going: to steal something that doesn’t belong to her - some chicken, or one more chance, or other life.

I am in this same river. I can't much help it. I admit it: I'm racist. The other night I saw a group (or maybe a pack?) or white teenagers standing in a vacant lot, clustered around a 4x4, and I crossed the street to avoid them; had they been black, I probably would have taken another street entirely. And I'm misogynistic. I admit that, too. I'm a shitty cook, and a worse house cleaner, probably in great measure because I've internalized the notion that these are woman's work. Of course, I never admit that's why I don't do them: I always say I just don't much enjoy those activities (which is true enough; and it's true enough also that many women don't enjoy them either), and in any case, I've got better things to do, like write books and teach classes where I feel morally superior to pimps. And naturally I value money over life. Why else would I own a computer with a hard drive put together in Thailand by women dying of job-induced cancer? Why else would I own shirts mad in a sweatshop in Bangladesh, and shoes put together in Mexico? The truth is that, although many of my best friends are people of color (as the cliche goes), and other of my best friends are women, I am part of this river: I benefit from the exploitation of others, and I do not much want to sacrifice this privilege. I am, after all, civilized, and have gained a taste for "comforts and elegancies" which can be gained only through the coercion of slavery. The truth is that like most others who benefit from this deep and broad river, I would probably rather die (and maybe even kill, or better, have someone kill for me) than trade places with the men, women, and children who made my computer, my shirt, my shoes.

She was one of those women of good family who no longer exist, elegant, distinguished, and haughty, whose pallor and thinness seem to say, 'I am conquered by the era, like all my breed. I am dying, but I despise you,' and - devil take me! - plebeian as I am, and though it is not very philosophical , I cannot help finding that beautiful.

Like the Baron, Mathilde developed a formula for acting out life as a series of roles—that is, by saying to herself in the morning while brushing her blond hair, "Today I want to become this or that person," and then proceeding to be that person. One day she decided she would like to be an elegant representative of a well-known Parisian modiste and go to Peru. All she had to do was to act the role. So she dressed with care, presented herself with extraordinary assurance at the house of the modiste, was engaged to be her representative and given a boat ticket to Lima. Aboard ship, she behaved like a French missionary of elegance. Her innate talent for recognizing good wines, good perfumes, good dressmaking, marked her as a lady of refinement.

For once, I don’t want to be anyone but Theodore Finch, the boy she sees. He understands what it is to be elegant and euphoric and a hundred different people, most of them flawed and stupid, part asshole, part screwup, part freak, a boy who wants to be easy for the folks around him so that he doesn’t worry them and, most of all, easy for himself. A boy who belongs—here in the world, here in his own skin. He is exactly who I want to be and what I want my epitaph to say: The Boy Violet Markey Loves.

Excuse me while I throw this down, I’m old and cranky and tired of hearing the idiocy repeated by people who ought to know better. Real women do not have curves. Real women do not look like just one thing. Real women have curves, and not. They are tall, and not. They are brown-skinned, and olive-skinned, and not. They have small breasts, and big ones, and no breasts whatsoever. Real women start their lives as baby girls. And as baby boys. And as babies of indeterminate biological sex whose bodies terrify their doctors and families into making all kinds of very sudden decisions. Real women have big hands and small hands and long elegant fingers and short stubby fingers and manicures and broken nails with dirt under them. Real women have armpit hair and leg hair and pubic hair and facial hair and chest hair and sexy moustaches and full, luxuriant beards. Real women have none of these things, spontaneously or as the result of intentional change. Real women are bald as eggs, by chance and by choice and by chemo. Real women have hair so long they can sit on it. Real women wear wigs and weaves and extensions and kufi and do-rags and hairnets and hijab and headscarves and hats and yarmulkes and textured rubber swim caps with the plastic flowers on the sides. Real women wear high heels and skirts. Or not. Real women are feminine and smell good and they are masculine and smell good and they are androgynous and smell good, except when they don’t smell so good, but that can be changed if desired because real women change stuff when they want to. Real women have ovaries. Unless they don’t, and sometimes they don’t because they were born that way and sometimes they don’t because they had to have their ovaries removed. Real women have uteruses, unless they don’t, see above. Real women have vaginas and clitorises and XX sex chromosomes and high estrogen levels, they ovulate and menstruate and can get pregnant and have babies. Except sometimes not, for a rather spectacular array of reasons both spontaneous and induced. Real women are fat. And thin. And both, and neither, and otherwise. Doesn’t make them any less real. There is a phrase I wish I could engrave upon the hearts of every single person, everywhere in the world, and it is this sentence which comes from the genius lips of the grand and eloquent Mr. Glenn Marla: There is no wrong way to have a body. I’m going to say it again because it’s important: There is no wrong way to have a body. And if your moral compass points in any way, shape, or form to equality, you need to get this through your thick skull and stop with the “real women are like such-and-so” crap. You are not the authority on what “real” human beings are, and who qualifies as “real” and on what basis. All human beings are real. Yes, I know you’re tired of feeling disenfranchised. It is a tiresome and loathsome thing to be and to feel. But the tit-for-tat disenfranchisement of others is not going to solve that problem. Solidarity has to start somewhere and it might as well be with you and me

Say what you want, do what you will with all those fine speeches on evolution, civilisation and a ton of other '-tion' words, mankind has not progressed very far from its origins: people still believe they're not here by chance, and that there are gods, kindly for the most part, who are watching over their fate.

Is it trouble you are in, now, Miss,’ says I; ‘and what’s to be done about it?’ “‘’Tis none of your business at all, Denny Carnahan,’ says she, sittin’ up straight. And it was the voice of no other than Norah Flynn. “‘Then it’s not,’ says I, ‘and we’re after having a pleasant evening, Miss Flynn. Have ye seen the sights of this new Coney Island, then? I presume ye have come here for that purpose,’ says I. “‘I have,’ says she. ‘Me mother and Uncle Tim they are waiting beyond. ’Tis an elegant evening I’ve had. I’ve seen all the attractions that be.

And yet there’s nothing to understand. The problem is that children believe what adults say and, once they’re adults themselves, they exact their revenge by deceiving their own children. “Life has meaning and we grown-ups know what it is” is the universal lie that everyone is supposed to believe. Once you become an adult and you realize that’s not true, it’s too late. The mystery remains intact, but all your available energy has long ago been wasted on stupid things. All that’s left is to anesthetize yourself by trying to hide the fact that you can’t find any meaning in your life,...

…Sam [Raimi] wanted the climactic sword fight to play out as elegantly as a Fred Astaire movie and he wanted it all in one crane shot. I must have rehearsed the routine for three weeks, but when it came time to shoot, the rigors of running up and down steps, fighting with both hands, and flipping skeletons over my head was too much to pull off without cuts. After ten takes, I knew Sam was pissed off, because he yanked the bullhorn from John Cameron. ‘Okay, obviously, this is NOT WORKING, and it’s NOT GOING TO WORK, so we’re going to break it up into A THOUSAND LITTLE PIECES.’ When Sam gets upset, he lets you know it, and he’ll torture you for days afterward because he’s one of those guys who never forgets. The first ‘little piece’ of the sequence was a shot of me ducking as a sword glances off the stone wall behind me. ‘So, you think you can do this, Bruce?’ he’d say, loud enough for the entire crew to hear. ‘Or should I break this ONE shot into THREE MORE SHOTS?’ Sam also threatened to put Ash in a chorus line with skeletons.

Exactly what I feel with Violet. For once, I don’t want to be anyone but Theodore Finch, the boy she sees. He understands what it is to be elegant and euphoric and a hundred different people, most of them flawed and stupid, part asshole, part screwup, part freak, a boy who wants to be easy for the folks around him so that he doesn’t worry them and, most of all, easy for himself. A boy who belongs—here in the world, here in his own skin. He is exactly who I want to be and what I want my epitaph to say: The Boy Violet Markey Loves.

An intellectual is usually someone who isn't exactly distinguished by his intellect," Corelli asserted. "he claims that label to compensate for his inadequacies. It's as old as that saying : "Tell me what you boast of and I'll tell you what you lack. Our daily bread. The incompetent always present themselves as experts, the cruel as pious, sinners as devout, usurers as benefactors, the small-minded as patriots, the arrogant as humble, the vulgar as elegant, and the feeble-minded as intellectual. Once again, it's all the work of nature. Far from being the sylph to whom poets sing, nature is a cruel, voracious mother who needs to feed on the creatures she gives birth to in order to stay alive.

But after all the years, her husband and children have come to accept that, once every few weeks, their usually warmhearted and approachable Camisha will get into her Honda Accord at the beginning of a seemingly random day, and disppear until well after supper, when she will return home and go directly to bed. Her family has learned never top ask her where she had been on such a day, because the most she will ever say is, "Out. I just went out for a bit." Also, they learned long ago never to express irritation or anger of any kind against Camisha, because when they do, her reaction is to become mute and exit to the garden, where for several hours she will sit cross-legged on a favourite flat stone, her back to the house. Slender, straight-backed, and unmoving, at these times she resembles nothing so much as an elegant ebony carving, exquisite but not quite alive. Watching her is almost unberable, and so is the guilt. Or if the weather is not suitable for the garden, she will simpily go to her bedroom and lock the door. Then as a matter of course, without comment during or after, her husband sleeps on the sofa in the den. In the morning, Camisha is usually her old self again, just as if nothing had happened.

I despise this false lucidity that comes with age. The truth is that they are just like everyone else: nothing more than kids without a clue about what has happened to them, acting big and tough when in fact all they want is to burst into tears. And yet there's nothing to understand. The problem is that children believe what adults say and, once they're adults themselves, they exact their revenge by deceiving their own children. 'Life has meaning and we grown-ups know what it is' is the universal lie that everyone is supposed to believe. Once you become an adult and you realize that's not true, it's too late. The mystery remains intact, but all your available energy has long been wasted on stupid things. All that's left is to anesthetize yourself by trying to hide the fact that you can't find any meaning in your life, and then, the better to convince yourself, you deceive your own children.

Defining words properly is a fine and peculiar craft. There are rules—a word (to take a noun as an example) must first be defined according to the class of things to which it belongs (mammal, quadruped), and then differentiated from other members of that class (bovine, female). There must be no words in the definition that are more complicated or less likely to be known that the word being defined. The definition must say what something is, and not what it is not. If there is a range of meanings of any one word—cow having a broad range of meanings, cower having essentially only one—then they must be stated. And all the words in the definition must be found elsewhere in the dictionary—a reader must never happen upon a word in the dictionary that he or she cannot discover elsewhere in it. If the definer contrives to follow all these rules, stirs into the mix an ever-pressing need for concision and elegance—and if he or she is true to the task, a proper definition will probably result.

If fact, she mothers with such patience and grace that she's elegant, timelessly elegant. Ironically enough, one might even say that she has become forever elegant after all.

Now that we know that Spring Roll is a girl, we should probably think about setting up her room. Gabriel kept his eyes on the road as he drove the Volvo one Saturday morning in May. We should also talk about names. That sounds good. Maybe you should think about what you want and we can go shopping. Julia turned to look at him. Now? I said I'd take you to lunch, and we can do that. But afterward, we need to start thinking about Spring Roll's room. We want it to be attractive, but functional. Something comfortable for you and for her, but not juvenile. She's a baby, Gabriel. Her stuff is going to be juvenile. You know what I mean. I want it to be elegant and not look like a preschool. Good grief. Julia fought a grin as she began imagining what the Professor would design. (Argyle patterns, dark wood, and chocolate brown leather immediately came to mind.) He cleared his throat. I might have done some searching on the Internet. Oh, really? From where? Restoration Hardware? Of course not. He bristled. Their things wouldn't be appropriate for a baby's room. So where then? He gazed at her triumphantly. Pottery Barn Kids. Julia groaned. We've become yuppies. Gabriel stared at her in mock horror. Why do you say that? We're driving a Volvo and talking about shopping at Pottery Barn. First of all, Volvos have an excellent safety rating and they're more attractive than a minivan. Secondly, Pottery Barn's furniture happens to be both functional and aesthetically pleasing. I'd like to take you to one their stores so you can see for yourself. As long as we get Thai food first. Now it was Gabriel's turn to roll his eyes. Fine. But we're ordering takeout and taking it to the park for a picnic. And I'm having Indian food, instead. If I see another plate of pad Thai, I'm going to lose it. Julia burst into peals of laughter.

I am not qualified to say whether or not God exists. I kind of doubt He does. Nevertheless I'm always saying that the SF( The SF is the supreme Fascist, the Number-One guy up there) has this transfinite book-transfinite being a concept in mathematics that is larger than infinite-that contains the best proofs of all mathematical theorems, proofs that are elegant and perfect.

If you are already solving your problem with the equipment you have - a pencil, say- why solve it with something more expensive and more damaging? If you don't have a problem, why pay for a solution? If you love the freedom and elegance of simple toons, why encumber yourself with something complicated? And yet, if we are ever again going to have a world fit and pleasant for little children, we are surely going to have to draw the line where it is not easily drawn. We are going to have to learn to give up things that we have learned (in only a few years, after all) to 'need'.

Honestly, of all the unnecessary things her mother had taught her in the last eighteen years, she couldn’t have found two minutes to say, “A lady always brings something to occupy herself while she waits”?

Personally I think that grammar is a way to attain Beauty. When you speak, or read, or write, you can tell if you’ve said or read or written a fine sentence. You can recognize a well-turned phrase or an elegant style. But when you are applying the rules of grammar skillfully, you ascend to another level of the beauty of language. When you use grammar you peel back the layers, to see how it is all put together, see it quite naked, in a way. And that’s where it becomes wonderful, because you say to yourself, 'Look how well made this is, how well constructed it is!' 'How solid and ingenious, rich and subtle!' I get completely carried away just knowing there are words of all different natures, and that you have to know them in order to be able to infer their potential usage and compatibility. I find there is nothing more beautiful, for example, than the very basic components of language, nouns and verbs. When you've grasped this, you've grasped the core of any statement. It's magnificent, don't you think? Nouns, verbs...

What is reality after all," he said. "Did we not invent all this, are we not God, any and all of us?" He spread his own elegant hand on the table. "I could pass my hand through the wood as if through water. Any man, any woman, could do it. No chains, no bindings. It's a world of chaos restrained solely by the human mind, which then, afraid of itself, steps back and says, see this colossal machine over which I have no power at all.

You could hear the wind in the leaves, and on that wind traveled the screams of the kids on the playground in the distance, the little kids figuring out how to be alive, how to navigate a world that was not built for them by navigating a playground that was. Dad saw me watching the kids and said, "You miss running around like that?" "Sometimes, I guess." But that wasn't what I was thinking about. I was just trying to notice everything: the light on the ruined Ruins, this little kid who could barely walk discovering a stick at the corner of the playground, my indefatigable mother zigzagging mustard across her turkey sandwich, my dad patting his handheld in his pocket and resisting the urge to check it, a guy throwing a Frisbee that his dog kept running under and catching and returning to him. Who am I to say that these things might not be forever? Who is Peter Van Houten to assert as fact the conjecture that our labor is temporary? All I know of heaven and all I know of death is in this park: an elegant universe in ceaseless motion, teeming with ruined ruins and screaming children.

As you sit, make peace also with the reality that, after you die, it won't matter to you how you are remembered; you will not be here to experience it. All the grand things that you do or say, all the skyscrapers you build and cover with gold, your elegant tombstone, all will be completely forgotten eventually. Even your children, and their children, too, will be forgotten. That being so, perhaps it is best to begin to erase your presence well before you leave the scene.

The mind’s first step is to distinguish what is true from what is false. However, as soon as thought reflects on itself, what it first discovers is a contradiction. Useless to strive to be convincing in this case. Over the centuries no one has furnished a clearer and more elegant demonstration of the business than Aristotle: “The often ridiculed consequence of these opinions is that they destroy themselves. For by asserting that all is true we assert the truth of the contrary assertion and consequently the falsity of our own thesis (for the contrary assertion does not admit that it can be true). And if one says that all is false, that assertion is itself false. If we declare that solely the assertion opposed to ours is false or else that solely ours is not false, we are nevertheless forced to admit an infinite number of true or false judgments. For the one who expresses a true assertion proclaims simultaneously that it is true, and so on ad infinitum.

poverty of any kind, except of conversation, appeared—but there, the deficiency was considerable. John Dashwood had not much to say for himself that was worth hearing, and his wife had still less. But there was no peculiar disgrace in this; for it was very much the case with the chief of their visitors, who almost all laboured under one or other of these disqualifications for being agreeable—Want of sense, either natural or improved—want of elegance—want of spirits—or want of temper.

I should have done it a long time ago. When there were three bullets in the gun instead of two. I was stupid. We’ve been over all of this. I didnt bring myself to this. I was brought. And now I’m done. I thought about not even telling you. That would probably have been best. You have two bullets and then what? You cant protect us. You say you would die for us but what good is that? I’d take him with me if it werent for you. You know I would. It’s the right thing to do. You’re talking crazy. No, I’m speaking the truth. Sooner or later they will catch us and they will kill us. They will rape me. They’ll rape him. They are going to rape us and kill us and eat us and you wont face it. You’d rather wait for it to happen. But I cant. I cant. She sat there smoking a slender length of dried grapevine as if it were some rare cheroot. Holding it with a certain elegance, her other hand across her knees where she’d drawn them up. She watched him across the small flame. We used to talk about death, she said. We dont any more. Why is that? I dont know. It’s because it’s here. There’s nothing left to talk about. I wouldnt leave you. I dont care. It’s meaningless. You can think of me as a faithless slut if you like. I’ve taken a new lover. He can give me what you cannot. Death is not a lover. Oh yes he is.

They will make time to take some photos for Instagram, but will struggle to crack a smile as they think about all the work still to be done. They will drop barbed remarks about the weekend’s hitches, without proposing any solutions. They will drink at lunchtime, doze off in the sun, and wake up feeling foggy and sluggish, with a pounding head and too much to do. But then they will receive notifications of the first reviews, and all that weight will instantly lift. Three will have come in, all of them giving five stars. One will be by a woman with over three hundred thousand followers, who will have tagged them in a post praising, as per their agreement, the relaxed but impeccable welcome, the choice of natural wines, the simple, elegant decor—Mediterranean and yet unmistakably international. It’s all completely perfect, the story will say. It’s just like it is in the pictures.

To change the subject, he tells them about Dr. Kashen’s funeral, where Dr. Li gave a eulogy. “People who don’t love math always accuse mathematicians of trying to make math complicated,” Dr. Li had said. “But anyone who does love math knows it’s really the opposite: math rewards simplicity, and mathematicians value it above all else. So it’s no surprise that Walter’s favorite axiom was also the most simple in the realm of mathematics: the axiom of the empty set. “The axiom of the empty set is the axiom of zero. It states that there must be a concept of nothingness, that there must be the concept of zero: zero value, zero items. Math assumes there’s a concept of nothingness, but is it proven? No. But it must exist. “And if we are being philosophical—which we today are—we can say that life itself is the axiom of the empty set. It begins in zero and ends in zero. We know that both states exist, but we will not be conscious of either experience: they are states that are necessary parts of life, even as they cannot be experienced as life. We assume the concept of nothingness, but we cannot prove it. But it must exist. So I prefer to think that Walter has not died but has instead proven for himself the axiom of the empty set, that he has proven the concept of zero. I know nothing else would have made him happier. An elegant mind wants elegant endings, and Walter had the most elegant mind. So I wish him goodbye; I wish him the answer to the axiom he so loved.” They

. . . Yes, I’m an aesthete. I like beauty. Yes – poor countries are beautiful. Poor people are beautiful. It’s a wonderful feeling to have money in a country where most people are poor, to ride in a taxi through horrible slums. Yes – a beggar can be beautiful. A beggar can have beautiful lips, beautiful eyes. You’re far from home. To you, her simple shawl seems elegant, direct, the right way to dress. You see her approaching from a great distance. She’s old, thin, and yes, she looks sick, very sick, near death. But her face is beautiful – seductive, luminous. You like her – you’re drawn to her. Yes, you think – there’s money in your purse – you’ll give her some of it. And a voice says – Why not all of it? Why not give her all you have? Be careful, that’s a question that could poison your life. Your love of beauty could actually kill you. If you hear that question, it means you’re sick. You’re mentally sick. You’ve had a breakdown.

A man can be beautiful, I see that now. It’s not just a woman’s term, not a word reserved for romantic, virtuous, elegant things. I don’t think beauty is neat anymore. It’s unordered. It’s unbrushed hair and a torn back pocket. It’s bright and strange and lovely, and if I were to paint him, I’d use all the warm colours - ochre, gold, plum, terracotta, scarlet, burnt orange. I want him to see me as I saw him then, I want him to find me alone at the end of the day with the sun in my hair. I want his heart to buckle, too. I want him to stop someone out in the square and say, who’s that? Do you know her? Where is she from?” — - from Eve Green’s mother’s account. “It is written on a piece of thin, yellow paper, and is folded in half. I like this account. I like it because it’s true, she’s right. We all want out lovers to see us that way - unaware, natural, serene. We want to change their world with one glance, to stop their breath at the sight of us.

As a special branch of general philosophy, pathogenesis had never been explored. In my opinion it had never been approached in a strictly scientific fashion--that is to say, objectively, amorally, intellectually. All those who have written on the subject are filled with prejudice. Before searching out and examining the mechanism of causes of disease, they treat of 'disease as such', condemn it as an exceptional and harmful condition, and start out by detailing the thousand and one ways of combating it, disturbing it, destroying it; they define health, for this purpose, as a 'normal' condition that is absolute and immutable. Diseases ARE. We do not make or unmake them at will. We are not their masters. They make us, they form us. They may even have created us. They belong to this state of activity which we call life. They may be its main activity. They are one of the many manifestations of universal matter. They may be the principal manifestation of that matter which we will never be able to study except through the phenomena of relationships and analogies. Diseases are a transitory, intermediary, future state of health. It may be that they are health itself. Coming to a diagnosis is, in a way, casting a physiological horoscope. What convention calls health is, after all, no more than this or that passing aspect of a morbid condition, frozen into an abstraction, a special case already experienced, recognized, defined, finite, extracted and generalized for everybody's use. Just as a word only finds its way into the Dictionary Of The French Academy when it is well worn stripped of the freshness of its popular origin or of the elegance of its poetic value, often more than fifty years after its creation (the last edition of the learned Dictionary is dated 1878), just as the definition given preserves a word, embalms it in its decrepitude, but in a pose which is noble, hypocritical and arbitrary--a pose it never assumed in the days of its vogue, while it was still topical, living and meaningful--so it is that health, recognized as a public Good, is only the sad mimic of some illness which has grown unfashionable, ridiculous and static, a solemnly doddering phenomenon which manages somehow to stand on its feet between the helping hands of its admirers, smiling at them with its false teeth. A commonplace, a physiological cliche, it is a dead thing. And it may be that health is death itself. Epidemics, and even more diseases of the will or collective neuroses, mark off the different epochs of human evolution, just as tellurian cataclysms mark the history of our planet.

For dinner, Victor makes roast chicken, potatoes, and a simple but elegant mâche salad, all with the ingredients we picked up at a market earlier. "The chicken," I say, after taking a bite, "is so good." "Just sea salt, olive oil, garlic, and a little rosemary," he says. "People overcomplicate chicken. That's really all you need.

WALTER (Gathering him up in his arms) You know what, Travis? In seven years you going to be seventeen years old. And things is going to be very different with us in seven years, Travis. … One day when you are seventeen I’ll come home—home from my office downtown somewhere— TRAVIS You don’t work in no office, Daddy. WALTER No—but after tonight. After what your daddy gonna do tonight, there’s going to be offices—a whole lot of offices.… TRAVIS What you gonna do tonight, Daddy? WALTER You wouldn’t understand yet, son, but your daddy’s gonna make a transaction … a business transaction that’s going to change our lives. … That’s how come one day when you ’bout seventeen years old I’ll come home and I’ll be pretty tired, you know what I mean, after a day of conferences and secretaries getting things wrong the way they do … ’cause an executive’s life is hell, man—(The more he talks the farther away he gets) And I’ll pull the car up on the driveway … just a plain black Chrysler, I think, with white walls—no—black tires. More elegant. Rich people don’t have to be flashy … though I’ll have to get something a little sportier for Ruth—maybe a Cadillac convertible to do her shopping in. … And I’ll come up the steps to the house and the gardener will be clipping away at the hedges and he’ll say, “Good evening, Mr. Younger.” And I’ll say, “Hello, Jefferson, how are you this evening?” And I’ll go inside and Ruth will come downstairs and meet me at the door and we’ll kiss each other and she’ll take my arm and we’ll go up to your room to see you sitting on the floor with the catalogues of all the great schools in America around you. … All the great schools in the world! And—and I’ll say, all right son—it’s your seventeenth birthday, what is it you’ve decided? … Just tell me where you want to go to school and you’ll go. Just tell me, what it is you want to be—and you’ll be it. … Whatever you want to be—Yessir! (He holds his arms open for TRAVIS) YOU just name it, son … (TRAVIS leaps into them) and I hand you the world!

People who don’t love math always accuse mathematicians of trying to make math complicated,” Dr. Li had said. “But anyone who does love math knows it’s really the opposite: math rewards simplicity, and mathematicians value it above all else. So it’s no surprise that Walter’s favorite axiom was also the most simple in the realm of mathematics: the axiom of the empty set. “The axiom of the empty set is the axiom of zero. It states that there must be a concept of nothingness, that there must be the concept of zero: zero value, zero items. Math assumes there’s a concept of nothingness, but is it proven? No. But it must exist. “And if we are being philosophical—which we today are—we can say that life itself is the axiom of the empty set. It begins in zero and ends in zero. We know that both states exist, but we will not be conscious of either experience: they are states that are necessary parts of life, even as they cannot be experienced as life. We assume the concept of nothingness, but we cannot prove it. But it must exist. So I prefer to think that Walter has not died but has instead proven for himself the axiom of the empty set, that he has proven the concept of zero. I know nothing else would have made him happier. An elegant mind wants elegant endings, and Walter had the most elegant mind. So I wish him goodbye; I wish him the answer to the axiom he so loved.

But I would not say a word until I could set aside all I know or believe about nations, war, leaders, the governed and the ungovernable; all I suspect about armor and entrails. First I would freshen my tongue, abandon sentences crafted to know evil--wanton or studied; explosive or quietly sinister; whether born of a sated appetite or hunger; of vengeance or the simple compulsion to stand up before falling down. I would purge my language of hyperbole, of its eagerness to analyze the levels of wickedness; ranking them, calculating their higher or lower status among others of its kind. Speaking to the broken and the dead is too difficult for a mouth full of blood. Too holy an act for impure thoughts. ... I must be steady and I must be clear, knowing all the time that I have nothing to say--no words stronger than steel that pressed you into itself; no scripture older or more elegant than the ancient atoms you have become. And I have nothing to give either--except this gesture, this thread thrown between your humanity and mine: I want to hold you in my arms and as your soul got shot out of its box of flesh to understand as you have done, the wit of eternity; it's gift of unhinged release through the darkness of its knell.

It was raining and I had to walk on the grass. I’ve got mud all over my shoes. They’re brand-new, too.” “I’ll carry you across the grass on the return trip, if you like,” Colby offered with twinkling eyes. “It would have to be over one shoulder, of course,” he added with a wry glance at his artificial arm. She frowned at the bitterness in his tone. He was a little fuzzy because she needed glasses to see at distances. “Listen, nobody in her right mind would ever take you for a cripple,” she said gently and with a warm smile. She laid a hand on his sleeve. “Anyway,” she added with a wicked grin, “I’ve already given the news media enough to gossip about just recently. I don’t need any more complications in my life. I’ve only just gotten rid of one big one.” Colby studied her with an amused smile. She was the only woman he’d ever known that he genuinely liked. He was about to speak when he happened to glance over her shoulder at a man approaching them. “About that big complication, Cecily?” “What about it?” she asked. “I’d say it’s just reappeared with a vengeance. No, don’t turn around,” he said, suddenly jerking her close to him with the artificial arm that looked so real, a souvenir of one of his foreign assignments. “Just keep looking at me and pretend to be fascinated with my nose, and we’ll give him something to think about.” She laughed in spite of the racing pulse that always accompanied Tate’s appearances in her life. She studied Colby’s lean, scarred face. He wasn’t anybody’s idea of a pinup, but he had style and guts and if it hadn’t been for Tate, she would have found him very attractive. “Your nose has been broken twice, I see,” she told Colby. “Three times, but who’s counting?” He lifted his eyes and his eyebrows at someone behind her. “Well, hi, Tate! I didn’t expect to see you here tonight.” “Obviously,” came a deep, gruff voice that cut like a knife. Colby loosened his grip on Cecily and moved back a little. “I thought you weren’t coming,” he said. Tate moved into Cecily’s line of view, half a head taller than Colby Lane. He was wearing evening clothes, like the other men present, but he had an elegance that made him stand apart. She never tired of gazing into his large black eyes which were deep-set in a dark, handsome face with a straight nose, and a wide, narrow, sexy mouth and faintly cleft chin. He was the most beautiful man. He looked as if all he needed was a breastplate and feathers in his hair to bring back the heyday of the Lakota warrior in the nineteenth century. Cecily remembered him that way from the ceremonial gatherings at Wapiti Ridge, and the image stuck stubbornly in her mind. “Audrey likes to rub elbows with the rich and famous,” Tate returned. His dark eyes met Cecily’s fierce green ones. “I see you’re still in Holden’s good graces. Has he bought you a ring yet?” “What’s the matter with you, Tate?” Cecily asked with a cold smile. “Feeling…crabby?” His eyes smoldered as he glared at her. “What did you give Holden to get that job at the museum?” he asked with pure malice. Anger at the vicious insinuation caused her to draw back her hand holding the half-full coffee cup, and Colby caught her wrist smoothly before she could sling the contents at the man towering over her. Tate ignored Colby. “Don’t make that mistake again,” he said in a voice so quiet it was barely audible. He looked as if all his latent hostilities were waiting for an excuse to turn on her. “If you throw that cup at me, so help me, I’ll carry you over and put you down in the punch bowl!” “You and the CIA, maybe!” Cecily hissed. “Go ahead and try…!” Tate actually took a step toward her just as Colby managed to get between them. “Now, now,” he cautioned. Cecily wasn’t backing down an inch. Neither was Tate.

It might sound sentimental to say it in so many words, but we are blessed by the dead, and we know that we are, in spite of our protestations to the contrary. They leave spaces in our lives that, for some of us, are the closest things to sacred we ever know. They are there and then they are gone and, after a time, we come to see a certain elegance in that – the elegance of a magic trick, say, where the conjuror rehearses the vanishing act that we must all accomplish sooner or later.

The science fiction writer cuts out her heart. It is a thousand hearts. It is all the hearts she will ever have. It is her only child’s dead heart. It is the heart of herself when she is old and nothing she ever wrote can be revised again. It is a heart that says with its wet beating mouth: Time is the same thing as light. Both arrive long after they began, bearing sad messages. How lovely you are. I love you.   The science fiction writer steals her heart from herself to bring it into the light. She escapes her old heart through a smoke hole and becomes a self-referencing system of imperfect, but elegant, memory. She sews up her heart into her own leg and gives birth to it twenty years later on the long highway to Ohio. The heat of herself dividing echoes forward and back, and she accretes, bursts, and begins again the long process of her own super-compression until her heart is an egg containing everything. She eats of her heart and knows she is naked. She throws her heart into the abyss and it falls a long way, winking like a red star.

Competition is the spice of sports; but if you make spice the whole meal you'll be sick. The simplest single-celled organism oscillates to a number of different frequencies, at the atomic, molecular, sub-cellular, and cellular levels. Microscopic movies of these organisms are striking for the ceaseless, rhythmic pulsation that is revealed. In an organism as complex as a human being, the frequencies of oscillation and the interactions between those frequencies are multitudinous. -George Leonard Learning any new skill involves relatively brief spurts of progress, each of which is followed by a slight decline to a plateau somewhat higher in most cases than that which preceded it…the upward spurts vary; the plateaus have their own dips and rises along the way…To take the master’s journey, you have to practice diligently, striving to hone your skills, to attain new levels of competence. But while doing so–and this is the inexorable–fact of the journey–you also have to be willing to spend most of your time on a plateau, to keep practicing even when you seem to be getting nowhere. (Mastery, p. 14-15). Backsliding is a universal experience. Every one of us resists significant change, no matter whether it’s for the worse or for the better. Our body, brain and behavior have a built-in tendency to stay the same within rather narrow limits, and to snap back when changed…Be aware of the way homeostasis works…Expect resistance and backlash. Realize that when the alarm bells start ringing, it doesn’t necessarily mean you’re sick or crazy or lazy or that you’ve made a bad decision in embarking on the journey of mastery. In fact, you might take these signals as an indication that your life is definitely changing–just what you’ve wanted….Be willing to negotiate with your resistance to change. Our preoccupation with goals, results, and the quick fix has separated us from our own experiences…there are all of those chores that most of us can’t avoid: cleaning, straightening, raking leaves, shopping for groceries, driving the children to various activities, preparing food, washing dishes, washing the car, commuting, performing the routine, repetitive aspects of our jobs….Take driving, for instance. Say you need to drive ten miles to visit a friend. You might consider the trip itself as in-between-time, something to get over with. Or you could take it as an opportunity for the practice of mastery. In that case, you would approach your car in a state of full awareness…Take a moment to walk around the car and check its external condition, especially that of the tires…Open the door and get in the driver’s seat, performing the next series of actions as a ritual: fastening the seatbelt, adjusting the seat and the rearview mirror…As you begin moving, make a silent affirmation that you’ll take responsibility for the space all around your vehicle at all times…We tend to downgrade driving as a skill simply because it’s so common. Actually maneuvering a car through varying conditions of weather, traffic, and road surface calls for an extremely high level of perception, concentration, coordination, and judgement…Driving can be high art…Ultimately, nothing in this life is “commonplace,” nothing is “in between.” The threads that join your every act, your every thought, are infinite. All paths of mastery eventually merge. [Each person has a] vantage point that offers a truth of its own. We are the architects of creation and all things are connected through us. The Universe is continually at its work of restructuring itself at a higher, more complex, more elegant level . . . The intention of the universe is evolution. We exist as a locus of waves that spreads its influence to the ends of space and time. The whole of a thing is contained in each of its parts. We are completely, firmly, absolutely connected with all of existence. We are indeed in relationship to all that is.

There is a lovely old-fashioned pearl set in the treasure chest, but Mother said real flowers were the prettiest ornament for a young girl, and Laurie promised to send me all I want," replied Meg. "Now, let me see, there's my new gray walking suit, just curl up the feather in my hat, Beth, then my poplin for Sunday and the small party, it looks heavy for spring, doesn't it? The violet silk would be so nice. Oh, dear!" "Never mind, you've got the tarlaton for the big party, and you always look like an angel in white," said Amy, brooding over the little store of finery in which her soul delighted. "It isn't low-necked, and it doesn't sweep enough, but it will have to do. My blue housedress looks so well, turned and freshly trimmed, that I feel as if I'd got a new one. My silk sacque isn't a bit the fashion, and my bonnet doesn't look like Sallie's. I didn't like to say anything, but I was sadly disappointed in my umbrella. I told Mother black with a white handle, but she forgot and bought a green one with a yellowish handle. It's strong and neat, so I ought not to complain, but I know I shall feel ashamed of it beside Annie's silk one with a gold top," sighed Meg, surveying the little umbrella with great disfavor. "Change it," advised Jo. "I won't be so silly, or hurt Marmee's feelings, when she took so much pains to get my things. It's a nonsensical notion of mine, and I'm not going to give up to it. My silk stockings and two pairs of new gloves are my comfort. You are a dear to lend me yours, Jo. I feel so rich and sort of elegant, with two new pairs, and the old ones cleaned up for common." And Meg took a refreshing peep at her glove box. "Annie Moffat has blue and pink bows on her nightcaps. Would you put some on mine?" she asked, as Beth brought up a pile of snowy muslins, fresh from Hannah's hands. "No, I wouldn't, for the smart caps won't match the plain gowns without any trimming on them. Poor folks shouldn't rig," said Jo decidedly. "I wonder if I shall ever be happy enough to have real lace on my clothes and bows on my caps?" said Meg impatiently. "You said the other day that you'd be perfectly happy if you could only go to Annie Moffat's," observed Beth in her quiet way. "So I did! Well, I am happy, and I won't fret, but it does seem as if the more one gets the more one wants, doesn't it?

Let us beware of thinking that the world is a living being. Where should it expand? On what should it feed? How could it grow and multiply? We have some notion of the nature of the organic; and we should not reinterpret the exceedingly derivative, late, rare, accidental, that we perceive only on the crust of the earth and make of it something essential, universal, and eternal, which is what those people do who call the universe an organism. This nauseates me. Let us even beware of believing that the universe is a machine: it is certainly not constructed for one purpose, and calling it a 'machine' does it far too much honor. Let us beware of positing generally and everywhere anything as elegant as the cyclical movements of our neighboring stars; even a glance into the Milky Way raises doubts whether there are not far coarser and more contradictory movements there, as well as stars with eternally linear paths, etc. The astral order in which we live is an exception; this order and the relative duration that depends on it have again made possible an exception of exceptions: the formation of the organic. The total character of the world, however, is in all eternity chaos—in the sense not of a lack of necessity but of a lack of order, arrangement, form, beauty, wisdom, and whatever other names there are for our aesthetic anthropomorphisms. Judged from the point of view of our reason, unsuccessful attempts are by all odds the rule, the exceptions are not the secret aim, and the whole musical box repeats eternally its tune which may never be called a melody—and ultimately even the phrase 'unsuccessful attempt' is too anthropomorphic and reproachful. But how could we reproach or praise the universe? Let us beware of attributing to it heartlessness and unreason or their opposites: it is neither perfect nor beautiful, nor noble, nor does it wish to become any of these things; it does not by any means strive to imitate man. None of our aesthetic and moral judgments apply to it. Nor does it have any instinct for self-preservation or any other instinct; and it does not observe any laws either. Let us beware of saying that there are laws in nature. There are only necessities: there is nobody who commands, nobody who obeys, nobody who trespasses. Once you know that there are no purposes, you also know that there is no accident; for it is only beside a world of purposes that the word 'accident' has meaning. Let us beware of saying that death is opposed to life. The living is merely a type of what is dead, and a very rare type. Let us beware of thinking that the world eternally creates new things. There are no eternally enduring substances; matter is as much of an error as the God of the Eleatics. But when shall we ever be done with our caution and care? When will all these shadows of God cease to darken our minds? When will we complete our de-deification of nature? When may we begin to 'naturalize' humanity in terms of a pure, newly discovered, newly redeemed nature?

as utilitarian bunglers say, and thereby deem themselves wise—“from submission to arbitrary laws,” as the anarchists say, and thereby fancy themselves “free,” even free-spirited. The singular fact remains, however, that everything of the nature of freedom, elegance, boldness, dance, and masterly certainty, which exists or has existed, whether it be in thought itself, or in administration, or in speaking and persuading, in art just as in conduct, has only developed by means of the tyranny of such arbitrary law, and in all seriousness, it is not at all improbable that precisely this is “nature” and “natural”—and not laisser-aller!

I think a marvelous stunt would be to have your best friend (or the most critical acquaintance) take some candid color snapshots of you from all angles, dressed just as you usually appear at, say, six in the evening. The same hairdo, the same makeup, and if possible the same expression on your face. Be honest! Be sure to have her take the rear views, too. There ought to be some other shots of you wearing your best going-out-to-dinner dress, or your favorite bridge-with-the-girls costume — hat, gloves, bag, and costume jewelry. Everything. Then have that roll of film developed and BLOWN UP. You can’t see much in a tiny snapshot. An eight-by-ten will show you the works — and you probably won’t be very happy with it. Sit down and take a long look at that strange woman. Is she today’s with-it person — elegant, poised, groomed, glowing with health? Or is she a plump copy of Miss 1950? Is she sleek, or bumpy in the wrong places? How is her posture? Does she look better from the front than from the back? Does she stand gracefully? […] Feet together or one slightly in front of the other, is the most graceful stance. […] I always pin my bad notices on my mirror. How about keeping those eight-by-ten candid shots around your dressing room for a while as you dress?

Forgetting myself for a moment, I stopped to study the menu that was elegantly exposed in a show window. I read, realizing that a few days earlier I could have gone in and ordered anything on the menu. But now, though I was the same person with the same appetite, the same appreciation and even the same wallet, no power on earth could get me inside this place for a meal. I recalled hearing some Negro say, “You can live here all your life, but you’ll never get inside one of the great restaurants except as a kitchen boy.” The Negro often dreams of things separated from him only by a door, knowing that he is forever cut off from experiencing them.

Changed?” replied Drogo. “No, absolutely not.” “You’re just saying that because you don’t find me as attractive as before. Tell the truth!” Was it really Maria speaking? Wasn’t she teasing him? Drogo listened to her words, hardly believing what she said. From one moment to the next he hoped she would drop that elegant smile, that sweet manner, and burst out laughing. “Of course! I find you most unattractive,” Giovanni would have replied in the good old days as he slid an arm around her waist, and she would have pressed against him. But now? It would’ve been absurd, a joke in poor taste. “I don’t think that at all,” said Drogo. “You’re exactly the same, I swear.

Lemon and... blueberries, right? No, hold on- blackberries, I think. And... lavender? Lavender, for... excitement? I think there's an old saying that lavender is good for something like that." That sounded familiar. "Just a second." I took the book out of my backpack and flipped through the beginning again. "This isn't in alphabetical order, or any kind of order at all. Oh, here it is. Lavender brings luck and adventure for those who choose to embrace it," I said. "You were right." "What book is that?" asked Vik. "It looks ancient." "I just found it. It's got all these drawings and descriptions of herbs and spices." "Cool! Can I take a look?" I handed him the book, and he spent the next few minutes leafing through it, but then returned to eating the cupcake. "I love this. It's so different from the usual boring things people make. Although..." He took another bite. "I have a suggestion." He studied the cupcake. "The cake is light, fluffy, and complex, and the creamy, tangy frosting complements it so well. It might be even better with an edible garnish. Like a sugared mint leaf." He took another bite. "Or a sugared violet," he said with his mouth half full. "That would be lovely." I gaped in surprise. He was right. It would be lovely. I'd thought about topping them with fresh, mouth-puckering blackberries, but these suggestions were so much more elegant.

There is, in Dr. Tillotson’s writings, an argument against the real presence, which is as concise, and elegant, and strong as any argument can possibly be supposed against a doctrine, so little worthy of a serious refutation. It is acknowledged on all hands, says that learned prelate, that the authority, either of the scripture or of tradition, is founded merely in the testimony of the Apostles, who were eyewitnesses to those miracles of our Saviour, by which he proved his divine mission. Our evidence, then, for the truth of the Christian religion is less than the evidence for the truth of our senses; because, even in the first authors of our religion, it was no greater; and it is evident it must diminish in passing from them to their disciples; nor can any one rest such confidence in their testimony, as in the immediate object of his senses. But a weaker evidence can never destroy a stronger; and therefore, were the doctrine of the real presence ever so clearly revealed in scripture, it were directly contrary to the rules of just reasoning to give our assent to it. It contradicts sense, though both the scripture and tradition, on which it is supposed to be built, carry not such evidence with them as sense; when they are considered merely as external evidences, and are not brought home to every one’s breast, by the immediate operation of the Holy Spirit.

And what did I see? I saw people who are elegant, open-hearted, intelligent; I saw an elder statesman who was kind and attentive to a boy like me; I saw people who are capable of understanding and forgiving, good-natured Russian people, almost as good-natured and warm-hearted as those whom I met back there, almost as good as them. So you may imagine how happily I was surprised! Oh, permit me to say this! I had heard a great deal and was very much of the conviction that in society all is style, all is decrepit formality, while the essence has dried up; but I mean, now I can see for myself that it cannot be so in our country; it may be like that in other countries, but not in ours.

Amongst my sisters, I was certainly “the Russian girl”. Tatiana could have been Parisienne in her reed-thin elegance; Olga (we dare not say this) is Germanic in appearance—the protuberant forehead, milky-blue eyes and stubborn set to her squared jaw, her phlegmatic moods. Anastasia? My Shvybz is without any identity but that of an elf! Her spirit is too light for earth; she came from faeries. When we play Peter Pan at the Wendy House on our Children’s Island, Shvybz is well cast as Tinkerbelle. Alexei, of course, was always Pan. Mama, we joked, was Mrs. Darling. For all her love of Russia, Mama dresses, sounds, and decorates like an Englishwoman. Papa and I are Russians to the heart and bone. As

The gnarled pine, I would have said, touch it. This is China. Horticulturalists around the world have come to study it. Yet no one has ever been able to explain why it grows like a corkscrew, just as no one can adequately explain China. But like that tree, there it is, old, resilient, and oddly magnificent. Within that tree are the elements in nature that have inspired Chinese artists for centuries: gesture over geometry, subtlety over symmetry, constant flow over static form. And the temples, walk and touch them. This is China. Don't merely stare at these murals and statues. Fly up to the crossbeams, get down on your hands and knees, and press your head to the floor tiles. Hide behind that pillar and come eye to eye with its flecks of paint. Imagine that you are the interior decorator who is a thousand years in age. Start with a bit of Tibetan Buddhism, plus a dash each of animism and Taoism. A hodgepodge, you say? No, what is in those temples is an amalgam that is pure Chinese, a lovely shabby elegance, a glorious new motley that makes China infinitely intriguing. Nothing is ever completely thrown away and replaced. If one period of influence falls out of favor, it is patched over. The old views still exist, one chipped layer beneath, ready to pop through with the slightest abrasion. That is the Chinese aesthetic and also its spirit. Those are the traces that have affected all who have traveled along China's roads.

How long have you known about him?” I asked Jesse, using my free hand to gesture toward his guest. “Forever. Nearly as long as I did about you.” “God, Jesse. Why didn’t you say anything?” “He was a shadow of you.” Jesse shrugged. “His background is diluted, his dragon blood les strong. Even with you in his proximity, I wasn’t certain any of his drakon traits would emerge. He hasn’t anywhere near your potential.” “Pardon me,” Armand said, freezingly polite, “but he is still right here with you in this room.” “Do you mean…I did it?” I asked. “I made him figure it out? What he is?” Jesse gave me an assessing look. “Like is drawn to like. We’re all three of us thick with magic now, even if it’s different kinds. It’s inevitable that we’ll feed off one another. The only way to prevent that would be to separate. And even then it might not be enough. Too much has already begun.” “I don’t want to separate from you,” I said. “No.” Jesse lifted our hands and gave mine a kiss. “Don’t worry about that.” Armand practically rolled his eyes. “If you two are quite done, might we talk some sense tonight? It’s late, I’m tired, and your ruddy chair, Holms, is about as comfortable as sitting on a tack. I want to…” But his voice only faded into silence. He closed his eyes and raised a hand to his face and squeezed the bridge of his nose. I noted again those shining nails. The elegance of his bones beneath his flawless skin. Skin that was marble-pale, I realized. Just like mine. “Yes?” I said, more gently than I’d intended. “Excuse me. I’m finding this all a bit…impossible to process. I’m beginning to believe that this is the most profoundly unpleasant dream I’ve ever been caught in.” “Allow me to assure you that you’re awake, Lord Armand,” I retorted, all gentleness gone. “To wit: You hear music no one else does. Distinctive music from gemstones and all sorts of metals. That day I played the piano at Tranquility, I was playing your father’s ruby song, one you must have heard exactly as I did. Exactly as your mother would have. You also have, perhaps, something like a voice inside you. Something specific and base, stronger than instinct, hopeless to ignore. Animals distrust you. You might even dream of smoke or flying.” He dropped his arm. “You got that from the diary.” “No, I got that from my own life. And damned lucky you are to have been brought into this world as a pampered little prince instead of spending your childhood being like this and still having to fend for yourself, as I did.” “Right. Lucky me.” Armand looked at Jesse, his eyes glittering. “And what are you? Another dragon? A gargoyle, perchance, or a werecat?” “Jesse is a star.” The hand went up to conceal his face again. “Of course he is. The. Most. Unpleasant. Dream. Ever.” I separated my hand from Jesse’s, angling for more bread. “I think you’re going to have to show him.” “Aye.” A single blue eye blinked open between Armand’s fingers. “Show me what?

I’ve always thought the pre-Revolutionary system was more elegant, but it did concentrate too much power in the hands of one person. Keyes says that at least you knew who the man was then. The person who represents a Lobby in Congress is never the one who makes the real decisions; the real leaders are rarely identifiable and are never held responsible for their actions. If a puppet gets in trouble they sacrifice him and haul out another. I don’t doubt that that’s true, at least some of the time, but it’s certainly not the whole story. If a Lobby consistently acts against the public interest, its voting power dwindles away. Keyes says that’s a cynical illusion: all the polls reflect is how much money a Lobby has put into advertising.

Dear Francesca, tell me, is this a succesful party, in your view? Is this the best we can do? I know that you have always wanted to meet Kong; now that you have met him and he has said whatever he has said to you (I saw you smiling), can we go home? I mean you to your home, me to my home, all these others to their own homes, cells, cages? I am feeling a little ragged. What made us think that we could escape things like bankruptcy, alcoholism, being dissapointed, having children? Say 'No,' refuse me once and for all, let me try something else. Of course we did everything right, insofar as we were able to imagine what 'right' was. Is it really important to know that this movie is fine, and that one terrible, and to talk intelligently about the difference? Wonderful elegance! No good at all!

The male staff all wore gorgeous colored loin cloths that always seem to be about to fall off they’re wonderful hips. Their upper bodies were tanned sculpted and naked. The female staff wore short shorts and silky flowing tops that almost but didn’t expose their young easy breasts. I noticed we only ever encountered male staff, and the men walking through the lobby were always greeted by the female staff. Very ingenious, as Rebecca said later - if we had ticked Lesbians on the form I wonder what would have happened? -There was a place to tick for Lesbians, I said ? -Sexual Persuasion- it was on all the forms -Really. And, how many options were there? -You’re getting the picture, said Jillian. This was not your basic check in procedure as at say a Best Western. Our Doormen/Security Guards , held out our chairs for us to let us sit at the elegant ornate table. Then they poured us tea, and placed before each of us a small bowl of tropical fruit, cut into bite size pieces. Wonderful! Almost immediately a check in person came and sat opposite us at the desk. Again a wonderful example of Island Male talent. (in my mind anyway) We signed some papers, and were each handed an immense wallet of information passes, electronic keys, electronic ID’s we would wear to allow us to move through the park and its ‘worlds’ and a small flash drive I looked at it as he handed it to me, and given the mindset of the Hotel and the murals and the whole ambiance of the place, I was thinking it might be a very small dildo for, some exotic move I was unaware of. -What’s this? I asked him -Your Hotel and Theme Park Guide I looked at it again, huh, so not a dildo.

If we shuffle three colored quarks and the equations remain the same, then we say that the equations possess something called SU(3) symmetry. The 3 represents the fact that we have three types of colors, and the SU stands for a specific mathematical property of the symmetry. We say that there are three quarks in a multiplet. The quarks in a multiplet can be shuffled among one another without changing the physics of the theory. Similarly, the weak force governs the properties of two particles, the electron and the neutrino. The symmetry that interchanges these particles, yet leaves the equation the same, is called SU(2). This means that a multiplet of the weak force contains an electron and a neutrino, which can be rotated into each other. Finally, the electromagnetic force has U(1) symmetry, which rotates the components of the Maxwell field into itself. Each of these symmetries is simple and elegant. However, the most controversial aspect of the Standard Model is that it "unifies" the three fundamental forces by simply splicing all three theories into one large symmetry. SU(3) X SU(2) X U(1), which is just the product of the symmetries of the individual forces. (This can be compared to assembling a jigsaw puzzle. If we have three jigsaw pieces that don't quite fit, we can always take Scotch tape and splice them together by hand. This is how the Standard Model is formed, by taping three distinct multiplets together. This may not be aesthetically pleasing, but at least the three jigsaw puzzles now hang together by tape.) Ideally, one might have expected that "the ultimate theory" would have all the particles inside just a single multiplet. Unfortunately, the Standard Model has three distinct multiplets, which cannot be rotated among one another.

You can tell me all about the new job and lecture me about my lack of focus once I’m done with this mission and giving you this sweater in person. But you’d better meet me somewhere civilized and comfortable, because I’m done with impossible environments.” The comm goes still, and she feels a small ping of guilt for ignoring him. Most ships can’t even handle communications at this range, but the Resistance does have some wonderful toys. Vi puts her boots up and leans back in her seat, focusing on the unwieldy wooden knitting needles that look more like primitive weapons than elegant tools. “It’s all about forward momentum, Gigi,” she says to her astromech, U5-GG. “Better a hideous sweater infused with love than…I don’t know. What other gifts do people give their only living relative? A nice chrono? I shall continue to the end, if imperfectly.” She spins in her chair and holds up what she’s accomplished so far. “What do you think?” Gigi beeps and boops in what sounds

I threw my binder of materials down on our apartment’s floral couch. “Seriously, pink is a neutral color! And what’s elegant about navy blue? No one ever says, ‘Hey, you know what’s elegant? The Navy!’” Arianna rolled her dead guys. “There is nothing neutral about pink. They need a color that looks good as a background to any shade of dress.” “What color clashes with pink?” “Orange?” “Well, if anyone shows up in an orange dress, she deserves to clash. Yuck.” “Chill out. You can do a lot with navy.” I sank down into the couch next to her. “I guess. I could do navy with silver accents. Stars?” “Yawn.” “Snowflakes?” “Gee, now you’re getting creative for a winter formal.” I ignored her tone, as usual. I was just glad she was here. She’d been gone a lot lately. “Hmm . . . maybe something softer. Like a water and mist theme?” I asked. “I . . . actually kind of like that.” “Wanna help me with the sketches?” She leaned forward and turned on Easton Heights. “Decorating a stupid dance is all yours. You’re the one who decided to be more involved in your ‘normal life.’ I’d prefer to be sleeping six feet under.” “This is probably a bad time to mention I also might have signed up to help with costumes for the spring play. And since I know nothing about sewing, I kind of maybe signed you up as a volunteer aide.” She sighed, running one glamoured corpse hand through her spiky red and black hair. “I am going to kill you in your sleep.” “As long as it doesn’t hurt.” We hummed along to the opening theme, which ended when the door banged open and my boyfriend walked through, shrugging out of his coat and beaming as he dropped a duffel bag. “Free! What did I miss?” Lend asked, his cheeks rosy from the cold and his smile lighting up his watery eyes beneath his dark glamour ones. “I lost the vote on color schemes for the dance, the last episode of Easton Heights before they go into reruns is back on in three minutes, and Arianna is going to murder me in my sleep.” “As long as it doesn’t hurt.” “That’s what I said!

Now I know what makes you so different from other women," said John Tenison, when he and Margaret were alone. "It's having that wonderful mother! She--she--well, she's one woman in a million; I don't have to tell you that! It's something to thank God for, a mother like that; it's a privilege to know her. I've been watching her all day, and I've been wondering what SHE gets out of it--that was what puzzled me; but now, just now, I've found out! This morning, thinking what her life is, I couldn't see what REPAID her, do you see? What made up to her for the unending, unending effort, and sacrifice, the pouring out of love and sympathy and help--year after year after year..." He hesitated, but Margaret did not speak. "You know," he went on musingly, "in these days, when women just serenely ignore the question of children, or at most, as a special concession, bring up one or two--just the one or two whose expenses can be comfortably met!--there's something magnificent in a woman like your mother, who begins eight destinies instead of one! She doesn't strain and chafe to express herself through the medium of poetry or music or the stage, but she puts her whole splendid philosophy into her nursery--launches sound little bodies and minds that have their first growth cleanly and purely about her knees. Responsibility--that's what these other women say they are afraid of! But it seems to me there's no responsibility like that of decreeing that young lives simply SHALL NOT BE. Why, what good is learning, or elegance of manner, or painfully acquired fineness of speech, and taste and point of view, if you are not going to distill it into the growing plants, the only real hope we have in the world! You know, Miss Paget," his smile was very sweet in the half darkness, "there's a higher tribunal than the social tribunal of this world, after all; and it seems to me that a woman who stands there, as your mother will, with a forest of new lives about her, and a record like hers, will--will find she has a Friend at court!" he finished whimsically.

You care about her," I say with unexpected twang of envy. In my long-lost memories of us as children, it was always just the two of us. We 'got' each other on every level. Morpheus made me feel adored, special, important. I never considered him doing the same for someone else as a man. "Morpheus, what is she to you?" He doesn't answer. Not aloud, anyway. His expression is hazy and troubled, and the jewels around his eyes twinkle from silver to black, like stars peering down on a storm-swept night. Alice's confession from the trial comes back to me: "Ivory was, in fact, very fond of Mr. Caterpillar." Judging by how Morpheus looked at the queen just now, by how she looked at him, he returned to her castle after his metamorphosis. I imagine his elegant fingers tracing her skin, his soft lips on hers. That stab of envy evolves to something much uglier—a covetous twist of emotion I can't even put a name to. What's wrong with me? Why should i care about Morpheus's love life, when I finally kissed Jeb after all these years?

Our spread over the earth was fuelled by reducing the higher species of vegetation to charcoal, by incessantly burning whatever would burn. From the first smouldering taper to the elegant lanterns whose light reverberated around eighteenth-century courtyards and from the mild radiance of these lanterns to the unearthly glow of the sodium lamps that line the Belgian motorways, it has all been combustion. Combustion is the hidden principle behind every artefact we create. The making of a fish-hook, manufacture of a china cup, or production of a television programme, all depend on the same process of combustion. Like our bodies and like our desires, the machines we have devised are possessed of a heart which is slowly reduced to embers. From the earliest times, human civilization has been no more than a strange luminescence growing more intense by the hour, of which no one can say when it will begin to wane and when it will fade away. For the time being, our cities still shine through the night, and the fires still spread.

Toward the end of the three weeks, I have lunch with a representative from the foundation. She wants to know what could be done to make the girls more “confident.” I rattle on, about girl-only classrooms, giving them room away from the boys, time to talk, permission to question and complain without being afraid of being seen as whiners, complainers, bad girls, tough girls. But I know that all of them, boys and girls both, are still only partly formed, soft as Playdoh. They are like golems — their bodies in full flower and everything else a work-in-progress. I don’t dare say there are essential gender differences here, though I wonder more and more. “But girls have so many more role models now,” the foundation representative says. She is a petite, elegant, beautiful woman in a black suit, perfectly coifed. More role models. Which ones, I wonder? An increasingly impossible physical ideal? A clear-cut choice between career and family? They’ve seen their mothers suffer from trying to do both. They know all about the “second shift” of endless work. When I was 15, my role models were burning bras, marching in the street, starting clinics, passing laws and getting arrested. Role models now are selling diet books and making music videos. The simple fact is, I don’t know. I don’t know how to help them. I know that I have to keep checking my watch during lunch and rush off to make the final bell for sixth period, and that all of these children who are almost grown have spent their entire lives ruled by a clock and the demands of strangers. They have grown up in a fragmented and chaotic place over which they have no control. I know they’ve rarely thought about the possibility of getting out; they don’t see any place to get out to, anywhere to go not ruled by bureaucratic entanglements and someone else’s schedule and somebody else’s plans. If girls are somehow wired toward pliancy, then the helpless role of student in the shadow of the institution is the worst place they can be. If we want to teach them independence, the first thing to do would be to give it to them.

Paris is elegant and old. Being there made me feel elegant and young. It helped me forgive America for our arrogance and fury. In Paris, surrounded by ruins of ancient baths, guillotines, and churches more than a thousand years old, humanity’s mistakes and beauty are unfurled like a mural. In America, we are so new. We still fancy ourselves conquerors and renegades. We’re all still trying to be the “firsts” to do this or that. Can you imagine? We are all competing for our parents’ attention, and we have no parents. It makes us a little jumpy. Paris is not jumpy. Paris is calm and certain. It’s not going to startle easily, and it already knows the words to all the songs. Everywhere I looked in Paris, I found proof that leaders come and go, buildings are built and fall, revolutions begin and end; nothing—no matter how grand—lasts. Paris says: We are here for such a short time. We might as well sit down for a long while with some good coffee, company, and bread. Here, there is more time to be human, maybe because there has been more time to learn how.

Rhys looked them each in the eye, even my sisters, his hand brushing the back of my own. 'Do you want the inspiring talk or the bleak one?' he asked. 'We want the real one,' Amren said. Rhys pushed his shoulders back, elegantly folding his wings behind him. 'I believe everything happens for a reason. Whether it is decided by the Mother, of the Cauldron, or some sort of tapestry of Fate, I don't know. I don't really care. But I am grateful for it, whatever it is. Grateful that it brought you all into my life. If it hadn't... I might have become as awful as the price we're going to face today. If I had not met an Illyrian warrior-in-training,' he said to Cassian, 'I would not have known the true depth of strength, of resilience, of honour and loyalty.' Cassian's eyes gleamed bright. Rhys said to Azriel, 'If I had not met a shadowsinger, I would not have known that it is the family you make not the one you are born into, that matters. I would not have known what it is to truly hope, even when the world tells you to despair.' Azriel bowed his head in thanks. Mor was already crying when Rhys spoke to her. 'If I had not met my cousin, I would never have learned that light can be found in even the darkest of hells. That kindness can thrive even amongst cruelty.' She wiped away her tears as she nodded. I waited for Amren to offer a retort. But she was only waiting. Rhys bowed his head to her. 'If I had not met a tiny monster who hoards jewels more fiercely than a firedrake...' A quiet laugh from all of us at that. Rhys smiled softly. 'My own power would have consumed me long ago.' Rhys squeezed my hand as he looked to me at last. 'And if I had not met my mate...' His words failed him as silver lined his eyes. He said down the bond, I would have waited five hundred more years for you. A thousand years. And if this was all the time we were allowed to have... The wait was worth it. He wiped away the tears sliding down my face. 'I believe that everything happened, exactly the way it had to... so I could find you.' He kissed another tear away. And then he said to my sisters, 'We have not known each other for long. But I have to believe that you were brought here, into our family, for a reason, too. And maybe today we'll find out why.' He surveyed them all again- and held out his hand to Cassian. Cassian took it, and held out his other for Mor. Then Mor extended her other to Azriel. Azriel to Amren. Amren to Nesta. Nesta to Elain. And Elain to me. Until we were all linked, all bound together. Rhys said, 'We will walk out onto that field and only accept Death when it comes to haul us away to the Otherworld. We will fight for life, for survival, for our futures. But if it is decided by that tapestry of Fate or the Cauldron or the Mother that we do not walk off that field today...' His chin lifted. 'The great joy and honour of my life has been to know you. To call you my family. And I am grateful- more than I can possibly say- that I was given this time with you all.' 'We are grateful, Rhysand,' Amren said quietly. 'More than you know.' Rhys gave her a small smile as the others murmured their agreement. He squeezed my hand again as he said, 'Then let's go make Hybern very ungrateful to have known us, too.

In contrast to laisser-aller, every system of morals is a sort of tyranny against "nature" and also against "reason", that is, however, no objection, unless one should again decree by some system of morals, that all kinds of tyranny and unreasonableness are unlawful What is essential and invaluable in every system of morals, is that it is a long constraint. In order to understand Stoicism, or Port Royal, or Puritanism, one should remember the constraint under which every language has attained to strength and freedom—the metrical constraint, the tyranny of rhyme and rhythm. How much trouble have the poets and orators of every nation given themselves!—not excepting some of the prose writers of today, in whose ear dwells an inexorable conscientiousness—"for the sake of a folly," as utilitarian bunglers say, and thereby deem themselves wise—"from submission to arbitrary laws," as the anarchists say, and thereby fancy themselves "free," even free-spirited. The singular fact remains, however, that everything of the nature of freedom, elegance, boldness, dance, and masterly certainty, which exists or has existed, whether it be in thought itself, or in administration, or in speaking and persuading, in art just as in conduct, has only developed by means of the tyranny of such arbitrary law, and in all seriousness, it is not at all improbable that precisely this is "nature" and "natural"—and not laisser-aller! Every artist knows how different from the state of letting himself go, is his "most natural" condition, the free arranging, locating, disposing, and constructing in the moments of "inspiration"—and how strictly and delicately he then obeys a thousand laws, which, by their very rigidness and precision, defy all formulation by means of ideas (even the most stable idea has, in comparison therewith, something floating, manifold, and ambiguous in it). The essential thing "in heaven and in earth" is, apparently (to repeat it once more), that there should be long OBEDIENCE in the same direction, there thereby results, and has always resulted in the long run, something which has made life worth living; for instance, virtue, art, music, dancing, reason, spirituality—anything whatever that is transfiguring, refined, foolish, or divine.

She wasn’t going to be able to navigate the wet very well in those high heels, but I was sure glad she’d worn them. The graceful, unaffected feminine sway of her as she walked was a sight to see. She began making a bee-line for Murphy’s as quickly as she dared in those heels on the concrete, and then the wet slippery street. Proving there’s no fool like a desperate one, I timed my dash through the rain so I’d arrive in time to open the door for her. It is a risk in today’s climate to open a door for a woman, much less make a play for her — clumsy or otherwise. There was an elegance about her though; I could feel it, even from a distance. She didn’t strike me as the hateful, victimhood-embracing type at all; but perhaps I was simply lonely enough to risk a withering gaze or a tongue-lashing accusing me of being part of some dark, patriarchal and misogynistic conspiracy against her kind. It’s a big word, misogynistic, one of those two-dollar words, as my uneducated old man used to say. Misandrist comes before it in the dictionary, but the type of women who throw the word misogynistic around more often than a teenage girl plays with her hair to flirt, act as if misandrist isn’t a real word too.

Would you say that that man is at leisure who arranges with finical care his Corinthian bronzes, that the mania of a few makes costly, and spends the greater part of each day upon rusty bits of copper? Who sits in a public wrestling-place (for, to our shame I we labour with vices that are not even Roman) watching the wrangling of lads? Who sorts out the herds of his pack-mules into pairs of the same age and colour? Who feeds all the newest athletes? Tell me, would you say that those men are at leisure who pass many hours at the barber’s while they are being stripped of whatever grew out the night before? while a solemn debate is held over each separate hair? while either disarranged locks are restored to their place or thinning ones drawn from this side and that toward the forehead? How angry they get if the barber has been a bit too careless, just as if he were shearing a real man! How they flare up if any of their mane is lopped off, if any of it lies out of order, if it does not all fall into its proper ringlets! Who of these would not rather have the state disordered than his hair? Who is not more concerned to have his head trim rather than safe? Who would not rather be well barbered than upright? Would you say that these are at leisure who are occupied with the comb and the mirror? And what of those who are engaged in composing, hearing, and learning songs, while they twist the voice, whose best and simplest movement Nature designed to be straightforward, into the meanderings of some indolent tune, who are always snapping their fingers as they beat time to some song they have in their head, who are overheard humming a tune when they have been summoned to serious, often even melancholy, matters? These have not leisure, but idle occupation. And their banquets, Heaven knows! I cannot reckon among their unoccupied hours, since I see how anxiously they set out their silver plate, how diligently they tie up the tunics of their pretty slave-boys, how breathlessly they watch to see in what style the wild boar issues from the hands of the cook, with what speed at a given signal smooth-faced boys hurry to perform their duties, with what skill the birds are carved into portions all according to rule, how carefully unhappy little lads wipe up the spittle of drunkards. By such means they seek the reputation for elegance and good taste, and to such an extent do their evils follow them into all the privacies of life that they can neither eat nor drink without ostentation. And

Gadzooks, lady! Where’d you learn to throw like that?” The awe in the boy’s tone brought heat to her cheeks. “A pirate taught me,” she snapped, stomping forward to reclaim her blade. For heaven’s sake. Did all males assume women to be helpless creatures incapable of fending for themselves? Pressing her shoe against the snake’s neck, she held the lifeless rattler down and yanked the knife free. There wasn’t much blood, but still, she couldn’t exactly lift her skirts and slip it back into the sheath strapped to her thigh with Darius and a child looking on in rapt attention. “A pirate, Miss Greyson?” Darius regarded her with a raised brow, obviously not as awestruck as the gaping boy at his side. She sighed. “All right, so my father was an ordinary seaman, not a pirate. But I used to imagine him a pirate while we had our lessons.” She tossed a wink at the boy. “Made it so much more fun, you know. My father ensured I was proficient with pistols, too, but I preferred the blades. So much more elegant and lighter weight. Much better suited to a lady, wouldn’t you say? Pistols are dirty things, what with all that black powder and the flash from the flintlock every time one pulls the trigger.” She gave a little shudder, and the boy cracked a smile.

What did Kiyoaki mean by his question? If one were forced to hazard a guess, it would be that he was trying to say that he had no interest in anything at all. He thought of himself as a thorn, a small, poisonous thorn jabbed into the workmanlike hand of his family. And this was his fate simply because he had acquired little elegance. A mere fifty years before, the Matsugaes had been a sturdy, upright samurai family, no more, eking out a frugal existence in the provinces. But in a brief span of time, their fortunes had soared. By Kiyoake’s time, the first traces of refinement were threatening to take hold on a family that, unlike the court of nobility, had enjoyed centuries of immunity to the virus of elegance. And Kiyoake, like an ant that senses the approaching flood, was experiencing the first intimations of his family’s rapid collapse. His elegance was the thorn. And he was well aware that his aversion to coarseness, his delight in refinement, were futile; he was a plant without roots. Without meaning to undermine his family, without wanting to violate its traditions, he was condemned to do so by his very nature. And this poison would stunt his own life as it destroyed his family. The handsome young man felt that this futility typified his existence. (p13.)

I can’t help thinking,” she confided when he finished answering her questions about women in India who covered their faces and hair in public, “that it is grossly unfair that I was born a female and so must never know such adventures, or see but a few of those places. Even if I were to journey there, I’d only be allowed to go where everything was as civilized as-as London!” “There does seem to be a case of extreme disparity between the privileges accorded the sexes,” Ian agreed. “Still, we each have our duty to perform,” she informed him with sham solemnity. “And there’s said to be great satisfaction in that.” “How do you view your-er-duty?” he countered, responding to her teasing tone with a lazy white smile. “That’s easy. It is a female’s duty to be a wife who is an asset to her husband in every way. It is a male’s duty to do whatever he wishes, whenever he wishes, so long as he is prepared to defend his country should the occasion demand it in his lifetime-which it very likely won’t. Men,” she informed him, “gain honor by sacrificing themselves on the field of battle while we sacrifice ourselves on the altar of matrimony.” He laughed aloud then, and Elizabeth smiled back at him, enjoying herself hugely. “Which, when one considers it, only proves that our sacrifice is by far the greater and more noble.” “How is that?” he asked, still chuckling. “It’s perfectly obvious-battles last mere days or weeks, months at the very most. While matrimony lasts a lifetime! Which brings to mind something else I’ve often wondered about,” she continued gaily, giving full rein to her innermost thoughts. “And that is?” he prompted, grinning, watching her as if he never wanted to stop. “Why do you suppose, after all that, they call us the weaker sex?” Their laughing gazes held, and then Elizabeth realized how outrageous he must be finding some of her remarks. “I don’t usually go off on such tangents,” she said ruefully. “You must think I’m dreadfully ill-bred.” “I think,” he softly said, “that you are magnificent.” The husky sincerity in his deep voice snatched her breath away. She opened her mouth, thinking frantically for some light reply that could restore the easy camaraderie of a minute before, but instead of speaking she could only draw a long, shaky breath. “And,” he continued quietly, “I think you know it.” This was not, not the sort of foolish, flirtatious repartee she was accustomed to from her London beaux, and it terrified her as much as the sensual look in those golden eyes. Pressing imperceptibly back against the arm of the sofa, she told herself she was only overacting to what was nothing more than empty flattery. “I think,” she managed with a light laugh that stuck in her throat, “that you must find whatever female you’re with ‘magnificent.’” “Why would you say a thing like that?” Elizabeth shrugged. “Last night at supper, for one thing.” When he frowned at her as if she were speaking in a foreign language, she prodded, “You remember Lady Charise Dumont, our hostess, the same lovely brunette on whose every word you were hanging at supper last night?” His frown became a grin. “Jealous?” Elizabeth lifted her elegant little chin and shook her head. “No more than you were of Lord Howard.” She felt a small bit of satisfaction as his amusement vanished. “The fellow who couldn’t seem to talk to you without touching your arm?” he inquired in a silky-soft voice. “That Lord Howard? As a matter of fact, my love, I spent most of my meal trying to decide whether I wanted to shove his nose under his right ear or his left.” Startled, musical laughter erupted from her before she could stop it. “You did nothing of the sort,” she chuckled. “Besides, if you wouldn’t duel with Lord Everly when he called you a cheat, you certainly wouldn’t harm poor Lord Howard merely for touching my arm.” “Wouldn’t I?” he asked softly. “Those are two very different issues.

You already know what you know, after all—and, unless your life is perfect, what you know is not enough. You remain threatened by disease, and self-deception, and unhappiness, and malevolence, and betrayal, and corruption, and pain, and limitation. You are subject to all these things, in the final analysis, because you are just too ignorant to protect yourself. If you just knew enough, you could be healthier and more honest. You would suffer less. You could recognize, resist and even triumph over malevolence and evil. You would neither betray a friend, nor deal falsely and deceitfully in business, politics or love. However, your current knowledge has neither made you perfect nor kept you safe. So, it is insufficient, by definition—radically, fatally insufficient. You must accept this before you can converse philosophically, instead of convincing, oppressing, dominating or even amusing. You must accept this before you can tolerate a conversation where the Word that eternally mediates between order and chaos is operating, psychologically speaking. To have this kind of conversation, it is necessary to respect the personal experience of your conversational partners. You must assume that they have reached careful, thoughtful, genuine conclusions (and, perhaps, they must have done the work tha justifies this assumption). You must believe that if they shared their conclusions with you, you could bypass at least some of the pain of personally learning the same things (as learning from the experience of others can be quicker and much less dangerous). You must meditate, too, instead of strategizing towards victory. If you fail, or refuse, to do so, then you merely and automatically repeat what you already believe, seeking its validation and insisting on its rightness. But if you are meditating as you converse, then you listen to the other person, and say the new and original things that can rise from deep within of their own accord. It’s as if you are listening to yourself during such a conversation, just as you are listening to the other person. You are describing how you are responding to the new information imparted by the speaker. You are reporting what that information has done to you—what new things it made appear within you, how it has changed your presuppositions, how it has made you think of new questions. You tell the speaker these things, directly. Then they have the same effect on him. In this manner, you both move towards somewhere newer and broader and better. You both change, as you let your old presuppositions die—as you shed your skins and emerge renewed. A conversation such as this is one where it is the desire for truth itself—on the part of both participants—that is truly listening and speaking. That’s why it’s engaging, vital, interesting and meaningful. That sense of meaning is a signal from the deep, ancient parts of your Being. You’re where you should be, with one foot in order, and the other tentatively extended into chaos and the unknown. You’re immersed in the Tao, following the great Way of Life. There, you’re stable enough to be secure, but flexible enough to transform. There, you’re allowing new information to inform you—to permeate your stability, to repair and improve its structure, and expand its domain. There the constituent elements of your Being can find their more elegant formation. A conversation like that places you in the same place that listening to great music places you, and for much the same reason. A conversation like that puts you in the realm where souls connect, and that’s a real place. It leaves you thinking, “That was really worthwhile. We really got to know each other.” The masks came off, and the searchers were revealed. So, listen, to yourself and to those with whom you are speaking. Your wisdom then consists not of the knowledge you already have, but the continual search for knowledge, which is the highest form of wisdom.

Everything in Nature ran according to its own nature; the running of grass was in its growing, the running of rivers their flowing, granite bubbled up, cooled, compressed and crumbled, birds lived, flew, sang and died, everything did what it needed to do, each simultaneously running its own race, each by living according to its own nature together, never leaving any other part of the universe behind. The world’s Holy things raced constantly together, not to win anything over the next, but to keep the entire surging diverse motion of the living world from grinding to a halt, which is why there is no end to that race; no finish line. That would be oblivion to all. For the Indigenous Souls of all people who can still remember how to be real cultures, life is a race to be elegantly run, not a race to be competitively won. It cannot be won; it is the gift of the world’s diverse beautiful motion that must be maintained. Because human life has been give the gift of our elegant motion, whether we limp, roll, crawl, stroll, or fly, it is an obligation to engender that elegance of motion in our daily lives in service of maintaining life by moving and living as beautifully as we can. All else has, to me, the familiar taste of that domineering warlike harshness that daily tries to cover its tracks in order to camouflage the deep ruts of some old, sick, grinding, ungainly need to flee away from the elegance of our original Indigenous human souls. Our attempt to avariciously conquer or win a place where there are no problems, whether it be Heaven or a “New Democracy,” never mind if it is spiritually ugly and immorally “won” and taken from someone who is already there, has made a citifying world of people who, unconscious of it, have become our own ogreish problem to ourselves, our future, and the world. This is a problem that we cannot continue to attempt to competitively outrun by more and more effectively designed technological approaches to speed away from the past, for the specter of our own earth-wasting reality runs grinning competitively right alongside us. By developing even more effective and entertaining methods of escape that only burn up the earth, the air, animals, plants, and the deeper substance of what it should mean to be human, by competing to get ahead, we have created a brakeless competition that has outrun our innate beauty and marked out a very definite and imminent “finish” line. Living in and on a sphere, we cannot really outrun ourselves anyway. Therefore, I say, the entire devastating and hideous state of the world and its constant wounding and wrecking of the wild, beautiful, natural, viable and small, only to keep alive an untenable cultural proceedance is truly a spiritual sickness, one that will not be cured by the efficient use of the same thinking that maintains the sickness. Nor can this overly expensive, highly funded illness be symptomatically kept at bay any longer by yet more political, environmental, or social programs. We must as individuals and communities take the time necessary to learn how to indigenously remember what a sane, original existence for a viable people might look like. Though there are marvellous things and amazing people doing them, both seen and unseen, these do not resemble in any way the general trend of what is going on now. To begin remembering our Indigenous belonging on the Earth back to life we must metabolize as individuals the grief of recognition of our lost directions, digest it into a valuable spiritual compost that allows us to learn to stay put without outrunning our strange past, and get small, unarmed, brave, and beautiful. By trying to feed the Holy in Nature the fruit of beauty from the tree of memory of our Indigenous Souls, grown in the composted failures of our past need to conquer, watered by the tears of cultural grief, we might become ancestors worth descending from and possibly grow a place of hope for a time beyond our own.

People who don't like math always accuse mathematicians of trying to make math complicated. (...) But anyone who does love math knows it's really the opposite: math rewards simplicity, and mathematicians value it above all else. So it's no surprise that Walter's favourite axiom was also the most simple in the realm of mathematics: the axiom of the empty set. The axiom of the empty set is the axiom of zero. it states that there must be a concept of nothingness, that there must be the concept of zero: zero value, zero items. Math assumes there's a concept of nothingness, but is it proven? No. But it must exist. And if we're being philosophical—which we today are—we can say that life itself is the axiom of the empty set. It begins in zero and ends in zero. We know that both states exist, but we will not be conscious of either experience: they are states that are necessary parts of life, even as they cannot be experienced as life. We assume the concept of nothingness, but we cannot prove it. But it must exist. So I prefer to think that Walter has not died but has instead proven for himself the axiom of the empty set, that he has proven the concept of zero. I know nothing else would have made him happier. An elegant mind wants elegant endings, and Walter had the most elegant mind. So I wish him goodbye; I wish him the answer to the axiom he so loved.

People who don’t love math always accuse mathematicians of trying to make math complicated,” Dr. Li had said. “But anyone who does love math knows it’s really the opposite: math rewards simplicity, and mathematicians value it above all else. So it’s no surprise that Walter’s favorite axiom was also the most simple in the realm of mathematics: the axiom of the empty set. “The axiom of the empty set is the axiom of zero. It states that there must be a concept of nothingness, that there must be the concept of zero: zero value, zero items. Math assumes there’s a concept of nothingness, but is it proven? No. But it must exist. “And if we are being philosophical—which we today are—we can say that life itself is the axiom of the empty set. It begins in zero and ends in zero. We know that both states exist, but we will not be conscious of either experience: they are states that are necessary parts of life, even as they cannot be experienced as life. We assume the concept of nothingness, but we cannot prove it. But it must exist. So I prefer to think that Walter has not died but has instead proven for himself the axiom of the empty set, that he has proven the concept of zero. I know nothing else would have made him happier. An elegant mind wants elegant endings, and Walter had the most elegant mind. So I wish him goodbye; I wish him the answer to the axiom he so loved.

Let us beware.— Let us beware of thinking that the world is a living being. Where should it expand? On what should it feed? How could it grow and multiply? We have some notion of the nature of the organic; and we should not reinterpret the exceedingly derivative, late, rare, accidental, that we perceive only on the crust of the earth and make of it something essential, universal, and eternal, which is what those people do who call the universe an organism. This nauseates me. Let us even beware of believing that the universe is a machine: it is certainly not constructed for one purpose, and calling it a “machine” does it far too much honor. Let us beware of positing generally and everywhere anything as elegant as the cyclical movements of our neighboring stars; even a glance into the Milky Way raises doubts whether there are not far coarser and more contradictory movements there, as well as stars with eternally linear paths, etc. The astral order in which we live is an exception; this order and the relative duration that depends on it have again made possible an exception of exceptions: the formation of the organic. The total character of the world, however, is in all eternity chaos—in the sense not of a lack of necessity but of a lack of order, arrangement, form, beauty, wisdom, and whatever other names there are for our aesthetic anthropomorphisms. Judged from the point of view of our reason, unsuccessful attempts are by all odds the rule, the exceptions are not the secret aim, and the whole musical box repeats eternally its tune2 which may never be called a melody—and ultimately even the phrase “unsuccessful attempt” is too anthropomorphic and reproachful. But how could we reproach or praise the universe? Let us beware of attributing to it heartlessness and unreason or their opposites: it is neither perfect nor beautiful, nor noble, nor does it wish to become any of these things; it does not by any means strive to imitate man. None of our aesthetic and moral judgments apply to it. Nor does it have any instinct for self-preservation or any other instinct; and it does not observe any laws either. Let us beware of saying that there are laws in nature. There are only necessities: there is nobody who commands, nobody who obeys, nobody who trespasses. Once you know that there are no purposes, you also know that there is no accident; for it is only beside a world of purposes that the word “accident” has meaning. Let us beware of saying that death is opposed to life. The living is merely a type of what is dead, and a very rare type. Let us beware of thinking that the world eternally creates new things. There are no eternally enduring substances; matter is as much of an error as the God of the Eleatics. But when shall we ever be done with our caution and care? When will all these shadows of God cease to darken our minds? When will we complete our de-deification of nature? When may we begin to “naturalize” humanity in terms of a pure, newly discovered, newly redeemed nature?

Methodical writing distracts me from the present condition of men. But the certainty that everything has been already written nullifies or makes phantoms of us all. I know of districts where the youth prostrate themselves before books and barbarously kiss the pages, though they do not know how to make out a single letter. Epidemics, heretical disagreements, the pilgrimages which inevitably degenerate into banditry, have decimated the population. I believe I have mentioned the suicides, more frequent each year. Perhaps I am deceived by old age and fear, but I suspect that the human species - the unique human species - is on the road to extinction, while the Library will last on forever. Illuminated, solitary infinite, perfectly immovable, filled with precious volumes, useless, incorruptible, secret. Infinite, I have just written. I have not interpolated this adjective merely from rhetorical habit. It is not illogical, I say, to think that the world is infinite. Those who judge it to be limited, postulate that in remote places the corridors and stairs and hexagons could inconceivably cease - a manifest absurdity. Those who imagine it to be limitless forget that the possible number of books is limited. I dare insinuate the following solution to this ancient problem: the Library is limitless and periodic. If an eternal voyager were to traverse it in any direction, he would find, after many centuries, that the same volumes are repeated in the same disorder (which, repeated, would constitute an order: Order itself). My solitude rejoices in this elegant hope. Mar del Plata 1941

HEART OF TEA DEVOTION rc t c//'VI/~ L tLP /'V to/ a My dear, ifyou couldgive me a cup of tea to clear my muddle of a head I should better understand your affairs. CHARLES DICKENS If teacups could talk, my house would be full of conversation ... because my house is full of teacups. My collection of china cups-begun many years ago, when I set up housekeeping as a child bride-has long since outgrown its home in the glass-front armoire and spread out to occupy side tables and shelves and hooks in the kitchen or find safe harbor in the dining-room hutch. Some of these cups I inherited from women I love-my mother and my aunties. Some are gifts from my husband, Bob, or from my children or from special friends. A few are delightful finds from elegant boutiques or dusty antique shops. One cup bears telltale cracks and scars; it was the only one I could salvage when a shelf slipped and 14 cups fell and shattered. Three other cups stand out for their intense color-my aunt was always attracted to that kind of dramatic decoration. Yet another cup, a gift, is of a style I've never much cared for, but now it makes me smile as I remember the houseguest who "rescued" it from a dark corner of the armoire because it looked "lonely." Each one of my teacups has a history, and each one is precious to me. I have gladly shared them with guests and told their stories to many people. Recently, however, I have been more inclined to listen. I've been wondering what all those cups, with their history and long experience, are trying to say to me. What I hear from them, over and over, is an invitation-one I want to extend to you: When did you last have a tea party? When was the last time you enjoyed a cup of tea with someone you care about? Isn't it time you did it again?

Another howl ruptured the quiet, still too far away to be a threat. The Beast Lord, the leader, the alpha male, had to enforce his position as much by will as by physical force. He would have to answer any challenges to his rule, so it was unlikely that he turned into a wolf. A wolf would have little chance against a cat. Wolves hunted in a pack, bleeding their victim and running them into exhaustion, while cats were solitary killing machines, designed to murder swiftly and with deadly precision. No, the Beast Lord would have to be a cat, a jaguar or a leopard. Perhaps a tiger, although all known cases of weretigers occurred in Asia and could be counted without involving toes. I had heard a rumor of the Kodiak of Atlanta, a legend of an enormous, battle-scarred bear roaming the streets in search of Pack criminals. The Pack, like any social organization, had its lawbreakers. The Kodiak was their Executioner. Perhaps his Majesty turned into a bear. Damn. I should have brought some honey. My left leg was tiring. I shifted from foot to foot . . . A low, warning growl froze me in midmove. It came from the dark gaping hole in the building across the street and rolled through the ruins, awakening ancient memories of a time when humans were pathetic, hairless creatures cowering by the weak flame of the first fire and scanning the night with frightened eyes, for it held monstrous hungry killers. My subconscious screamed in panic. I held it in check and cracked my neck, slowly, one side then another. A lean shadow flickered in the corner of my eye. On the left and above me a graceful jaguar stretched on the jutting block of concrete, an elegant statue encased in the liquid metal of moonlight. Homo Panthera onca. The killer who takes its prey in a single bound. Hello, Jim. The jaguar looked at me with amber eyes. Feline lips stretched in a startlingly human smirk. He could laugh if he wanted. He didn’t know what was at stake. Jim turned his head and began washing his paw. My saber firmly in hand, I marched across the street and stepped through the opening. The darkness swallowed me whole. The lingering musky scent of a cat hit me. So, not a bear after all. Where was he? I scanned the building, peering into the gloom. Moonlight filtered through the gaps in the walls, creating a mirage of twilight and complete darkness. I knew he was watching me. Enjoying himself. Diplomacy was never my strong suit and my patience had run dry. I crouched and called out, “Here, kitty, kitty, kitty.” Two golden eyes ignited at the opposite wall. A shape stirred within the darkness and rose, carrying the eyes up and up and up until they towered above me. A single enormous paw moved into the moonlight, disturbing the dust on the filthy floor. Wicked claws shot forth and withdrew. A massive shoulder followed, its gray fur marked by faint smoky stripes. The huge body shifted forward, coming at me, and I lost my balance and fell on my ass into the dirt. Dear God, this wasn’t just a lion. This thing had to be at least five feet at the shoulder. And why was it striped? The colossal cat circled me, half in the light, half in the shadow, the dark mane trembling as he moved. I scrambled to my feet and almost bumped into the gray muzzle. We looked at each other, the lion and I, our gazes level. Then I twisted around and began dusting off my jeans in a most undignified manner. The lion vanished into a dark corner. A whisper of power pulsed through the room, tugging at my senses. If I did not know better, I would say that he had just changed. “Kitty, kitty?” asked a level male voice. I jumped. No shapechanger went from a beast into a human without a nap. Into a midform, yes, but beast-men had trouble talking. “Yeah,” I said. “You’ve caught me unprepared. Next time I’ll bring cream and catnip toys.” “If there is a next time.

Uncle Alfred was very respectful of Owen’s desire to go to Vietnam, but Aunt Martha—over our elegant dinner—questioned the war’s “morality.” “YES, I QUESTION THAT, TOO,” said Owen Meany. “BUT I FEEL ONE HAS TO SEE SOMETHING FIRSTHAND TO BE SURE. I’M CERTAINLY INCLINED TO AGREE WITH KENNEDY’S ASSESSMENT OF THE VIETNAMESE PROBLEM—WAY BACK IN NINETEEN SIXTY-THREE. YOU MAY RECALL THAT THE PRESIDENT SAID: ‘WE CAN HELP THEM, WE CAN GIVE THEM EQUIPMENT, WE CAN SEND OUR MEN OUT THERE AS ADVISERS, BUT THEY HAVE TO WIN IT, THE PEOPLE OF VIETNAM.’ I THINK THAT POINT IS STILL VALID—AND IT’S CLEAR TO ALL OF US THAT THE ‘PEOPLE OF VIETNAM’ ARE NOT WINNING THE WAR. WE APPEAR TO BE TRYING TO WIN IT FOR THEM. “BUT LET’S SUPPOSE, FOR A MOMENT, THAT WE BELIEVE IN THE STATED OBJECTIVES OF THE JOHNSON ADMINISTRATION’S VIETNAM POLICY—AND THAT WE SUPPORT THIS POLICY. WE AGREE TO RESIST COMMUNIST AGGRESSION IN SOUTH VIETNAM—WHETHER IT COMES FROM THE NORTH VIETNAMESE OR THE VIET CONG. WE SUPPORT THE IDEA OF SELF-DETERMINATION FOR SOUTH VIETNAM—AND WE WANT PEACE IN SOUTHEAST ASIA. IF THESE ARE OUR OBJECTIVES—IF WE AGREE THAT THIS IS WHAT WE WANT—WHY ARE WE ESCALATING THE WAR? “THERE DOESN’T APPEAR TO BE A GOVERNMENT IN SAIGON THAT CAN DO VERY WELL WITHOUT US. DO THE SOUTH VIETNAMESE PEOPLE EVEN LIKE THE MILITARY JUNTA OF MARSHAL KY? NATURALLY, HANOI AND THE VIET CONG WILL NOT NEGOTIATE FOR A PEACEFUL SETTLEMENT IF THEY THINK THEY CAN WIN THE WAR! THERE’S EVERY REASON FOR THE UNITED STATES TO KEEP ENOUGH OF OUR GROUND FORCES IN SOUTH VIETNAM TO PERSUADE HANOI AND THE VIET CONG THAT THEY COULD NEVER ACHIEVE A MILITARY VICTORY. BUT WHAT DOES IT ACCOMPLISH FOR US TO BOMB THE NORTH? “SUPPOSING THAT WE MEAN WHAT WE SAY—THAT WE WANT SOUTH VIETNAM TO BE FREE TO GOVERN ITSELF—WE SHOULD BE PROTECTING SOUTH VIETNAM FROM ATTACK. BUT IT APPEARS THAT WE ARE ATTACKING THE WHOLE COUNTRY—FROM THE AIR! IF WE BOMB THE WHOLE COUNTRY TO BITS—TO PROTECT IT FROM COMMUNISM—WHAT KIND OF PROTECTION IS THAT? “I THINK THAT’S THE PROBLEM,” said Owen Meany, “BUT I’D LIKE TO SEE THE SITUATION FOR MYSELF.

Swann had walked on into the room, at the insistence of Mme. de Saint-Euverte, and, in order to hear a melody from Orphée that was being performed by a flautist, had placed himself in a corner where unfortunately his only view was of two mature ladies seated next to each other, the Marquise de Cambremer and the Vicomtesse de Franquetot, who, because they were cousins, spent their time when attending a party, clutching their bags and followed by their daughters, looking for each other as though in a railway station, and did not rest easy until they had reserved, with a fan or a handkerchief, two seats side by side: Mme. de Cambremer, since she had very few acquaintances, being all the happier to have a companion, Mme. de Franquetot, who was in contrast extremely well connected, believing there was something elegant, something original, about showing all her fine friends that she preferred, to their company, an obscure lady with whom she shared memories of her youth. Full of a melancholy irony, Swann watched them listen to the piano intermezzo (Saint Francis Speaking to the Birds by Liszt) which had come after the flute melody, and follow the vertiginous playing of the virtuoso, Mme. de Franquetot anxiously, her eyes wild as if the keys over which he ran with such agility were a series of trapezes from which he might fall from a height of eighty yards, and at the same time casting at her neighbour looks of astonishment, of denial which signified: ‘This is not to be believed, I would never have thought a man could do this,’ while Mme. de Cambremer, being a woman who had received a strong musical education, marked time with her head transformed into the arm of a metronome whose amplitude and rapidity of oscillations from one shoulder to the other had become such (with that sort of frenzy and abandon in the eyes characteristic of a kind of suffering which is no longer aware of itself nor tries to control itself and says ‘I can’t help it!’) that she kept snagging her solitaires in the straps of her bodice and was obliged to straighten the black grapes she had in her hair, though without ceasing to accelerate her motion.

I know my alphabet,' I said sharply as he laid a piece of paper in front of me. 'I'm not that stupid.' I twisted my fingers in my lap, then pinned my restless hands under my thighs. 'I didn't say you were stupid,' he said. 'I'm just trying to determine where we should begin.' I leaned back in the cushioned seat. 'Since you've refused to tell me a thing about how much you know.' My face warmed. 'Can't you hire a tutor?' He lifted a brow. 'Is it that hard for you to even try in front of me?' 'You're a High Lord- don't you have better things to do?' 'Of course. But none as enjoyable as seeing you squirm.' 'You're a real bastard, you know that?' Rhys huffed a laugh. 'I've been called worse. In fact, I think you've called me worse.' He tapped the paper in front of him. 'Read that.' A blur of letters. My throat tightened. 'I can't.' 'Try.' The sentence had been written in elegant, concise print. His writing, no doubt. I tried to open my mouth, but my spine locked. 'What exactly, is your stake in all this? You said you'd tell me if I worked with you.' 'I didn't specify when I'd tell you.' I peeled back from him as my lip curled. He shrugged. 'Maybe I resent the idea of you letting those sycophants and war-mongering fools in the Spring Court make you feel inadequate. Maybe I indeed enjoy seeing you squirm. Or maybe-' 'I get it.' He snorted. 'Try to read it, Feyre.' Prick. I snatched the paper to me, nearly ripping it in half in the process. I looked at the first word, sounding it out in my head. 'Y-you...' The next I figured out with a combination of my silent pronunciation and logic. 'Look...' 'Good,' he murmured. 'I didn't ask for your approval.' Rhys chuckled. 'Ab... absolutely.' It took me longer than I wanted to admit to figure that out. The next word was even worse. 'De... Del...' I deigned to glance at him, brows raised. 'Delicious,' he purred. My brows knotted. I read the next two words, then whipped my face toward him. 'You look absolutely delicious today, Feyre?! That's what you wrote?' He leaned back in his seat. As our eyes met, sharp claws caressed my mind and his voice whispered inside my head. It's true, isn't it? I jolted back, my chair groaning. 'Stop that!' But those claws now dug in- and my entire body, my heart, my lungs, my blood yielded to his grip, utterly at his command as he said, The fashion of the Night Court suits you.

The evidence piles up. And in the face of this evidence, proponents of green growth eventually begin to turn to fairy tales. Sure, they say, maybe green growth isn’t empirically actual, but there’s no reason that it can’t happen in theory. We are limited only by our imagination! There’s no reason we can’t have our incomes rising for ever while we nonetheless consume less material stuff each year. And here they are right. There’s no a priori reason why such a thing can’t happen in theory, in a magical alternative world. But there’s a certain moral hazard at stake when we start trafficking in fairy tales – telling people not to worry because eventually, somehow, GDP will de-link from resource use and we’ll be in the clear. In an era of climate emergency and mass extinction, we don’t have time to speculate about imaginary possibilities. We don’t have time to wait for this juggernaut of ecological destruction to suddenly stop being destructive, when all the evidence says it won’t happen. It is unscientific, and a profoundly irresponsible gamble with human lives – with all of life. There is an easy way to solve this problem. For decades, ecological economists have proposed that we can put an end to the debate once and for all with a simple and elegant intervention: impose a cap on annual resource use and waste, and tighten that cap year-on-year until we are back within planetary boundaries.36 If green growthers really believe GDP will keep growing, for ever, despite rapid reductions in material use, then this shouldn’t worry them one bit. In fact, they should welcome such a move. It will give them a chance to prove to the world once and for all that they are right. Indeed, putting hard limits on resource use and waste will help incentivise the transition, spurring the shift toward dematerialised GDP growth. But every time we propose this policy to green growthers, they wriggle away. Indeed, to my knowledge, not a single proponent of green growth has ever agreed to take it up. Why not? I suspect that on some deep level – despite the fairy tales – they realise that this is not how capitalism actually works. For 500 years, capitalism has depended on extraction from nature. It has always needed an ‘outside’, external to itself, from which to plunder value, for free, without an equivalent return. That’s what fuels growth. To put a limit on material extraction and waste is to effectively kill the goose that lays the golden eggs.

Would the pair of you like to turn your backs so you exclude us more effectively?” Jode asks. “We’re just adding to the list.” I hold up my journal. “Daryn.” Gideon shakes his head, pretending to be disappointed. “It’s our list.” “A list?” Jode leans back, resting his head against his bag. “What’s this list about?” Rather than explain it, I just lean over and give it to him. Gideon puts his hand over his heart and winces. “I hate sharing, Martin.” I lean up, whispering in his ear. “Some things are only for you.” He gives me a long unblinking look that makes my face burn and my body feel light and hot. “This is an outrage,” Jode says dryly. “I’m in here once and Gideon is here … two, three, four times?” “Three,” I say. “The last one doesn’t really count.” “Oh, it counts,” Gideon says. “How many times am I in it?” Marcus asks. “Are you guys making this a competition?” “Of course.” “Yeah.” “Definitely. And I’m dominating.” “For real,” Marcus says. “How many times am I on there?” “Once, like me. For your winning smile.” Jode closes the notebook and tosses it to Marcus. “But don’t let it go to your head. Gideon’s arse has a spot on the list as well.” Gideon looks at me and winks. “Like I said, dominating.” “Dare, you got a pen?” Marcus asks. This catches me by surprise for a moment. “Yes.” I toss it to him, smiling. This is perfect. Whatever he adds, it’s already perfect. As Marcus writes, Jode leans back and gazes up at the trees. “You’re thinking it’ll be five for you after this. Aren’t you, Gideon?” “You know me well, Ellis.” Marcus finishes writing. He sets the pen in the fold and hands the journal to Gideon. I lean in and read. Marcus’s handwriting is elegant cursive—almost astonishingly elegant. And what he wrote is, as expected, perfection. Even better is that Gideon reads it aloud. “‘Twenty-eight. The family you make.’” He looks at Marcus. “Damn right, bro. This is the best one here.” He looks at me. “Tied with fourteen.” “Ah, yes,” Jode says. “Gideon’s Super Lips.” Marcus shakes his head at me. “Why?” “It was a mistake. I wrote it before the list went public. What’s your addition, Jode? It can be anything. Anything that has significance to you.” “Full English breakfast,” he says, without missing a beat. “Bacon, eggs, sausages, baked beans, grilled tomato, mushrooms, toast, marmalade. With tea, of course. One of life’s undeniable pleasures.” My mouth instantly waters. “Well, it’s no trail mix, but all right.” I add “English Breakfast” to the list.

Elephanta caves, Mumbai-- I entered a world made of shadows and sudden brightness. The play of the light, the vastness of the space and its irregular form, the figures carved on the walls: all of it gave the place a sacred character, sacred in the deepest meaning of the word. In the shadows were the powerful reliefs and statues, many of them mutilated by the fanaticism of the Portuguese and the Muslims, but all of them majestic, solid, made of a solar material. Corporeal beauty, turned into living stone. Divinities of the earth, sexual incarnations of the most abstract thought, gods that were simultaneously intellectual and carnal, terrible and peaceful. ............................................................................ Gothic architecture is the music turned to stone; one could say that Hindu architecture is sculpted dance. The Absolute, the principle in whose matrix all contradictions dissolve (Brahma), is “neither this nor this nor this.” It is the way in which the great temples at Ellora, Ajanta, Karli, and other sites were built, carved out of mountains. In Islamic architecture, nothing is sculptural—exactly the opposite of the Hindu. The Red Fort, on the bank of the wide Jamuna River, is as powerful as a fort and as graceful as a palace. It is difficult to think of another tower that combines the height, solidity, and slender elegance of the Qutab Minar. The reddish stone, contrasting with the transparency of the air and the blue of the sky, gives the monument a vertical dynamism, like a huge rocket aimed at the stars. The mausoleum is like a poem made not of words but of trees, pools, avenues of sand and flowers: strict meters that cross and recross in angles that are obvious but no less surprising rhymes. Everything has been transformed into a construction made of cubes, hemispheres, and arcs: the universe reduced to its essential geometric elements. The abolition of time turned into space, space turned into a collection of shapes that are simultaneously solid and light, creations of another space, made of air. There is nothing terrifying in these tombs: they give the sensation of infinity and pacify the soul. The simplicity and harmony of their forms satisfy one of the most profound necessities of the spirit: the longing for order, the love of proportion. At the same time they arouse our fantasies. These monuments and gardens incite us to dream and to fly. They are magic carpets. Compare Ellora with the Taj Mahal, or the frescoes of Ajanta with Mughal miniatures. These are not distinct artistic styles, but rather two different visions of the world.

Gentleman,” I purr smoothly in greeting. Ezra and Cort circle me like sharks scenting blood. I know who they are, but not who is who since they’re wearing black hoods over their heads. It covers them to the shoulder and has holes for the eyes and mouth. Their clothing is identical Italian designer label suits. Even their shoes are the same. Their eyes glow like steel ball-bearings from the safety of their masks. The mouths are different- one serious, one snarky- both ruby-red and kissable. While they circle Fate and me several times taking our measure, the other Master stands in a sphere of his own confidence. He’s older and I don’t mean just in age, but knowledge. Ezra and Cortez feel like babies compared to this man. I bet he’s who I really have to impress. I wait, always meeting their eyes when their path moves them back to my face. I don’t follow them with my gaze- I wait. “Hello,” the hood with the serious lips speaks in a smooth deep tone. I know it’s not his true voice, but the one Kris calls The Boss. His eyes are kind and assessing. No one pays Fate any mind as she cowers at my thigh. I hold their undivided attention. Curly-locks is quiet- watchful- a predator sighting its quarry. Snarky mouth is leering at my chest and I smirk. Caught ya, Cortez Abernathy. “I seem to be at a disadvantage conversing with you while you’re hooded. I can’t see you, but you can see me.” I try to get them to out themselves. It’s a longshot. “And who are you, Ma’am?” Ezra asks respectfully. “Please call me Queen.” I draw on all of my lessons from Hillbrook to pull me through this conversation. The power in the air is stifling. I wonder if it’s difficult for them to be in the same room without having a cage match for dominance. I feel like I’m on Animal Planet and the lions are circling. “Queen, indeed,” Cort says snidely under his breath and I wince. I turn my face from them in embarrassment. I should have gone with something less- less everything. I know I’m strong, but the word also emulates elegance and beauty. I’m neither. Have to say, tonight has sucked for my self-esteem. First, the dominant one overlooks me for Fate and now Cortez makes fun of me- lovely. “What did you say to upset her?” Ezra accuses Cortez. “Nothing,” Cort complains in confusion. “Please excuse my partner. Words are his profession and it seems they have failed him this evening. I will apologize for not sharing our names, but this gentleman is Dexter.” He gestures to the dominant man. I wait for him to shake my hand like a civilized person. He does not- he actually crosses his arms over his chest in disobedience. This shit is going to be a piece of cake.

She knew the effort it took to keep one’s exterior self together, upright, when everything inside was in pieces, broken beyond repair. One touch, one warm, compassionate hand, could shatter that hard-won perfect exterior. And then it would take years and years to restore it. This tiny, effeminate creature dressed in velvet suits, red socks, an absurdly long scarf usually wrapped around his throat, trailing after him like a coronation robe. He who pronounced, after dinner, “I’m going to go sit over here with the rest of the girls and gossip!” This pixie who might suddenly leap into the air, kicking one foot out behind him, exclaiming, “Oh, what fun, fun, fun it is to be me! I’m beside myself!” “Truman, you could charm the rattle off a snake,” Diana Vreeland pronounced. Hemingway - He was so muskily, powerfully masculine. More than any other man she’d met, and that was saying something when Clark Gable was a notch in your belt. So it was that, and his brain, his heart—poetic, sad, boyish, angry—that drew her. And he wanted her. Slim could see it in his hungry eyes, voraciously taking her in, no matter how many times a day he saw her; each time was like the first time after a wrenching separation. How to soothe and flatter and caress and purr and then ignore, just when the flattering and caressing got to be a bit too much. Modesty bores me. I hate people who act coy. Just come right out and say it, if you believe it—I’m the greatest. I’m the cat’s pajamas. I’m it! He couldn’t humiliate her vulnerability, her despair. Old habits die hard. Particularly among the wealthy. And the storytellers, gossips, and snakes. Is it truly a scandal? A divine, delicious literary scandal, just like in the good old days of Hemingway and Fitzgerald? The loss of trust, the loss of joy; the loss of herself. The loss of her true heart. An amusing, brief little time. A time before it was fashionable to tell the truth, and the world grew sordid from too much honesty. In the end as in the beginning, all they had were the stories. The stories they told about one another, and the stories they told to themselves. Beauty. Beauty in all its glory, in all its iterations; the exquisite moment of perfect understanding between two lonely, damaged souls, sitting silently by a pool, or in the twilight, or lying in bed, vulnerable and naked in every way that mattered. The haunting glance of a woman who knew she was beautiful because of how she saw herself reflected in her friend’s eyes. The splendor of belonging, being included, prized, coveted. What happened to Truman Capote. What happened to his swans. What happened to elegance. What truly was the price they paid, for the lives they lived. For there is always a price. Especially in fairy tales.

When I pull my hand away, my fingertips are not stained red, but silver. I stare at my nails, trying to make sense of what I see when out of the formless gloom, a monster emerges. I do scream when a pair of blue-white eyes appear, a pinprick of black in their center. Slowly, a shape coalesces into being- a long, elegant face, whorls of inky shadows swirling over moon-pale skin, ram's horns curling around pointed, elfin ears. He is more terrifying and more real than the vision I experienced in the labyrinth. But worst of all are the hands, gnarled and curled and with one too many joints in each finger. With a silver ring around the base of one. A wolf's-head ring, with two gems of blue and green for eyes. My ring. His ring. The symbol of our promise I had returned to the Goblin King back in the Goblin Grove. Mein Herr? For a brief moment, those blue-white eyes regain some color, the only color in this gray world. Blue and green, like the gems on the ring about his finger. Mismatched eyes. Human eyes. The eyes of my immortal beloved. Elisabeth, he says, and his lips move painfully around a mouth full of sharpened teeth, like the fangs of some horrifying beast. Despite the fear knifing my veins, my heart grows soft with pity. With tenderness. I reach for my Goblin King, longing to touch him, to hold his face in my hands the way I had done when I was his bride. Mein Herr. My hands lift to stroke his cheek, but he shakes his head, batting my fingers away. I am not he, he says, and an ominous growl laces his words as his eyes return to that eerie blue-white. He that you love is gone. Then who are you? I ask. His nostrils flare and shadows deepen around us, giving shape to the world. He swirls a cloak about him as a dark forest comes into view, growing from the mist. I am the Lord of Mischief and the Ruler Underground. His lips stretch thin over that dangerous mouth in a leering smile. I am death and doom and Der Erlkönig. No! I cry, reading for him again. No, you are he that I love, a king with music in his soul and a prayer in his heart. You are a scholar, a philosopher, and my own austere young man. Is that so? The corrupted Goblin King runs a tongue over his gleaming teeth, those pale eyes devouring me as though I were a sumptuous treat to be savored. Then prove it. Call him by name. A jolt sings through me- guilt and fear and desire altogether. His name, a name, the only link my austere young man has to the world above, the one thing he could not give me. Der Erlkönig throws his head back in a laugh. You do not even know your beloved's name, maiden? How can you possibly call it love when you walked away, when you abandoned him and all that he fought for? I shall find it, I say fiercely. I shall call him by name and bring him home. Malice lights those otherworldly eyes, and despite the monstrous markings and horns and fangs and fur that claim the Goblin King's comely form, he turns seductive, sly. Come, brave maiden, he purrs. Come, join me and be my bride once more, for it was not your austere young man who showed you the dark delights of the Underground and the flesh. It was I.

This is the mighty and branching tree called mythology which ramifies round the whole world whose remote branches under separate skies bear like colored birds the costly idols of Asia and the half-baked fetishes of Africa and the fairy kings and princesses of the folk-tales of the forest and buried amid vines and olives the Lares of the Latins, and carried on the clouds of Olympus the buoyant supremacy of the gods of Greece. These are the myths and he who has no sympathy with myths has no sympathy with men. But he who has most Sympathy with myths will most fully realize that they are not and never were a religion, in the sense that Christianity or even Islam is a religion. They satisfy some of the needs satisfied by a religion; and notably the need for doing certain things at certain dates; the need of the twin ideas of festivity and formality. But though they provide a man with a calendar they do not provide him with a creed. A man did not stand up and say 'I believe in Jupiter and Juno and Neptune,' etc., as he stands up and says 'I believe in God the Father Almighty' and the rest of the Apostles' Creed.... Polytheism fades away at its fringes into fairy-tales or barbaric memories; it is not a thing like monotheism as held by serious monotheists. Again it does satisfy the need to cry out on some uplifted name, or some noble memory in moments that are themselves noble and uplifted; such as the birth of a child or the saving of a city. But the name was so used by many to whom it was only a name. Finally it did satisfy, or rather it partially satisfied, a thing very deep in humanity indeed; the idea of surrendering something as the portion of the unknown powers; of pouring out wine upon the ground, of throwing a ring into the sea; in a word, of sacrifice....A child pretending there is a goblin in a hollow tree will do a crude and material thing like leaving a piece of cake for him. A poet might do a more dignified and elegant thing, like bringing to the god fruits as well as flowers. But the degree of seriousness in both acts may be the same or it may vary in almost any degree. The crude fancy is no more a creed than the ideal fancy is a creed. Certainly the pagan does not disbelieve like an atheist, any more than he believes like a Christian. He feels the presence of powers about which he guesses and invents. St. Paul said that the Greeks had one altar to an unknown god. But in truth all their gods were unknown gods. And the real break in history did come when St. Paul declared to them whom they had worshipped. The substance of all such paganism may be summarized thus. It is an attempt to reach the divine reality through the imagination alone; in its own field reason does not restrain it at all..... There is nothing in Paganism whereby one may check his own exaggerations.... The only objection to Natural Religion is that somehow it always becomes unnatural. A man loves Nature in the morning for her innocence and amiability, and at nightfall, if he is loving her still, it is for her darkness and her cruelty. He washes at dawn in clear water as did the Wise Man of the Stoics, yet, somehow at the dark end of the day, he is bathing in hot bull’s blood, as did Julian the Apostate.

He went straight to ‘his alley,’ and when he reached the end of it he perceived, still on the same bench, that wellknown couple. Only, when he approached, it certainly was the same man; but it seemed to him that it was no longer the same girl. The person whom he now beheld was a tall and beautiful creature, possessed of all the most charming lines of a woman at the precise moment when they are still combined with all the most ingenuous graces of the child; a pure and fugitive moment, which can be expressed only by these two words,— ‘fifteen years.’ She had wonderful brown hair, shaded with threads of gold, a brow that seemed made of marble, cheeks that seemed made of rose-leaf, a pale flush, an agitated whiteness, an exquisite mouth, whence smiles darted like sunbeams, and words like music, a head such as Raphael would have given to Mary, set upon a neck that Jean Goujon would have attributed to a Venus. And, in order that nothing might be lacking to this bewitching face, her nose was not handsome— it was pretty; neither straight nor curved, neither Italian nor Greek; it was the Parisian nose, that is to say, spiritual, delicate, irregular, pure,— which drives painters to despair, and charms poets. When Marius passed near her, he could not see her eyes, which were constantly lowered. He saw only her long chestnut lashes, permeated with shadow and modesty. This did not prevent the beautiful child from smiling as she listened to what the white-haired old man was saying to her, and nothing could be more fascinating than that fresh smile, combined with those drooping eyes. For a moment, Marius thought that she was another daughter of the same man, a sister of the former, no doubt. But when the invariable habit of his stroll brought him, for the second time, near the bench, and he had examined her attentively, he recognized her as the same. In six months the little girl had become a young maiden; that was all. Nothing is more frequent than this phenomenon. There is a moment when girls blossom out in the twinkling of an eye, and become roses all at once. One left them children but yesterday; today, one finds them disquieting to the feelings. This child had not only grown, she had become idealized. As three days in April suffice to cover certain trees with flowers, six months had sufficed to clothe her with beauty. Her April had arrived. One sometimes sees people, who, poor and mean, seem to wake up, pass suddenly from indigence to luxury, indulge in expenditures of all sorts, and become dazzling, prodigal, magnificent, all of a sudden. That is the result of having pocketed an income; a note fell due yesterday. The young girl had received her quarterly income. And then, she was no longer the school-girl with her felt hat, her merino gown, her scholar’s shoes, and red hands; taste had come to her with beauty; she was a well-dressed person, clad with a sort of rich and simple elegance, and without affectation. She wore a dress of black damask, a cape of the same material, and a bonnet of white crape. Her white gloves displayed the delicacy of the hand which toyed with the carved, Chinese ivory handle of a parasol, and her silken shoe outlined the smallness of her foot. When one passed near her, her whole toilette exhaled a youthful and penetrating perfume.

Water in flood means exactly what it says. It has no hypocrisy. Even as it murders, it leaves life behind and carves elegant, intricate passages into raw stone, all the while having no debate about its intention. It is the same water that will sit complacently in a hole for months or years, the same arrangement of atoms that flows gently, singing lullabies, the same that fiercely consumes children and tears the walls from titanic canyons.

Soon we began to collect a little group of odd people who would drink with us every cocktail hour. Brigitte, who was a 22-year-old German, very beautiful, could have been on the cover of Stern magazine. Her boyfriend Volker was one of the most beautiful men I'd ever met - people said he looked like James Hunt, the English racecar driver. He was like Billy Budd. He was from Germany and had been a cowboy in Wyoming. Then there was Elford Elliot from England, who had something to do with producing garden gnomes. He was tripping on acid all the time and going out to Delos, this little island off Mykonos, chipping little pieces off the ancient ruins, which he then brought back in the pocket of his jumpsuit. Then there was Bryan, an IBM operator from Australia, who fancied himself as a kind of Oscar Wilde figure. I don't know why. The only story of his I remember was about some Australians who stole a garden gnome from the front lawn of a very elegant mansion and took it for a trip around the world. They would send postcards back to the owner saying things like, 'Having a lovely time in the Fiji Islands' and sign it, 'The Garden Gnome.' After six weeks, they brought the garden gnome back and left it on the lawn with little suitcases full of tiny clothing they'd knitted for it.

We will take the case of those who are in better circumstances than the mass of the community. They are well educated and taught; they have few distresses in life, or are able to get over them by the variety of their occupations, by the spirits which attend good health, or at least by the lapse of time. They go on respectably and happily, with the same general tastes and habits which they would have had if the Gospel had not been given them. They have an eye to what the world thinks of them; are charitable when it is expected. They are polished in their manners, kind from natural disposition or a feeling of propriety. Thus their religion is based upon self and the world, a mere civilization; the same (I say), as it would have been in the main, (taking the state of society as they find it,) even supposing Christianity were not the religion of the land. But it is; and let us go on to ask, how do they in consequence feel towards it? They accept it, they add it to what they are, they ingraft it upon the selfish and worldly habits of an unrenewed heart. They have been taught to revere it, and to believe it to come from God; so they admire it, and accept it as a rule of life, so far forth as it agrees with the carnal principles which govern them. So far as it does not agree, they are blind to its excellence and its claims. They overlook or explain away its precepts. They in no sense obey because it commands. They do right when they would have done right had it not commanded; however, they speak well of it, and think they understand it. Sometimes, if I may continue the description, they adopt it into a certain refined elegance of sentiments and manners, and then the irreligion is all that is graceful, fastidious, and luxurious. They love religious poetry and eloquent preaching. They desire to have their feelings roused and soothed, and to secure a variety and relief in that eternal subject which is unchangeable. They tire of its simplicity, and perhaps seek to keep up their interest in it by means of religious narratives, fictitious or embellished, or of news from foreign countries, or of the history of the prospects or successes of the Gospel; thus perverting what is in itself good and innocent. This is their state of mind at best; for more commonly they think it enough merely to show some slight regard for the subject of religion; to attend its services on the Lord’s day, and then only once, and coldly to express an approbation of it. But of course every description of such persons can be but general; for the shades of character are so varied and blended in individuals, as to make it impossible to give an accurate picture, and often very estimable persons and truly good Christians are partly infected with this bad and earthly spirit.

Whether it was all love and no champagne, or all champagne and no love, or half love and half champagne, or three quarters love and one quarter champagne, or one quarter love and three quarters champagne, I cannot say; but certain it is that Hugh became inconveniently tender--tender in the moonlight, tenderer far in the shade. I, in my own mind, ascribed an undue preponderance to the champagne element, and suffered agonies of apprehension lest the grooms behind should overhear his amorous platitudes.

Thank God I’m getting married this weekend, or else I wouldn’t be able to wear this dress at all. “You are not,” my mother says indignantly from where she’s perched on an elegant pink velvet tufted chair, watching me.

The Ultimate Minimalist Wallets For Men: Functionality Meets Style? More than just a way of transporting essentials like money and ID, the simplest men’s wallets also are a chance to precise your taste and elegance. The perfect minimalist wallet may be a marriage of form and performance. It’s hard-wearing, ready to withstand everyday use, and has high-end design appeal. the perfect wallet is one that you simply can take enjoyment of whipping out at the top of a meal with a client or the in-laws. This one’s on me. Your wallet should complement your lifestyle. Perhaps you’re an on-the-go professional rushing from an office meeting to a cocktail bar. or even you’re a stay-at-home parent who takes pride in your fashion-forward accessories. No single wallet-owner is that the same. Your wallet should say something about your unique personality. Whether you’re seeking an attention-grabbing luxury accessory or something more understated and practical, there’s a wallet that’s got your name thereon. Here’s a variety of the simplest men’s wallets for each taste, style, and purpose. Here Is That The List Of Comfortable Wallets For Men Here, we'll introduce recommended men's outstandingly fashionable wallets. If you would like to be a trendy adult man, please ask it. 1- Stripe Point Bi-Fold Wallet (Paul Smith) "Paul Smith" may be a brand that's fashionable adult men, not just for wallets but also for accessories like clothes and watches. it's a basic series wallet that uses Paul Smith's signature "multi-striped pattern" as an accent. Italian calf leather with a supple texture is employed for the wallet body, and it's a typical model specification of a bi-fold wallet with 1 wallet, 2 coin purses, 4 cardholders. 2- Zippy Wallet Vertical (Louis Vuitton) "Louis Vuitton" may be a luxury brand that's so documented that it's called "the king of high brands" by people everywhere the planet . a trendy long wallet with a blue lining on the "Damier Graffiti", which is extremely fashionable adult men. With multiple pockets and compartments, it's excellent storage capacity. With a chic, simple and complicated design, and having a luxury brand wallet that everybody can understand, you'll feel better and your fashion is going to be dramatically improved. 3- Grange (porter) "Poker" is that the main brand of Yoshida & Co., Ltd., which is durable and highly functional. Yoshida & Co., Ltd. is now one of Japan's leading brands and is extremely popular not only in Japan but also overseas. The charm of this wallet is that the cow shoulder leather is made in Italy, which has been carefully tanned with time and energy. because of the time-consuming tanning process, it's soft and sturdy, and therefore the warm taste makes it comfortable to use. 4- Bellroy Note Sleeve The Note Sleeve is just the simplest all-around wallet in Bellroy’s collection. If you don’t want to spend plenty of your time (or money) researching the simplest wallet, you'll stop here. This one has everything you would like. And it's good too! This wallet will easily suit your cash, coins, and up to eleven cards during a slim profile. The Note Sleeve also has quick-access slots for your daily cards and a cargo area with a convenient pull-tab for the credit cards you employ less frequently.

The second main argument to support the idea that simple living enhances our capacity for pleasure is that it encourages us to attend to and appreciate the inexhaustible wealth of interesting, beautiful, marvelous, and thought-provoking phenomena continually presented to us by the everyday world that is close at hand. As Emerson says: “Things near are not less beautiful and wondrous than things remote. . . . This perception of the worth of the vulgar is fruitful in discoveries.”47 Here, as elsewhere, Emerson elegantly articulates the theory, but it is his friend Thoreau who really puts it into practice. Walden is, among other things, a celebration of the unexotic and a demonstration that the overlooked wonders of the commonplace can be a source of profound pleasure readily available to all. This idea is hardly unique to Emerson and Thoreau, of course, and, like most of the ideas we are considering, it goes back to ancient times. Marcus Aurelius reflects that “anyone with a feeling for nature—a deeper sensitivity—will find it all gives pleasure,” from the jaws of animals to the “distinct beauty of old age in men and women.”48 “Even Nature’s inadvertence has its own charms, its own attractiveness,” he observes, citing as an example the way loaves split open on top when baking.49 With respect to the natural world, celebrating the ordinary has been a staple of literature and art at least since the advent of Romanticism in the late eighteenth century. Wordsworth wrote three separate poems in praise of the lesser celandine, a common wildflower; painters like van Gogh discover whole worlds of beauty and significance in a pair of peasant boots; many of the finest poems crafted by poets like Thomas Hardy, Robert Frost, Elizabeth Bishop, William Carlos Williams, and Seamus Heaney take as their subject the most mundane objects, activities, or events and find in these something worth lingering over and commemorating in verse: a singing thrush, a snowy woods, a fish, some chilled plums, a patch of mint. Of course, artists have also celebrated the extraordinary, the exotic, and the magnificent. Homer gushes over the splendors of Menelaus’s palace; Gauguin left his home country to seek inspiration in the more exotic environment of Tahiti; Handel composed pieces to accompany momentous ceremonial occasions. Yet it is striking that a humble activity like picking blackberries—the subject of well-known poems by, among others, Sylvia Plath, Seamus Heaney, and Richard Wilbur—appears to be more inspirational to modern poets, more charged with interest and significance, than, say, the construction of the world’s tallest building, the Oscar ceremonies, the space program, or the discovery of DNA’s molecular structure. One might even say that it has now become an established function of art to help us discover the remarkable in the commonplace

They don’t even take it into their reckoning in the form in which it should be taken, and the whole reckoning depends upon that. It would be no greater matter, they would simply have to take it, this advantage, and add it to the list. But the trouble is, that this strange advantage does not fall under any classification and is not in place in any list. I have a friend for instance... Ech! gentlemen, but of course he is your friend, too; and indeed there is no one, no one to whom he is not a friend! When he prepares for any undertaking this gentleman immediately explains to you, elegantly and clearly, exactly how he must act in accordance with the laws of reason and truth. What is more, he will talk to you with excitement and passion of the true normal interests of man; with irony he will upbraid the short- sighted fools who do not understand their own interests, nor the true significance of virtue; and, within a quarter of an hour, without any sudden outside provocation, but simply through something inside him which is stronger than all his interests, he will go off on quite a different tack — that is, act in direct opposition to what he has just been saying about himself, in opposition to the laws of reason, in opposition to his own advantage, in fact in opposition to everything...

The revolver was chambered for .442 rounds, which meant there was only room for five. "These are large caliber bullets for such a short gun," Merritt remarked. "It's designed to stop someone at close range," Ethan said, absently arching up to rub a spot on his chest. "Being hit by one of those bullets feels like a kick from a mule." "Why is the hammer bobbed?" "To keep it from catching on the holster or clothing, if I have to draw it fast." Keeping the muzzle of the gun pointed away from him, Merritt reassembled the revolver, slid the extractor rod into place, and locked it deftly. "Well done," Ethan commented, surprised by her assurance. "You're familiar with guns, then." "Yes, my father taught me. May I shoot it?" "What are you going to aim for?" By this time, the others had come out from the parlor to watch. "Uncle Sebastian," Merritt asked, "are those pottery rabbits on the stone wall valuable?" Kingston smiled slightly and shook his head. "Have at it." "Wait," Ethan said calmly. "That's a twenty-yard distance. You'll need a longer-range weapon." With meticulous care, he took the revolver from her and replaced it in his coat. "Try this one." Merritt's brows lifted slightly as he pulled a gun from a cross-draw holster concealed by his coat. This time, Ethan handed the revolver to her without bothering to disassemble it first. "It's loaded, save one chamber," he cautioned. "I put the hammer down to prevent accidental discharge." "A Colt single-action," Merritt said, pleased, admiring the elegant piece, with its four-and-a-half-inch barrel and custom engraving. "Papa has one similar to this." She eased the hammer back and gently rotated the cylinder. "It has a powerful recoil," Ethan warned. "I would expect so." Merritt held the Colt in a practiced grip, the fingers of her support hand fit neatly underneath the trigger guard. "Cover your ears," she said, cocking the hammer and aligning the sights. She squeezed the trigger. An earsplitting report, a flash of light from the muzzle, and one of the rabbit sculptures on the wall shattered. In the silence that followed, Merritt heard her father say dryly, "Go on, Merritt. Put the other bunny out of its misery." She cocked the hammer, aimed and fired again. The second rabbit sculpture exploded. "Sweet Mother Mary," Ethan said in wonder. "I've never seen a woman shoot like that." "My father taught all of us how to shoot and handle firearms safely," Merritt said, giving the revolver back to him grip-first.

I liked Finland for its absence of overt rage or street crime. This wasn’t the United States, this wasn’t Spain. It was calm here, and moody, a gorgeous, elegant place with slightly off-kilter serotonin levels. A depressed country: this was an easy diagnosis to make, given the suicide statistics, which Scandinavia sometimes tries to deny, just the way Cornell University tries to allay the fears of incoming students’ parents about the famous Ithaca gorge, which, like a harvest ritual each fall, claims the life of a few more hopeless freshmen. Don’t worry, the college brochure should say. Though some students do in fact leap to their deaths, most prefer keg parties and studying. All of Scandinavia was alluring, with its ice fishing and snowcaps, but everyone knew about the legend of ingrained unhappiness among Finns, Norwegians, and Swedes: their drinking, their mournful, baying songs, their muffled darkness smack in the middle of the day.

Personally I think that grammar is a way to attain beauty. When you speak, or read, or write, you can tell if you’ve said or read or written a fine sentence. You can recognize a well-turned phrase or an elegant style. But when you are applying the rules of grammar skillfully, you ascend to another level of the beauty of language. When you use grammar you peel back the layers, to see how it is all put together, see it quite naked, in a way. And that’s where it becomes wonderful, because you say to yourself, “Look how well-made this is, how well-constructed it is! How solid and ingenious, rich and subtle!” I get completely carried away just knowing there are words of all different natures, and that you have to know them in order to be able to infer their potential usage and compatibility. I find there is nothing more beautiful, for example, than the very basic components of language, nouns and verbs. When you’ve grasped this, you’ve grasped the core of any statement. It’s magnificent, don’t you think? Nouns, verbs . . .

Haidt and his colleagues call this idea “moral foundations theory.” [4] Drawing on evolutionary biology, cultural psychology, and several other fields, they show that beliefs about morality stand on five pillars: Care/harm: Children are more vulnerable than the offspring of other animals, so humans devote considerable time and effort to protecting them. As a result, evolution has instilled in us the ethic of care. Those who nurture and defend the vulnerable are kind; those who hurt them are cruel. Fairness/cheating: Our success as a species has always hinged on cooperation, including exchanges that evolutionary scientists call “reciprocal altruism.” That means we value those whom we can trust and disdain those who breach our trust. Loyalty/disloyalty: Our survival depends not only on our individual actions, but also on the cohesiveness of our group. That’s why being true to your team, sect, or nation is respected—and forsaking your tribe is usually reviled. Authority/subversion: Among primates, hierarchies nourish members and protect them from aggressors. Those who undermine the hierarchy can place everyone in the group at risk. When this evolutionary impulse extends to human morality, traits like deference and obedience toward those at the top become virtues.[5] Purity/desecration: Our ancestors had to contend with all manner of pathogens—from Mycobacterium tuberculosis to Mycobacterium leprae—so their descendants developed the capacity to avoid them along with what’s known as a “behavioral immune system” to guard against a broader set of impurities such as violations of chastity. In the moral realm, write one set of scholars, “purity concerns uniquely predict (beyond other foundations and demographics such as political ideology) culture-war attitudes about gay marriage, euthanasia, abortion, and pornography.” [6] Moral foundations theory doesn’t say that care is more important than purity or that authority is more important than fairness or that you should follow one set of foundations instead of another. It simply catalogs how humans assess the morality of behavior. The theory is descriptive, not prescriptive. But its descriptive power is considerable. Not only did it reshape my understanding of both human reasoning and modern politics; it also offered an elegant way to interpret our moral regrets.

mass or a collection of homilies. “An intellectual is usually someone who isn’t exactly distinguished by his intellect,” Corelli asserted. “He claims that label to compensate for his inadequacies. It’s as old as that saying: Tell me what you boast of and I’ll tell you what you lack. Our daily bread. The incompetent always present themselves as experts, the cruel as pious, sinners as devout, usurers as benefactors, the small-minded as patriots, the arrogant as humble, the vulgar as elegant, and the feeble-minded as intellectual. Once again, it’s all the work of nature. Far from being the sylph to whom poets sing, nature is a cruel, voracious mother who needs to feed on the creatures she gives birth to in order to stay alive.

When Crick and Watson began, they knew very little about DNA for sure, and part of what they were most sure of was wrong. To consider DNA as a physical object, they wanted diameters, lengths, linkages and rotations, screw pitch, density, water content, bonds, and bonds and again bonds. The sport would be to see how little data they could make do with and still get it right: the less scaffolding visible, the more elegant and astonishing the structure. More than sport was involved. Crick, following Pauling, elevated this penurious elegance into a theoretical principle, the corollary of model-building. “You must remember, we were trying to solve it with the fewest possible assumptions,” Crick said. “There’s a perfectly sound reason—it isn’t just a matter of aesthetics or because we thought it was a nice game—why you should use the minimum of experimental data. The fact is, you remember, that we knew that Bragg and Kendrew and Perutz had been misled by the experimental data. And therefore every bit of experimental evidence we had got at any one time we were prepared to throw away, because we said it may be misleading just the way that 5.1 reflection in alpha keratin was misleading.” We were in his office in Cambridge; thinking out loud, he got up and began to pace back and forth, with long, loping steps, in the clear lane in front of his desk, speaking in the rhythm of his stride. “They missed the alpha helix because of that reflection! You see. And the fact that they didn’t put the peptide bond in right. The point is that evidence can be unreliable, and therefore you should use as little of it as you can. And when we confront problems today, we’re in exactly the same situation. We have three or four bits of data, we don’t know which one is reliable, so we say, now, if we discard that one and assume it’s wrong—even though we have no evidence that it’s wrong—then we can look at the rest of the data and see if we can make sense of that. And that’s what we do all the time. I mean, people don’t realize that not only can data be wrong in science, it can be misleading. There isn’t such a thing as a hard fact when you’re trying to discover something. It’s only afterwards that the facts become hard.

This cold-ass, beautiful woman is saying I’m mean? After she so elegantly just told me to put my cock in her mouth and all the other crazy things she’s put me through.

Shallow. Harmless. A little bit stupid. Crazy in love with you. Needs access to every part of the house. Let’s see . . . Who am I? Well, Roman’s trophy wife, of course. I am pretty, elegant, and extremely snobbish. I love wearing expensive clothes, just the best labels. I’m not really into dresses unless the occasion requires it. I much more prefer designer jeans, paired with silky blouses. The heels are a must.” She pauses, opens her eyes, and turns toward me. “Are heels a must, do you think?” She scrunches her tiny nose. “Of course they are. Damn it. I hate wearing heels.” She closes her eyes again and continues. “The heels are a must, and I have dozens of them. Roman loves when I wear them, he says they make my butt look amazing. I’m also very self-conscious about my height, and wearing heels all the time makes me forget how short I am. My favorite pastime is shopping, and I buy a ton of clothes. My husband has to allocate one driver specifically for me and my shopping sprees.” Another pause and she turns toward me again. “Roman, I’ll need funds to support her addiction with clothes. She is an impulse buyer.” “You’ll get anything you need,” I laugh. She’s completely nuts. “My husband is crazy about me, and he allows me to do whatever I want with the house, like rearrange furniture, so the vibe of the house works better with the earth vibrations. The house feels terribly cold, so I buy a bunch of indoor plants and spread them everywhere. I also tour every single room because I want to make sure the unobstructed energy flows, so I rearrange paintings and mirrors. I also hate the dining room table, it’s so overstated, and I decide to swap it with a sleek glass one I found in an interior design magazine.” Another pause. “This woman is expensive, Roman. I hope you know what you’re getting yourself into.” “I’ll manage.” “Your funeral.” She shrugs and continues. “My husband doesn’t like it when he’s interrupted, but of course, that doesn’t apply to me. I often come into his office just to check up on him and exchange a few kisses. It annoys his men so much. They wonder what he sees in me and why he allows me so much freedom, and then decide he’s thinking with his dick. I’m always around, and they hate it.

Indifference to the world is neither ignorance nor hostility. You do not propose to rediscover the robust joys of illiteracy, but rather, in reading, not to grant a privileged status to any one thing you read. You do not propose to go naked, but to be clad, without this implying either elegance or neglect; you do not propose to let yourself starve to death, but simply to feed yourself. It is not exactly that you seek to accomplish these actions in total innocence, for innocence is such a loaded term: but merely, simply (if this 'simply' can still mean anything) to relegate these actions to some neutral, self-contained territory, a space cleansed of all value-judgements, but not, especially not, a functional space: the functional is the worst, the most insidious, the most compromising of all values. No, let this space be self-evident, factual, irreducible. Let there be nothing else to say except: you read, you are clothed, you eat, you sleep, you walk, let these be actions or gestures, but not proofs, not some kind of symbolic currency: your dress, your food, your reading matter will not speak in your stead, you have had enough of trying to outsmart them. Never again will you entrust to them the exhausting, impossible, mortal burden of representing you.

Franklin’s inquisitive mind craved stimulation, consistently gravitating toward whatever community of intellects asked the most intriguing questions; his expansive temperament sought souls that resonated with his own generosity and sense of virtue. In five years in England he had found more of both than in a lifetime in America. “Of all the enviable things England has,” he told Polly Stevenson, “I envy most its people. Why should that petty island, which compared to America is but like a stepping stone in a brook, scarce enough of it above water to keep one’s shoes dry; why, I say, should that little island enjoy in almost every neighbourhood more sensible, virtuous and elegant minds than we can collect in ranging 100 leagues of our vast forests?” He left such people reluctantly and, he trusted, temporarily.

It wasn’t dignified in the least, the way the grown man crouching on the floor played with the child—made a fool of himself to entertain a stranger’s abandoned baby. Not dignified, but it was… oddly endearing. Sophie felt an urge to get up and put some distance between herself and this tomfoolery on the floor, and yet she had to wonder too: if she brushed a lock of her hair over the child’s nose, would the baby take as much delight in it? She sat back. “How is it you know so much about babies?” “My half sisters are a great deal younger than my brother and I. We more or less raised them, and this is part of the drill. He’ll likely nap next, as outings tend to tire them when they’re this young.” He crouched low over the child and used his mouth to make a rude noise on the baby’s belly. The child exploded with glee, grabbing wildly for Mr. Charpentier’s hair and managing to catch his nose. It was quite a handsome nose in the middle of quite a handsome face. She’d noticed this at the coaching inn, in that first instant when he’d offered to help. She’d turned to find the source of the lovely, calm voice and found herself looking up into a face that put elegant masculine bones to the best possible use. His eyes were just the start of it—a true pale blue that suggested Norse ancestry, set under arching blond brows. It was a lean face, with a strong jaw and well-defined chin—Sophie could not abide a weak chin nor the artifices of facial hair men sported to cover one up. But none of that, not even the nose and chin and eyes combined, prepared Sophie for the visceral impact of more than six feet of Wilhelm Charpentier crouched on the floor, entertaining a baby. He smiled at the child as if one small package of humanity merited all the grace and benevolence a human heart could express. He beamed at the child, looked straight into the baby’s eyes, and communicated bottomless approval and affection without saying a word. It was… daunting. It was undignified, and yet Sophie sensed there was a kind of wisdom in the man’s handling of the baby she herself would lack. “He’ll

Some people argue that economics is an exception to this general story. Economics, they say, provides a much more analytically precise and tightly integrated body of theory—a theory that is explicitly linked to a small set of generally accepted assumptions about human beings’ motivations and decision-making procedures, and that has been rigorously tested against quantified empirical evidence. Among all the social sciences, economics alone, these boosters contend, has a defensible claim to true scientific status. Economics certainly deserves to be regarded as the queen of the social sciences; unlike the others, it has unquestionably produced useful knowledge on a wide range of issues that affect our daily lives. Yet we should be suspicious of its bold claims to scientific status. Modern neoclassical economic theory is firmly grounded in the kind of mechanistic worldview (described in “Complexities”) that sees the economy as a machine, and to explain the operation of this machine it imports many of the concepts of nineteenth-century classical physics. So it stresses the natural tendency of the economy to find a stable equilibrium and the possibility of isolating the effect of changes in different economic factors (like changes in interest rates) on economic performance.25 As well, to achieve its simplicity and elegance, the theory focuses on the behavior of independent individuals operating in a market—individuals who are atomized, rational, similar in preferences, and stripped of any social attributes. But this makes the theory largely asocial and ahistorical: there’s generally no place in it for large-scale historical, cultural, and political forces that sometimes have a huge impact on our economies—forces like the emancipation of women, rising environmental consciousness, or democratization in poor countries. Because it’s insensitive to broad social forces, modern economic theory is also surprisingly insensitive to its own tight relationship with capitalism. Nevertheless, it’s clearly a product of capitalism—a specific, historically rooted economic system—and it only makes sense in the context of capitalism.26

Three generations later, viewed from the standpoint of the digital age, a structure such as Hoover can appear to suffer from a kind of vulgarity of size—a thing so enormous and monolithic as to seem preindustrial, almost primitive. Like fascist architecture, that soaring wall of concrete, for all its Art Deco adornments, can strike the postmodern eye as embarrassingly elephantine and childishly simplistic. Yet one only need page through the dam’s elegant blueprints to realize that this is a machine that, in its own way, is as sophisticated as a Boeing 747—a marvel of engineering, of mathematics, of human thinking, of vision, and, yes, of art. For all these reasons, Hoover is regarded by many civil engineers as one of America’s most impressive achievements. It may not be much of an overstatement to say that, along with splitting the atom and sending the Voyager spacecraft beyond the solar system, Hoover is the most remarkable thing this country has ever pulled off. Unlike

I have a friend for instance . . . Ech! gentlemen, but of course he is your friend, too; and indeed there is no one, no one to whom he is not a friend! When he prepares for any undertaking this gentleman immediately explains to you, elegantly and clearly, exactly how he must act in accordance with the laws of reason and truth. What is more, he will talk to you with excitement and passion of the true normal interests of man; with irony he will upbraid the short- sighted fools who do not understand their own interests, nor the true significance of virtue; and, within a quarter of an hour, without any sudden outside provocation, but simply through something inside him which is stronger than all his interests, he will go off on quite a different tack — that is, act in direct opposition to what he has just been saying about himself, in opposition to the laws of reason, in opposition to his own advantage, in fact in opposition to everything . . . I warn you that my friend is a compound personality and therefore it is difficult to blame him as an individual.

I love a lounging pajama." You also love a marabou mule slipper and a satin robe with a train. "It is elegant." It is insane. "It is sophisticated." Sure, if you're Nora Charles. It isn't 1940. "Yeah, but look at yourself." I look in the mirror. The silk and cashmere blend fabric has just the right amount of drape to conceal the lumpier parts of me without clinging, but enough weight to seem more substantial than sleepwear. The color is somewhere halfway between cream and ballerina pink, a color I would never pick, but is a lovely counterpoint to my pale skin and dark hair. All in all, I look fairly adorable for this hour, certainly good enough to warrant a little morning attention. "Told you so." Yeah, yeah. "Didn't I give you a matching robe for that?" Don't push it. "I'm just saying." Fine. I grab the matching robe. It has a wide band of gathered elastic in the back that hits right above my tush, giving me shape, even though the robe isn't tied. Made of the same fabric as the pajamas, it doesn't add bulk the way most robes do, but instead almost serves as the same elegant look a long trench provides. "HA!" You are such a bad gloater. "Too bad. You look utterly shaggable.' Well I hope so, since I'm pretty sure Brian doesn't think he is coming over for an actual meeting.

So saying, she managed to straighten- which left her facing the house, looking directly at the blank bow windows of the downstairs parlor. With the storm darkening the skies, the windows were reflective. They reflected the image of a man standing directly behind her. With a gasp, Patience whirled. Her gaze collided with the man's- his eyes were hard, crystalline gray, pale in the weak light. They were focused, intently, on her, their expression one she couldn't fathom. He stood no more than three feet away, large, elegant and oddly forbidding. In the instant her brain registered those facts, Patience felt her heels sink, and sink- into the soft soil of the flower bed. The edge crumbled beneath her feet. Her eyes flew wide- her lips formed a helpless "Oh." Arms flailing, she started to topple back- The man reacted so swiftly his movement was a blur- he gripped her upper arms and hauled her forward. She landed against him, breast to chest, hips to hard thighs. The breath was knocked out of her, leaving her gasping, mentally as well as physically. Hard hands held her upright, long fingers iron shackles about her arms. His chest was a wall of rock against her breasts; the rest of his body, the long thighs that held them braced, felt as resilient as tensile steel. She was helpless. Utterly, completely, and absolutely helpless. Patience looked up and met the stranger's hooded gaze. As she watched, his grey eyes darkened. The expression they contained- intensely concentrated- sent a most peculiar thrill through her. She blinked; her gaze fell- to the man's lips. Long, thin yet beautifully proportioned, they'd been sculpted with a view to fascination. They certainly fascinated her; she couldn't drag her gaze away. The mesmerizing contours shifted, almost imperceptibly softening; her own lips tingled. She swallowed, and dragged in a desperately needed breath. Her breasts rose, shifting against the stranger's coat, pressing more definitely against his chest. Sensation streaked through her, from unexpectedly tight nipples all the way to her toes. She caught another breath and tensed- but couldn't stop the quiver that raced through her. The stranger's lips thinned; the austere planes of his face hardened. His fingers tightened about her arms. To Patience's stunned amazement, he lifted her- easily- and carefully set her down two feet away.

He, too, was unable to escape the yearning for changelessness in a world of change, which Plato had so elegantly embodied in his theory of forms. The concluding Book of his Physics aims to show that motion, like time, "always was and always will be"-"an immortal never-failing property of things that are, a sort of life as it were to all naturally constituted things." Which set the stage for Aristotle's God-the Unmoved Mover. This may have been as much a deference to common sense-the prevalent views of his community-as to logic or evidence. The Unmoved Mover was his name for the most divine being accessible to man. Since the activity of God was thought, it was also man's highest faculty. "That which is capable of receiving the object of thought, is mind, and it is active when it possesses it. This activity therefore rather than the capability appears as the divine element in mind, and contemplation the pleasantest and best activity. If then God is for ever in that good state which we reach occasionally it is a wonderful thing-if in a better state, more wonderful still. Yet it is so. Life too he has, for the activity of the mind is life, and he is that activity. His essential activity is his life, the best life and eternal. We say then that God is an eternal living being, the best of all, attributing to him continuous and eternal life. That is God." Even in describing the Unmoved Mover, Aristotle makes activity his ideal.

SEEING HER   Time stands still in a swelling moment where my curiosity draws me to be still in thought as the breaking speed of sound causes my heart to ascend to where I now know. An almost desperate attempt is made to catch my breath. In all I recognize that she is the first to seduce me with an absolute fascination. I make note of the incredible lines that veer beyond the vantage of what beauty I can absorb. It’s as if to say I’ve come upon an undiscovered passage at the center of nature’s secret that has led me to wonder. She is a woman, if whose flaws were to unveil would only make her even more distinctly unique with beauty. Her ivory-colored complexion bears the brilliance of champagne balanced by a hint of ochre. Ringlets of black thread and pearl lay gracefully alongside her charming features. Her lips look as if they speak of love often but only to herself. Her style, grace, elegance, and posture display the pure determination that she has made clear in her mind. The slight indent on the bridge of her adorable nose complements her slender face and endearing qualities. Her elegance alone surpasses any expression I’ve ever encountered. There she sits in long black dress pants with the perfect crease down the front. Her small feet show through her black sandal heels that wrap around her thin ankles. Her pants waistline reaches up passed her hips secured by a leather belt and designer buckle. She wears her grey-collared dress shirt tucked in, allowing only me to make note of those lines that press firmly and loosely against her body.

But I have eyes only for the lonely bird of prey that stands at the center of all the silly, vain, power-hungry little pigeons. Her golden hair is bound tight behind her head. Her tunic is pure white, without the ribbons of their Color the others wear. And in her hand, she carries the Dawn Scepter—now a multi-hued gold baton half a meter long, with the pyramid of the Society recast into the fourteen-pointed star of the Republic at its tip. Her face is elegant and distant. A small nose, piercing eyes behind thick eyelashes, and a mischievous cat’s smile growing on her face. The Sovereign of our Republic. Here at the summit of the stairs, her eyes shed the weight from my shoulders, the fear from my heart that I would never see her again. Through war and space and this damnable parade, I have traveled to find her again, my life, my love, my home. I bend to my knee and look up into the eyes of the mother of my child. “ ’Lo, wife,” I say with a smile. “ ’Lo, husband. Welcome home.

Lady Jenny, your turn.” She passed her sketch pad over to him, feeling a pang of sympathy for accused criminals as they stood in the dock. And yet, she’d asked for this. Gotten together all of her courage to ask for this one moment of artistic communion. “Well,” Mr. Harrison said, “isn’t he a handsome fellow? What do you think, ladies?” “You look like a papa,” Fleur observed. “Though our papa doesn’t sketch. He reads stories.” “And hates his ledgers,” Amanda added. “Is my hair that long in back?” “Yes,” Jenny said, because she’d drawn not only Elijah Harrison’s hands, but all of him, looking relaxed, elegant, and handsome, with Amanda crouched at his side, fascinated with what he created on the page. “I look…” He regarded the sketch in silence, while Jenny heard a coach-and-four rumbling toward her vulnerable heart. “I look… a bit tired, slightly rumpled, but quite at home. You are very quick, Lady Genevieve, and quite good.” Quite good. Like saying a baby was adorable, a young gentleman well-mannered. “The pose was simple,” Jenny said, “the lighting uncomplicated, and the subject…” “Yes?” He was one of those men built in perfect proportion. Antoine had spent an entire class wielding a tailor’s measure on Mr. Harrison’s body, comparing his proportions to the Apollo Belvedere, and scoffing at the “mistakes” inherent in Michelangelo’s David. Jenny wanted to snatch her drawing from his hand. “The subject is conducive to a pleasing image.” He passed the sketch pad back, but Jenny had the sense that in some way, some not entirely artistic way, she’d displeased him. The disappointment was survivable. Her art had been displeasing men since she’d first neglected her Bible verses to sketch her brothers. “You

You look as if you’ve just lost your best friend.” Eve took a place beside Jenny on this observation, which leavened Jenny’s sense of desolation with a spike of resentment. “With all my family around me, how could I possibly be in want of companionship?” Eve watched their mutual siblings stepping through a minuet while their brother Valentine held forth at the piano. “The same way I can long to dance while the minuet plays all around me.” Marriage had settled Eve, and impending motherhood had only honed her already formidable instincts. “You’re admiring your husband, Lady Deene, even when you can’t dance with him.” “He’s promised me a waltz, though Valentine will probably find one to play at the speed of a dirge.” She fell silent for a moment as the dancers one-two-three’d around the space created by the music room and an adjoining parlor. “You would make a wonderful mother, Jenny.” The worst pain was not in the words Eve offered, but the combination of pleading and pity with which she offered them. “Becoming a mother usually contemplates becoming a wife first, and I’ve no wish to wed some man for the sole purpose of bearing his babies.” Not the sole purpose… As the dancers twirled and smiled, it occurred to Jenny that Victor had made her promise not to stop painting, but he hadn’t said anything specific about eschewing motherhood. Had he? Another pause in the conversation, while the music played on. Eve, however, was notably tenacious, so Jenny waited for the next salvo, and Eve did not disappoint. “You look at Bernward the way I look at Deene, the way Maggie looks at Benjamin, the way—” “Louisa looks at Joseph, I suppose.” And Sophie at her baron too, of course. They needn’t start on how the Windham brothers regarded their respective wives. “Louisa’s gaze is a touch more voracious. I was going to say, the way Mama looks at Papa.” Ouch. Ouch, indeed. The duke and duchess turned down the room with the grace of a more elegant age, and yet, their gazes spoke volumes about the sheer pleasure of sharing a dance. Jenny stated the obvious as matter-of-factly as possible. “Their Graces dance beautifully.” Eve’s feet were propped on a hassock. She wiggled her toes in time with the music, the left and right foot partnering each other. “Bernward also dances quite well.” Elijah was dancing with Valentine’s lady, Ellen’s preferred partner being ensconced at the keyboard, as usual. “Bernward is dancing carefully, lest Valentine take exception.” Eve twitched her skirts. “Bernward is dancing with one eye on you, you ninnyhammer, and with the certain knowledge that all three of our brothers are waiting for him to come over here and get you to stand up with him. How many more times do you think you can check on the punch bowl between sets without Bernward taking insult?” Check

Eve was beside herself. Whatever this is, Deene had best appreciate—why are you staring at me like that?” He closed the door and stepped closer. The room was unusual, built with a small balcony overlooking a conservatory that might have been added as an afterthought, hence its relative warmth and humidity, and the lush scent of foliage blending with all the other fragrances wafting through the house. “Looking at you like what?” “Like… you just lost your best friend? Won’t it be wonderful to go home to Flint Hall, Elijah?” Elijah was better than my lord, and because she seemed to need it, he lied for her. “Wonderful, indeed. Have you told your parents yet that you’re going to Paris?” He had the sense she was waiting for him to leave Morelands first, unwilling to have his support even tacitly. “Not… not yet.” She set the perfect little gift down. “Louisa says I must, and she grasps tactics with an intuition I can only admire. I wish…” Her gaze went to the elegant little parcel. “I wish…” While Elijah watched, Jenny lost some of that distant, preoccupied quality that had characterized her since they’d finished their paintings. She gazed on that parcel as if it held secrets and treats and even a happy ending or two. Once they completed the twenty-minute walk back to Morelands, they’d have no more private moments ever. He’d leave for London at first light; she’d sail for Paris, probably before the New Year. “What do you wish, Genevieve?” Because whatever it was, he’d give it to her. His heart, his soul, his hands, passage to Paris—passage home from Paris. How he wished she’d ask him for that, but passage home was something she could only give herself. “Will you make love with me, Elijah? You’re leaving tomorrow, I know that, and I shouldn’t ask it. I shouldn’t want it, but I do. I want you, so much. Please?

I don’t dare to move. I don’t want him to stop touching me. But I can’t just sit here like an idiot. What I really want to do is kiss his hand, but I’m not brave enough for that. I wish I were. And then Luca’s hand moves, just a little, to touch my hair again. He winds his finger through one of my curls. “Che boccoli,” he says, sinking again to sit down next to me on the window seat. Our knees touch. “I don’t know the word in English, but my cousins have these too. Bigger, curly, like African hair. And my father. Maybe you are some kind of relative, Violetta-who-looks-like-Zia-Monica. A cousin. My pretty Italian cousin. You know, when I first meet you I say you look Italian.” He’s leaning close to me now, and I’ve completely forgotten how to breathe. I glance sideways at his finger, long, elegant, very pale by contrast with my dark brown curl wrapped around it. “Boccoli,” he said. I must remember to look that up. “I hope I’m not your cousin,” I say simply. “And see how dark you are.” He lets my curl fall and takes my hand, holding it up next to his, my skin much sallower. “I am white from the north,” he says. “My mother’s Austrian blood. But you, the color of your skin is from the south, or at least Centro Italia, my pretty Italian cousin.” “I don’t want to be your cousin,” I say again, nearly in a whisper. “Why? Because we have kissed?” Luca’s still holding my hand, but his eyes go darker, almost cynical. Almost bitter. “A kiss means nothing. Don’t you know that yet, Violetta? Kissing,” he says, so close now I can feel his breath on my face, so close I can almost feel his lips against mine, “is nothing at all…” I know I should pull away. Even before anything happens, he’s told me it means nothing to him. I should push back, get up, go and find the group. But if he doesn’t kiss me now, I will go insane. Our hands twine together. Our heads move in unison, tilting fractionally. Our mouths touch, our eyes close, our breaths merge. Our bodies edge even closer on the seat, wrapping around each other. I’m completely and utterly lost in him.

The librarian’s body, lying on the slab, is smaller than I’d expected. If she were a book and not a woman, you’d say she was quite foxed. She’s been read in the bath a few times in her life, and the steam has done her dust jacket no kind of good at all. Many of her pages have been folded down and up again, and you couldn’t call her a recent printing by any means, but even so she’s a handsome edition, bound in dark brown with an elegant design.

Rummaging in his pocket, he can’t feel his packet of cigarettes. He snorts, shaking his head. "Would you like one of mine?" says a man’s voice behind him. Andrea turns around and a man with dark hair and a thin face stands before him with a silver cigarette case open. He has elegant sunglasses that cover his eyes like a headband. "You won’t find these in the store." His lips hint at a smile. "Key." "Dorian?" Andrea asks, a lump in his throat. He nods and his chin is tickled by a gray, linen scarf. "You can call me Ian," he says, putting one in his mouth. Andrea takes a cigarette. It’s white, just like Ian’s sweatshirt. "Thank you." He holds out the lighter with the flame already high. Andrea moves closer to light up and, feeling trapped, takes the first drag. "Andrea," Ian calls him by his name. "It’s a pleasure to meet you." He holds out his spotless, thin hand. "The pleasure is all mine, Ian." He shakes it firmly. "Are

Inside it looks like a nineteenth century palace, given the attention to detail and the elegance of the furniture: there are two carpets on the floor, more paintings in gilt frames, wooden furniture along the walls, and a large table with a flower arrangement in the center. All lit with spotlights. Andrea feels like he’s in another era and another season; it doesn’t look like a home in the mountains and there's no summer heat. He expects some nobility to appear. Indeed, standing next to the table is Ian. And he’s watching them. Andrea gasps silently. "Here we are," says Carlotta. "We’re very sorry for making you wait, Count." "Don’t worry, Carlotta," he says politely, moving closer. Ian’s wearing a white top with a black satin jacket and pants, also satin, with a stripe down the side. It creates a strange Casual Count effect that both stuns and disturbs Andrea. Always ambiguous, Ian doesn’t seem to want to adapt to anything. Not even a normal style. Was he not sure whether to go for a stroll or to a party? Andrea feels his brain smoking so much that it must be on fire. "These inconveniences can happen." He smiles at her and she blushes to the point of melting. Her knees buckle and she touches her face, embarrassed. Typical! Andrea grunts. "Can you introduce your friend to me?" says Ian. "Of course. He’s the guy.....," she stops. "Nearest to our Maicol." Ian looks at him and pretends not to know him. Andrea does the same. "Exactly," says Carlotta.

you would expect that at the ultimate base of Nature, we will surely find a principle which is simple, beautiful, and elegant. As the great physicist John Wheeler said: "To my mind there must be, at the bottom of it all, not an equation, but an utterly simple idea. And to me that idea, when we finally discover it, will be so compelling, so inevitable, that we will say to one another: 'Oh, how beautiful. How could it have been otherwise?

In the meantime, Pat was enjoying his first solo conversation with Diana. Previously, he’d seen her only twice at our flat in London in 1980 and again at the prewedding ball in 1981. Pat had been waiting on the palace driveway by our car. Diana’s butler had come out and asked, “Are you Mr. Robertson?” Then he graciously said, “Please come inside.” Pat expected to be shown into the entrance hall to wait more comfortably. He was pleasantly surprised to be led upstairs into Diana’s elegant drawing room. There, Diana’s butler gave him coffee and the newspaper to read while Diana and I finished our tete-a-tete. Pat was caught unawares when Diana breezed in to see him. Pat is six feet three inches tall, but he was struck by Diana’s height and by her natural good looks and vitality. He stood up, saying “Gosh, I don’t know what to call you.” Diana, unassuming and direct as always, replied, “Diana’s just fine.” They sat down together and had a short visit. Pat recalls that they talked about children, hers and ours, and our travel plans for Wales and Scotland. He couldn’t get over how unaffected and natural she was. He was thrilled finally to visit with the wonderful Diana I’d been talking about for years. Pat asked if we’d taken any photographs yet. Diana said, “Yes, but would you like to take another one outside in the garden?” I had finished my coffee and the children had returned from their tour, so we all walked downstairs and out onto the front courtyard and lawn. With my camera, Pat took a picture of Diana standing with the children and me. Then Diana asked one of her staff, who was standing nearby, to use my camera so that Pat could be in a photograph. Then with hugs and good wishes all around, we returned to our car and drove slowly from Kensington Palace. I hated to leave Diana, not knowing when, or even if, we’d see her again.

When hunting season came around, though, Dad’s priority shifted from making duck calls to going out to hunt every single day. I joined him when I could or hunted with my brothers or my buddies. Jessica had gone hunting some with her dad. I’d been out with her dad a couple of times, and he had a beautiful deer stand with a heater. It was elegant and finished well and looked like a carpenter had built it. Dad’s old deer stand wasn’t near as nice. He’d built it twenty feet up in a big tree with a fork in the middle, and it was a ramshackle structure that I don’t think had a level spot in it. There was a big, rickety old ladder attached. When Jessica came deer hunting with me, I had to talk her into climbing the ladder. “Is this safe?” “Oh, yeah,” I reassured her. She spotted some old rotten felt that Dad had used to insulate the blind; it had seen better times. She examined the mold and fungus covering the felt and asked, “What all is on that thing?” “Oh, it’s nothing,” I said. “Don’t worry about that.” Then she saw the spiders and started yelping. “Ssshhh,” I whispered. “We’re deer hunting.” She tried to be quiet; I’ll give her credit. But the spiders sent her over the edge. “I can’t handle it,” she whispered back. “Go on back to the truck. I won’t be long,” I said, helping her get back down the ladder. Another time she went along with me to hunt snakes. We try to shoot as many cottonmouths on the property as possible, and I was walking away from the four-wheeler when I heard Jess say, “There’s a snake.” I turned around, and she’d climbed up and was standing on the seat. I was more freaked out than she was because I got a good look at the snake, and it was a big one. I shot it, but that time it was a little too close to her for comfort, and I don’t think Jess realized the danger she was in.

Miss Leighton."  He smiled grimly.  "You may be your family's slave, but you are not mine." "I'm not a slave." "No?" "Slaves labor but don't get paid.  Slaves are often mistreated.  Slaves have no time to themselves, exist to serve the needs of others, and are not appreciated." "Yes.  My point exactly." Amy cheeks burned with embarrassment.  Though she was tempted to challenge the remark, and angrily at that, she didn't want him asking questions she had no wish to answer.  Better that he didn't know the truth about her — then, at least, he'd continue to be kind to her, to talk to her, to treat her as though she was something precious and special. Besides, he was bound to find out about her shameful beginnings, anyhow.  Ophelia and Mildred would make sure of it.  Quietly, she went about getting him his hot water. "Miss Leighton?" "Yes?" "Have I offended you?" "No."  And then:  "But I'm not a slave, I have a nice home here, and I have nothing to complain about, so please don't make my business your own, Captain.  Now here's your hot water, soap, and a towel, and when you're finished, I'll see you eat whether you want to or not." His elegant brows rose in surprise and amusement.  "I beg your pardon?" Good heavens!  Had she really been so rude?  "I said, I'd like to see you eat something," she mumbled, embarrassed. "My dear Miss Leighton.  I daresay I liked it better when you were snapping at me!" "I wasn't snapping . . . was I?" His lips curved in a smile; a real one this time, and one so rich and warm and wonderful that it made the sun shine like July in Amy's heart, warming her from head to toe.  "You were," he said mildly, "and I must confess I much prefer your temper over your meekness.  Snap at me all you want.  And snap at your sisters, too.  If you'd only turn some of that mettle on them, perhaps they'd treat you with the respect you deserve." She went quiet.  Too quiet. "Miss Leighton?" he asked, plunging his hands into the bowl of water and then searching around for the soap.  "Now have I offended you?" "No . . . but they will never treat me with respect, because . . . well, because I don't deserve any." "What an absurd thing to say!  Why the devil do you think that?" "Can we please change the subject?" He sighed, found the soap, and bending his head toward the bowl of water, lathered his face, ears, neck and nape.  "Very well, then.  If that's what you want, I shall endeavor to keep my curiosity, and my protests, to myself.

I wanted to let you to know that I agree to the match and I will marry you.” He couldn’t suppress a chuckle at her regal demeanor. “Well, I should certainly hope so as our engagement is a foregone conclusion. The contracts have already been drawn up.” Ian reached to touch her silken hair, unable to resist her. Her eyes narrowed as she rose from her seat. “I would have you know, Your Grace, that it was not a ‘foregone conclusion.’ In fact, I was not going to marry you at all! I have been doing everything I can to avoid becoming leg-shackled to you and I was going to run away!” His jaw clenched. Ian had hoped to dispel her feelings that he was a monster and apparently had failed far worse than he had ever anticipated. “And just where were you planning to run to?” he asked icily, unwilling to acknowledge the pain in his heart. Angelica did not flinch at his tone. Her skirts rustled as she paced the room. “I would have used the money I made from my stories to rent a flat somewhere in the city and support myself with short stories until I finished a novel. I heard that the lady who wrote Pride and Prejudice made one hundred forty pounds.” “That would not be enough to buy your pretty gowns,” he mocked, his temper rising at her sheer ignorance and ingratitude. “Gowns can go to the devil!” she retorted, cheeks growing pink in indignation. She looked down at her pale-blue satin opera gown as if offended by the shimmering elegance adorning her exquisite form. “Besides, they are not sensible garb for an author, I should say.” The way Angelica glibly spoke of living in squalor and subjecting herself to the sordid dangers of London rather than being his duchess made him clench his fists. Did she really think he was a fate worse than death? Or was she truly that naive? “What play are we going to see?” she asked in a blatant attempt to change the subject. Ian did not intend to let her off that easily. Inspiration struck him. Oh, he would take her to a “play” for certain. A play that she would never forget. “Something pitiful and tragic,” he said with an evil smile. It was high time his bride received a taste of reality. “I think you will be quite affected.” Her eyes narrowed in suspicion at his tone but she nodded in assent, ever displaying her indomitable courage. “I will get my cape.” “Put on a sensible pair of boots as well.” Ian’s heart twisted with bitterness. He would show her a fate worse than death. ***

I missed the rest of the conversation because, while the good actor was carefully cooking his sentences with criticisms spiced with kindness, another member of the group, a young man who looked Chinese, with a face like raspberry jelly, stumbled up to me. His naturally yellow complexion was complemented by bright threads of broken veins, more purple than red. He had thick hair, a receding brow, jutting cheekbones, narrow eyes whose dark pupils seemed more polished than alive, a barely visible moustache the color of dead leaves, a little salt and pepper beard that was worn out like an old carpet, a long neck with an Adam’s apple stuck in it like a huge walnut, and shoulders like a scrawny old horse which did not fit with his thick, short chest and his pot belly. He was knock-kneed and bowed legged, with kneecaps shaped like coconuts. He also borrowed Doctor Magne’s chair, blew cigarette smoke out his nose, and took his turn to tackle me. His language was less elegant than the other two; it was hard for him to speak, which you could put down to shyness. He was dull and awkward. He seemed horribly unhappy and sorry to have come over, but there he was. He had to march on—and he did so heroically!—death in his soul. “Monsieur—finally yes!... Monsieur… I don’t like to jaw about brothers… absolutely not! But I have to tell you that Desbosquets is a lot more… absolutely… oh, I’ll blurt it out… a lot more… absolutely cracked than our friend Magne. Absolutely yes!” He wanted to be frank, to open up, which he constantly regretted, because he knew that he would be clumsy and mocked; he felt ridiculous and it was killing him. But his need for some honest self-indulgence gnawed at him, and he spit out his slang and his absolutelys—‘absolutely yes!’ and ‘absolutely no!’— which made him think he was revealing the deepest depths of his soul. He continued. “Maybe they told you about me—yes! I know: bing, bang —mechanics! Absolutely yes! A hack, they must have told you…” (Aha! I thought. So it’s my colleague the poet!) “…and the worst trouble, right? That’s Leonard—yes! Ah! When I’m a little…bing, bang…mechanics! I guess—grumpy—I don’t say… but there’s not an ounce of meanness in me! Disgusting, this awful problem with talking, but the mechanics, you know—because it’s the mechanics—no way! Do you want me to tell you my name? Ah! Totally unknown, my name, but don’t want them to mangle it mechanically when quoting it to you: Oswald Norbert Nigeot. Don’t say Numskull—no!—Although my verses!... Ah! Damned mechanics!... A bonehead, a stupid bonehead, bitten by the morbid mania to write—and the slander of the old students of the Polytechnic! Oh! To write! Terrible trade for the poorly gifted like me who are… bing, bang, not mechanics! And angry at the mechanics of words. Polytechnic pigs manufacture words; so, poor hacks can’t use them. Ah! Even this is mechanics!... And drunk on it, Desbosquets too, very drunk! Obviously you see it: Cusenier, Noilly-Prat, why not Pernod? It’s awful for people like him and me! See, you know— liquids are scarce—but thanks to the guards’ hatred of Bid’homme… and thanks to old Froin, too good, don’t believe in any bad—but can you call that bad? He lives with the Heaven of…mechanics…of…bang…of derangements, no! I want arrangements, not derangements!” Mr. Nigeot seemed very proud of having successfully (?) completed such a long sentence propped up by only one “bang” and one “mechanics,” but in spite of his satisfaction, he was scared of continuing less elegantly and he got all tangled up in a run of bizarre expressions in which the hated Polytechnicians and the bings and bangs (not to mention the absolutelys) got so out of hand that I could not understand a word of what he said.

There is in all things a pattern that is part of our universe. It has symmetry, elegance, and grace—those qualities you find always in that which the true artist captures. You can find it in the turning of the seasons, in the way sand trails along a ridge, in the branch clusters of the creosote bush or the pattern of its leaves. We try to copy these patterns in our lives and our society, seeking the rhythms, the dances, the forms that comfort. Yet, it is possible to see peril in the finding of ultimate perfection. It is clear that the ultimate pattern contains its own fixity. In such perfection, all things move toward death. —FROM “COLLECTED SAYINGS OF MUAD’DIB” BY THE PRINCESS IRULAN

Paris is elegant and old. Being there made me feel elegant and young. It helped me forgive America for our arrogance and fury. In Paris, surrounded by ruins of ancient baths, guillotines, and churches more than a thousand years old, humanity’s mistakes and beauty are unfurled like a mural. In America, we are so new. We still fancy ourselves conquerors and renegades. We’re all still trying to be the “firsts” to do this or that. Can you imagine? We are all competing for our parents’ attention, and we have no parents. It makes us a little jumpy. Paris is not jumpy. Paris is calm and certain. It’s not going to startle easily, and it already knows the words to all the songs. Everywhere I looked in Paris, I found proof that leaders come and go, buildings are built and fall, revolutions begin and end; nothing—no matter how grand—lasts. Paris says: We are here for such a short time. We might as well

He was immaculately clean, almost sparkling, a little foxy-faced boy with small rounded-at-the-top triangular ears and dark, alert eyes. He was a ruddy chestnut brown with white points on his face, chest, paws, and tail, a handsome, elegant, and with an uncanny presence, especially considering he weighed not much more than twenty pounds. He was clearly the kind of dog judges say “asks to win,” the kind of creature you somehow find yourself drawn to look at, no matter how many other dogs are around. It was no surprise at all that he was so successful in the show ring.

classical thought is more robust (in its respect for the unknown, the epistemic humility) than the modern post-Enlightenment naïve pseudoscientific autism. Thus my classical values make me advocate the triplet of erudition, elegance, and courage; against modernity’s phoniness, nerdiness, and philistinism.*4 Art is robust; science, not always (to put it mildly). Some Procrustean beds make life worth living: art and, the most potent of all, the poetic aphorism. — Aphorisms, maxims, proverbs, short sayings, even, to some extent, epigrams are the earliest literary form—often integrated into what we now call poetry. They carry the cognitive compactness of the sound bite (though both more potent and more elegant than today’s down-market version),*5 with some show of bravado in the ability of the author to compress powerful ideas in a handful of words—particularly in an oral format.

Engineers hate doing throwaway work. Not only is it wasteful, it offends their sense of efficiency. They are firm believers in the conventional wisdom that says it’s better to build your product right the first time, so you only have to build it once. But when you’re blitzscaling, inefficiency is the rule, not the exception. To prioritize speed, you might invest less in security, write code that isn’t scalable, and wait for things to start breaking before you build QA tools and processes. It’s true that all of these decisions will lead to problems later on, but you might not have a later on if you take too long to build the product. A hack that takes a tenth of the time may be more useful than an elegantly engineered solution, even if it has to be thrown away later.

Do you see?” asked Renee. “I’ve just disproved most of mathematics: it’s all meaningless now.” She was getting agitated, almost distraught; Carl chose his words carefully. “How can you say that? Math still works. The scientific and economic worlds aren’t suddenly going to collapse from this realization.” “That’s because the mathematics they’re using is just a gimmick. It’s a mnemonic trick, like counting on your knuckles to figure out which months have thirty-one days.” “That’s not the same.” “Why isn’t it? Now mathematics has absolutely nothing to do with reality. Never mind concepts like imaginaries or infinitesimals. Now goddamn integer addition has nothing to do with counting on your fingers. One and one will always get you two on your fingers, but on paper I can give you an infinite number of answers, and they’re all equally valid, which means they’re all equally invalid. I can write the most elegant theorem you’ve ever seen, and it won’t mean any more than a nonsense equation.” She gave a bitter laugh. “The positivists used to say all mathematics is a tautology. They had it all wrong: it’s a contradiction.” Carl tried a different approach. “Hold on. You just mentioned imaginary numbers. Why is this any worse than what went on with those? Mathematicians once believed they were meaningless, but now they’re accepted as basic. This is the same situation.” “It’s not the same. The solution there was to simply expand the context, and that won’t do any good here. Imaginary numbers added something new to mathematics, but my formalism is redefining what’s already there.” “But if you change the context, put it in a different light—” She rolled her eyes. “No! This follows from the axioms as surely as addition does; there’s no way around it. You can take my word for it.” 7

And you shouldn't be---" I say, looking up and taking in his appearance. So damn hot. My throat catches. Words do not form. He's sexier than the ceviche I'm planning on making---slick and smooth, cool and hot. Confession: I may have a problem binge-watching rom-coms and steamy romances, hoping for my own meet-cute. If they happen in the movies, why not in real life? When I'm not in the kitchen, I watch them all, inhaling the happy endings---from Sleepless in Seattle to Pretty Woman to Sixteen Candles, the latter so politically incorrect and cringe-worthy today but made up for with the drool-worthy hotness that is Jake Ryan. Something about this guy reminds me of Keanu Reeves, with his razor-sharp cheekbones, mildly unkempt black hair that nearly touches his shoulders, two-day scruff, penetrating hazel eyes, and, from what I can tell---dressed in a casual but elegant fitted black suit---a buff body. I may have developed a slight Keanu obsession after I saw him in Always Be My Maybe, the story of him being the temporary love interest of an ambitious chef. Even though he played a douchebag version of himself, he was funny and hot as hell. Normally, I only salivate over recipes, but this feast for the eyes is clearly an exception.

It's not enough just to say something even if we use the most elegant prose to say it. Rather, if a life is not changed in the saying, it is all better left unsaid.

256 I’ve always felt an almost physical loathing for secret things – intrigues, diplomacy, secret societies, occult sciences. What especially irks me are these last two things – the pretension certain men have that, through their understandings with Gods or Masters or Demiurges, they and they alone know the great secrets on which the world is founded. I can’t believe their claims, though I can believe someone else might. But is there any reason why all these people might not be crazy or deluded? The fact there are a lot of them proves nothing, for there are collective hallucinations. What really shocks me is how these wizards and masters of the invisible, when they write to communicate or intimate their mysteries, all write abominably. It offends my intelligence that a man can master the Devil without being able to master the Portuguese language. Why should dealing with demons be easier than dealing with grammar? If through long exercises of concentration and willpower one can have so-called astral visions, why can’t the same person – applying considerably less concentration and willpower – have a vision of syntax? What is there in the teachings and rituals of the Magic Arts that prevents their adherents from writing – I won’t say with clarity, since obscurity may be part of the occult law – but at least with elegance and fluency, which can exist in the sphere of the abstruse? Why should all the soul’s energy be spent studying the language of the Gods, without a pittance left over to study the colour and rhythm of the language of men? I don’t trust masters who can’t be down-to-earth. For me they’re like those eccentric poets who can’t write like everybody else. I accept that they’re eccentric, but I’d like them to show me that it’s because they’re superior to the norm rather than incapable of it. There are supposedly great mathematicians who make errors in simple addition, but what I’m talking about here is ignorance, not error. I accept that a great mathematician can add two and two and get five: it can happen to anyone in a moment of distraction. What I don’t accept is that he not know what addition is or how it’s done. And this is the case of the overwhelming majority of occult masters.

wrong one is sought it will ensure that you cannot claim it,' Molly explained. Charlotte wondered how they were supposed to find the right wand when each one was packaged and out of sight, but Molly simply smirked at the girls’ bewildered expressions. Then, with a flick of her own wand, dozens of wands burst from their boxes and floated in the room around them. 'When you've found the right one, it will light up in your hand.' Molly gestured for the girls to go ahead. Each of the girls went wild, chuckling as they chased after a wand. Demi was the first to find hers and Molly gave her an impressed look that caused Margaret to scowl. Stef was trying to catch a long black, and gold trimmed wand, but it kept shooting out of her reach. Gerty was trying to grasp for any wand that she could, giggling when each one shot away from her. Charlotte did not attempt to take any of the wands; she concentrated on studying them, wondering which one would accept her. Her eyes then fell upon a plain oak wand that was floating alongside her. No one else seemed interested in it, but Charlotte stood on tiptoes and reached out for it, half expecting it to fly away. Instead, however, it remained in place. Her hand firmly gripped it, and immediately it glowed. She studied it carefully, noticing that close up it had orange patterns intricately carved into the wood; it wasn't plain at all. 'Great, we have two more,' Molly said, as she looked from Charlotte to Margaret who was also holding a glowing wand. Realizing that Charlotte had found hers at around the same time, Margaret gave her a stern look then walked over and stood next to Demi. Gerty was the next to find her wand, followed by Stef. Last up was Alice who was still chasing an elegant looking silver wand even though it kept whizzing away from her. 'That wand clearly does not want you!' Margaret exclaimed, and Demi and a few of the other girls giggled. 'Alice, some wands just aren't right for the person, regardless of their appearance,' Molly continued. Begrudgingly Alice stopped chasing the silver wand and reached out for the one that was closest, a straight mahogany one. It glowed as she touched it and her face lit with a huge smile. 'Right then, that's your wands sorted. It is of the greatest importance that you look after your wand. Never misplace it or put it in a situation where it may break. A wand is a witch’s most important item, and each of you must remember that. Also, it should go without saying that you are not to use these to perform harmful or distressing spells on each other, unless you want to face your first warning or worse, be expelled.' Charlotte looked down at the wand in her hand. It had stopped glowing, and this made its intricate patterning appear more discreet. She found herself wondering how something so small could be so powerful. Her mom must have had a wand at some point, and she wondered if she still had it, hidden away somewhere so that her dad would never find it. 'Next up are broomsticks.' Molly

After that, some version of “Your offer is very generous, I’m sorry, that just doesn’t work for me” is an elegant second way to say “No.” This well-tested response avoids making a counteroffer, and the use of “generous” nurtures your counterpart to live up to the word. The “I’m sorry” also softens the “No” and builds empathy. (You can ignore the so-called negotiating experts who say apologies are always signs of weakness.) Then you can use something like “I’m sorry but I’m afraid I just can’t do that.” It’s a little more direct, and the “can’t do that” does great double duty. By expressing an inability to perform, it can trigger the other side’s empathy toward you. “I’m sorry, no” is a slightly more succinct version for the fourth “No.” If delivered gently, it barely sounds negative at all. If you have to go further, of course, “No” is the last and most direct way.

It is hard to imagine a more elegant table at which to share a meal. Yet here it sits-never used, never disturbed-accompanied by a single chair. This table harks back to a different era, a better time in the life of Susan's family, when owning this house in this part of Chicago signaled the achievement of middle-class African American respectability. Before the economic anchors of this far South Side neighborhood closed down-the steel yards in the 1960's, the historic Pullman railway car company in the early 1980's, and the mammoth Sherwin-Williams paint factory in 1995-Roseland was a community with decent-paying, stable jobs. It was a good place to raise your kids. As the jobs left, the drugs arrived. 'It got worse, it changed.' Susan says, 'There's too much violence...unnecessary violence at that.' Given what her family has been through, this is more than a bit of an understatement. Susan's brother was shot in broad daylight just one block away. Her great-grandmother has fled to a meager retirement out west. Susan's family would like nothing more than to find a better place to live, safer streets and a home that isn't crumbling around them. Yet despite all its ills, this house is the only thing keeping Susan, Devin, and Lauren off the streets. They have spent the past few months surviving on cash income so low that it adds up to less than $2 per person, per day. With hardly a cent to their names, they have nowhere else to go.

Papa organized his books neither alphabetically nor by theme, nor by author nor genre, but by their size and color. The books had to look lovely lined up on the shelves, and he collected them avidly, he bought cases of them wholesale, because they went well together, because they harmonized elegantly, like the entirety of the Soleil collection, those gorgeous hardcover volumes bound in solid-colored canvas, and about which Gallimard, in their promotional leaflet, says: as the sun is the pride of the planets, the books in this collection, all in octavo format, will be the pride of your home library.

I should factionalized is more, I should conceal myself. I should consider the responsibilities of characterization, I should conflate her two children into one, or reverse their genders, or otherwise alter them, I should make her boyfriend a husband, I should explicate all the tributaries of my extended family (its remarriages, its internecine politics), I should novelized the whole thing, I should make it multi-generational, I should work in my forefathers (stonemasons and newspapermen), I should let artifice create an elegant surface, I should make the events orderly, I should wait and write about it later, I should wait until I’m not angry, I shouldn’t clutter a narrative with fragments, with mere recollections of good times, or with regrets, I should make Meredith’s death shapely and persuasive, not blunt and disjunctive, I shouldn’t have to think the unthinkable, I shouldn’t have to suffer, I should address her here directly (these are the ways I miss you), I should write only of affection, I should make our travels in this earthly landscape safe and secure, I should have a better ending, I shouldn’t say her life was short and often sad, I shouldn’t say she had her demons, as I do too.

I should fictionalize it more, I should conceal myself. I should consider the responsibilities of characterization, I should conflate her two children into one, or reverse their genders, or otherwise alter them, I should make her boyfriend a husband, I should explicate all the tributaries of my extended family (its remarriages, its internecine politics), I should novelized the whole thing, I should make it multi-generational, I should work in my forefathers (stonemasons and newspapermen), I should let artifice create an elegant surface, I should make the events orderly, I should wait and write about it later, I should wait until I’m not angry, I shouldn’t clutter a narrative with fragments, with mere recollections of good times, or with regrets, I should make Meredith’s death shapely and persuasive, not blunt and disjunctive, I shouldn’t have to think the unthinkable, I shouldn’t have to suffer, I should address her here directly (these are the ways I miss you), I should write only of affection, I should make our travels in this earthly landscape safe and secure, I should have a better ending, I shouldn’t say her life was short and often sad, I shouldn’t say she had her demons, as I do too.

Two long slim goddesses with shining black braids, who could have been twins, they looked so alike, but the commentator made a point of saying they weren't even sisters... Following a few graceful bounces, they jumped. The first microseconds were perfect. I felt that perfection in my body; it would seem it's a question of 'mirror neurons': when you catch someone doing something, the same neurons that they activate in order to do something become active your brain, without you doing a thing. An acrobatic dive without budging from the sofa and while eating potato chips: that's why we like watching sports on television. Anyway, the two graces jump and, right at the beginning, it's ecstasy. And then, catastrophe! All at once you get the impression that they are very very slightly out of synch. You stare at the screen, a knot in your stomach: no doubt about it, they ARE out of synch... One of them is going to reach the water before the other! It's horrible!... I sat there shouting at the television: go on, catch up with her, go on! I felt incredibly angry with the one who had dawdled. I sunk deeper into the sofa, disgusted. What is this? Is that the movement of the world? An infinitesimal lapse that has succeeded in ruining the possibility of perfection forever?... All the words we should have said, gestures we shoul dhave made, the fleeting moments of kairos that were there one day and that we did not know how to grasp and that were buried further in the void... Failure, by a hair's breadth... What if literature were a television we gave into in order to activate our mirror neurons and give ourselves some action-packed cheap thrills? And even worse: what if literature were a television showing us all the things we have missed?

There is, to my eyes at least, no finer sight than the elongated roof of St Paul’s, rising imperiously above the smoking city. Even the squat remains of the spire, burnt down on account, some say, of the negligence of a plumber, years before I was born, didn’t matter and I doubt that even the sight of that elegant needle, purportedly rising 500 ft above the nave, could have made my heart feel any gladder than it did on that chilled December morning. I stood on the brow of a hill, about five miles south of the river – my home – and took in the sights and sounds before me. It was a Sunday and bells were ringing out in a dissonant harmony all across the city in the hundreds of towers and spires, which more than made up for the missing one. I even flattered myself that the bells were heralding my return.

Livingston: What do you think makes a good hacker? Spolsky: I think what makes a good hack is the observation that you can do without something that everybody else thinks you need. To me, the most elegant hack is when somebody says, "These 2,000 lines of code end up doing the same thing as those 2 lines of code would do. I know it seems complicated, but arithmetically it's really the same." When someone cuts through a lot of crap and says, "You know, it doesn't really matter." For example, Ruby on Rails is a framework that you can use with the Ruby programming language to access databases. It is the first framework that you can use from any programming language for accessing databases to realize that it's OK to require that the names of the columns in the database have a specific format. Everybody else thought, "You need to be allowed to use whatever name you want in the database and whatever name you want in the application." Therefore you have to create all this code to map between the name in the database and the name in the application. Ruby on Rails finally said, "It's no big deal if you're just forced to use the same name in both places. You know, it doesn't really matter." And suddenly it becomes much simpler and much cleaner. To me, that is an elegant hack—saying, "This particular distinction that we used to fret over, just throw it away.

Beau Brummell was regarded as unbalanced in his passion for daily ablutions. His ritualistic morning toilet took upward of five hours, one hour spent inching himself into his skin-tight buckskin breeches, an hour with the hairdresser, and another two hours tying and "creasing down" a series of starched cravats until perfection was achieved. But first of all two hours were spent scrubbing himself with fetish zeal from head to toe in milk, water and eau de Cologne... Beau Brummel said he used only the froth of champagne to polish his Hessian boots. He had 365 snuff boxes, those suitable for summer wear being quite unthinkable in winter, and the fit of his gloves was achieved by entrusting their cut to two firms - one of the fingers, and the often for the thumbs. Sometimes, however, the tyranny of elegance became altogether insupportable. A mr. Boothby committed suicide and left a note saying he could no longer endure the ennui of buttoning and unbuttoning.

Les salons—prestigious social gatherings of prominent, intellectually minded people—were rooted in Italy’s salones, smartly appointed rooms within Roman palazzi with suitably dazzling façades. Seventeenth and eighteenth-century France, however, deserves credit for building the cultural cachet of this pleasurable way to pass the day. In salons equally luxueux, as the French would say, Parisian men and women from the literary establishment, along with philosophers and luminaries from the worlds of art, music and politics, would frequently meet to discuss the latest news, exchange ideas and gossip, all at the invitation of refined, wealthy women known as salonnières. In their key role, hosts chose an eclectic mix of guests with care, and then ideally served as moderators, selecting topics that would generate conversation if not spirited debates. To date, though, even historians cannot agree as to what was, and what was not, considered appropriate to talk about. Yet, they do concur that women were the cornerstones of les salons, funneling fresh social and political ideas into a nation where men dominated public life, held bias against women and until 1944 denied women the right to vote. Among the distinguished seventeenth-century salonnières—with set parameters that she expected guests to follow—was French society hostess Catherine de Vivonne, the marquise de Rambouillet (1588–1665), known as Madame de Rambouillet. A century later, Marie Thérèse Rodet Geoffrin (1699–1777) would host twice weekly many of the most influential philosophes (avant-garde intellectuals) and encyclopédistes (writers) in her elegant Parisian townhouse on the now luxury-laden, boutique-lined rue du Faubourg Saint-Honoré. As a leading figure of the French Enlightenment—the movement that promoted liberty and equality, strongly influencing our own notions about human rights and the role of government—her growing importance earned her international recognition.

Are you Russian?” “To the core.” “Well then, let me say at the outset that I am positively enamored with your country. I love your funny alphabet and those little pastries stuffed with meat. But your nation’s notion of a cocktail is rather unnerving. . . .” “How so?” The captain pointed discreetly down the bar to where a bushy-eyebrowed apparatchik was chatting with a young brunette. Both of them were holding drinks in a striking shade of magenta. “I gather from Audrius that that concoction contains ten different ingredients. In addition to vodka, rum, brandy, and grenadine, it boasts an extraction of rose, a dash of bitters, and a melted lollipop. But a cocktail is not meant to be a mélange. It is not a potpourri or an Easter parade. At its best, a cocktail should be crisp, elegant, sincere—and limited to two ingredients.” “Just two?” “Yes. But they must be two ingredients that complement each other; that laugh at each other’s jokes and make allowances for each other’s faults; and that never shout over each other in conversation. Like gin and tonic,” he said, pointing to his drink. “Or bourbon and water . . . Or whiskey and soda . . .” Shaking his head, he raised his glass and drank from it. “Excuse me for expounding.” “That’s quite all right.” The

Everyone else is running for cover, ducking under jackets and being brought to heel by runaway umbrellas blowing violently inside-out, but for some reason I don't want to move from my spot, even though I'm more than a little scared. Maybe it's my view, the elegant chaos of the New York skyline stretched out before me, buildings stacked on top of one another, holding millions of stories, any one of which could soon be mine. Maybe it's the way the driving rain feels on my skin, cool and strong, commanding the attention of all my senses and making me feel hyper-alive. Or maybe it's the winds that lift my hair off my shoulders and stream it behind me like a flock of blackbirds, rushing in my ears and filling my lungs with an energy that seems unstoppable. All I know is that I'm standing in the middle of the Brooklyn Bridge, a lone girl in a long skirt watching a storm roll in with her eyes fully open for the first time, And I'm not sure if it's God, or fate, or just air masses colliding over water, but I will say this: It feels, finally, like flying.

M" Mnemosyne’s silent M drives me to the dictionary Her baby sister makes an n run. Youth does not tarry Those diaphanous, luminescent water jellies, Mnemiopsis, small as sneezes, I can only conjure as Knee me up, Sis Spelling? Easier to recall these beauties as invasive carnivorous, cannibalistic, and hermaphroditic (They eat each other and fuck themselves) Mnemonic is a device that helps me remember birthdays and phone numbers of those I no longer love but can recall in traces Or how to sequence pi to a thousand places as Guinness names me a mnemonist. Or my own birthday because my mother died the day before Just a handful of words end in mn, and the soul they limn: autumn, solemn, damn, condemn, the a capella hymn But hundreds contain mn. A standout: that Jurassic cephalopod, belemnite, long gone, yet its name and phallic fossil live on And should those Siamnese twins stand at the head, they’re led by a vowel that takes m by the hand and leaves n to bed another syllable. Amnesia. You are what you forget Still, the mother of all muses has a name hard to set Mnemiopsis, mnemonist, mnemonic, Mnemosyne— such elegance I should be able to recall: these words all begin with silence Perhaps her name once began with A: Out one day, bathing carefree in the Aegean, she fell for a creature she could feel but not see— say, a tentacled jelly—got entangled with the beast, lost the A, Tore her chiton, and returned in disarray Zeus said, Where’s the A I gave you on the birth of Calliope? She, recalling his trysts, yet savoring her berth, wanted no scene Saw in backward glance, the gem wedged in coral’s gritty teeth A’s so plebeian. Words are rife. Alcmene, Europa, Hera, adultery Few can spell my name yet spell I cast when lives are spent I am the Titan Mnemosyne, Goddess of All Memory, and off she went leaving Zeus to rue her gift and curse Yet wise manager, was hers not the golden purse?

It is already dawn and you are not sleepy. The views are already glued; Tears streaming down your face. Thinking is in the man of your heart; on a day that he will call you to ask for your hand. You're an innocent girl who does not see malice. You think that everything is tale and wants it for your life. The signs of brilliance say it is love already. The smile in his eyes has already paralyzed you. Even though it is close the thought is distant; Look at your prince charming of elegant visual. In dreams it will become all real. He will come down from his beautiful sorrel, to ask for your hand. The first kiss is dream. The second is passion.

The fact that we are now dealing in probabilities is not, presumably, because we do not know enough about the particle. Matrix mechanics says you have all the information you can possibly have. Yet, if you take a million identically prepared particles in the same state (the same combination of states A and B) and perform a million identical measurements, then, on average, x2 number of times you will find the particle in state A, y2 of the time you’ll find it in state B. But you can never predict the answer you’ll get for any single particle. You can only talk statistically. Nature, it seems, is not deterministic in the quantum realm. Recall that something similar happens with the double slit. We cannot predict where exactly a single photon will land on the screen—we can only assign probabilities for where it might go.

She lowered her seat all the way back until she was lying down, and she turned on her side to face me, her arm tucked under her head. “She still has the ticket stubs from the first movie we went to, like, twelve years ago.” The way she was lying showed off the curve in her hips. I could almost picture her like that next to me in bed. Her lipstick was gone, but the stain was still on her lips, making them look pink and supple. I wanted to put a thumb to her mouth, see if it felt as soft as it looked. She looked out of place in this shitty car with torn, faded fabric on the seat under her, duct tape on the glove box. Like an elegant leading lady right out of a black-and-white movie, dropped into a scene that didn’t make any sense. I tore my gaze away, afraid she’d notice me staring. “Lie down with me,” she said. “We have what? A forty-five-minute wait? Might as well be comfortable.” I lowered my seat and stared up through the sunroof at the Los Angeles version of stars—the planes lining up to land at LAX. We sat in silence for a minute, and I thought of that scene in Pulp Fiction, when— “You know what this feels like?” she asked. “That scene in Pulp Fiction, when—” “Comfortable silences. When Mia Wallace says, ‘That’s when you know you’ve found somebody really special. When you can just shut the fuck up for a minute and comfortably share silence.’” She made a finger gun at me. “Disco.” We smiled and held each other’s gaze for a moment. A long, lingering moment. And then, just for a second—a split second—her eyes dropped to my lips. That’s all it took. In that moment, I knew. She’d thought about kissing me just then. This isn’t one-sided. It was the first hint I’d seen that she was interested. That she thought of me as more than just a friend.

The fact that we are now dealing in probabilities is not, presumably, because we do not know enough about the particle. Matrix mechanics says you have all the information you can possibly have. Yet, if you take a million identically prepared particles in the same state (the same combination of states A and B) and perform a million identical measurements, then, on average, x2 number of times you will find the particle in state A, y2 of the time you’ll find it in state B. But you can never predict the answer you’ll get for any single particle. You can only talk statistically. Nature, it seems, is not deterministic in the quantum realm.

from the sofa. The princess came in. She had changed her gown for a house dress as fresh and elegant as the other. Prince Andrew rose and politely placed a chair for her. “How is it,” she began, as usual in French, settling down briskly and fussily in the easy chair, “how is it Annette never got married? How stupid you men all are not to have married her! Excuse me for saying so, but you have no sense about women. What an argumentative fellow you are, Monsieur Pierre!” “And I am still arguing with your husband. I can’t understand why he wants to go to the war,” replied Pierre, addressing the princess

My hair, always pale, is now flossy white and very, very long. It is fine too, finer it seems with each passing day. It is my one vanity- Lord knows I haven't much else to be vain about. Not any more. It has been with me a long time- since 1989, this present crop. I am fortunate indeed that Sylvia is happy to brush it for me, oh so gently; to plait it, day in, day out. It is above and beyond her job description and I am very grateful. I must remember to tell her so. I missed my chance this morning, I was too excited. When Sylvia brought my juice I could barely drink it. The thread of nervous energy that had infused me all week had overnight become a knot. She helped me into a new peach dress- the one Ruth bought me for Christmas- and exchanged my slippers for the pair of outside shoes usually left to languish in my wardrobe. The leather was firm and Sylvia had to push to make them fit, but such price respectability. I am too old to learn new ways and cannot abide the tendency of the younger residents to wear their slippers out. Face paint restored some life to my cheeks, but I was careful not to let Sylvia overdo it. I am wary of looking like an undertaker's mannequin. It doesn't take much rouge to tip the balance: the rest of me is so pale, so small. With some effort I draped the gold locket around my neck, its nineteenth-century elegance incongruous against my utilitarian clothing. I straightened it, wondering at my daring, wondering what Ruth would say when she saw.

Excellent!" said Wilhelm. "In a society where there is no dissimulation, but where each without disguise pursues the bent of his own humour, elegance and satisfaction cannot long continue; and where dissimulation always reigns, they do not enter at all. It will not be amiss, then, that we take up dissimulation to begin with; and then, behind our masks, be as candid as we please." "Yes," said Laertes, "it is on this account that one goes on so pleasantly with women; they never show themselves in their natural form." "That is to say," replied Madam Melina, "they are not so vain as men, who conceive themselves to be always amiable enough, just as nature has produced them.

understanding, whose role is to operate on stable elements, can seek stability either in relations or in things. In so far as it works on relational concepts, it ends in scientific symbolism. In so far as it operates on concepts of things, it ends in metaphysical symbolism. But in either case the arrangement comes from it. It would willingly believe itself independent. Rather than recognizing at once what it owes to the deep intuition, of reality, it is exposed to what is only seen in all its work, to an artificial arrangement of symbols. With the result that if one keeps to the letter of what metaphysicians and scholars say, as well as to the content of what they do, one might believe that the first have dug a deep tunnel under reality, while the others have thrown over it an elegant bridge, but that the moving river of things passes between these two works of art without touching them.

I was unable to leave immediately for another reason: this was that the lavishness (unknown to the Courvoisiers) for which the Guermantes, whether opulent or practically ruined, were famous when they entertained their friends, was not only lavishness in material terms but also, as I had often experienced with Robert de Saint-Loup, a lavishness of charming words, courteous gestures, a whole gamut of verbal elegance nourished by real intensity of feeling. But as this last, in the idleness of fashionable existence, finds no outlet, it poured forth at times, seeking some channel of expression in a kind of fleeting effusiveness, which was all the more anxiously solicitous, and which might, on the part of Mme de Guermantes, have been mistaken for affection. She did in fact feel it at the moment she let it overflow, for she discovered then, in the company of the friend, man or woman, she was with at the time, a sense of intoxication, in no way sensual, similar to that which music induces in certain people; she would find herself picking a flower from her bodice, or a medallion, and giving it to someone with whom she would have liked to prolong the evening, yet with the melancholy feeling that to prolong it would have led to nothing but idle chatter, which would have absorbed nothing of the nervous pleasure, the fleeting emotion of the experience, and which would have been reminiscent in this respect of the impression of lassitude and regret that follow the first warm days of spring. And as far as the friend was concerned, it was important that he was not too taken in by the promises, more thrilling than any he had ever heard, proffered by these women, who, because they are particularly susceptible to the sweetness of a moment, turn it, with a delicacy, a nobility not granted to ordinary creatures, into a masterpiece of endearment and kindness, and no longer have anything of themselves left to give in the moment that follows. Their affection does not outlive the moment of elation that dictated it; and the subtlety of mind which had led them at that point to intuit all the things that you wished to hear, and to say them to you, will enable them, a few days later, to pinpoint your foibles and use them to entertain another of their guests with whom they will in turn be enjoying one of these moments musicaux which are so short-lived.

Let me take you back in time a little,” says Anumita Roychowdhury, an elegant woman in a beige and pale blue wrap. She’s the director of the Center for Science and Environment, a group that’s played a leading role in the years of battles over air quality. In the 1990s, she tells me, Delhi’s air was so bad “you couldn’t go out in the city without your eyes watering.” India had no regulations on vehicles or fuel, so despite advances elsewhere in the world, engines here hadn’t improved for 40 years, and fuel quality was abysmal. It was the activist Supreme Court that changed that. Its judges started issuing orders, and from 1998 to about 2003, a series of important new rules came into force. Polluting industries were pushed out of the city, auto-rickshaws and buses were converted to CNG, and emission limits for vehicles were introduced, then tightened. “These were pretty big steps,” Roychowdhury says, and they brought results. “If you plot the graph of particulate matter in Delhi, you will see after 2002 the levels actually coming down.” The public noticed. “I still remember the 2004 Assembly elections in Delhi, where the political parties were actually fighting with each other to take credit for the cleaner air. It had become an electoral issue.” So how did things go so wrong? The burst of activity petered out, and rapid growth in car ownership erased the improvements that had been won. “If you look at the pollution levels again from 2008 and ’09 onwards, you now see a steady increase,” Roychowdhury says. “We could not keep the momentum going.” Indeed, particulate levels jumped 75 percent in just a few years.14 Even the action that was taken, she believes, “was too little. We had to do a lot more, more aggressively.” Part of the reason government stopped pushing, Roychowdhury believes, is that the moves needed next would have had to address Delhiites’ growing fondness for cars, so would surely have prompted public anger. “There is a hidden subsidy for all of us who use cars today,” she says. “We barely pay anything in terms of parking charges, we barely pay anything in terms of road taxes. It is so easy to buy a car because of easy loans. So there is absolutely no disincentive.” About 80 percent of transportation spending is focused on drivers, even though they’re only about 15 percent of Delhiites. “The entire infrastructure of the city is getting redesigned to facilitate car movement, but not people’s movement.

Entertainers are seen by people from all walks of life as some sort of allknowing prophet - if they say, a certain health drink is good, the masses would most naively embrace that health drink in their life - if they say, a certain watch or perfume or handbag is the symbol of elegance, the masses would most blindly run after it - and if they run for office, the masses would most stupidly vote for them, without actually knowing their psychological capacity to run a people and maintain peace.

Let me start by saying a true sensual woman is a tastemaker. What do I mean by that? I mean she sets the standard of what is pleasurable, desirable, sophisticated, refined, intoxicating, elegant, classy, sexy, healthy, delicious, saucy. Women naturally possess the power to create ANY taste. "There are not more than five cardinal tastes, yet combinations of them yield more flavours than can ever be tasted" (Sun Tzu). The sensually awakened ones are cognisant of this and use it to their advantage while those who are not awakened often see it as some form of "female oppression." They say, "You're putting women under pressure." But what about men, Lebo? Well, men are not tastemakers like women are. Why? Because, unlike women, MEN CAN'T AND ARE NOT ALLOWED TO PLAY WITH THEIR INNER CHARACTER TOO MUCH. For instance, a man is essentially restricted only to pants. A man can’t wear a dress, high heels, lipstick and the list goes on. This limits a man from becoming a significant contributor in the tastemaking process of life and love, except financially of course. But it doesn’t limit a woman in any way, shape or form. Women can wear dressess, even men's pants, etc.. They can put on ANYTHING actually and still be celebrated. Marilyn Monroe wore a potatoe sack. Lady Gaga wore an infamous dress made of raw beef. That's why I believe being a woman is the greatest privilege of all. Marilyn Monroe said, "One of the best things that ever happened to me is that I'm a woman." Marilyn understood that women are THE REAL TASTEMAKERS IN LIFE and relationships, not men. BEING A MAN DOESN'T REQUIRE AS MUCH AMBITION AS BEING A WOMAN. Women are relationship navigators because they are naturally more ambitious than men. That's why again, Marilyn said, "Women who seek to be equal with men lack ambition." Our ultimate quest as men, whether we realize it or not, is to live under a woman's spell. That makes us happy, and seem stupid at times. Sadly, most women are not sensually awakened enough to realize that. They don't know that the ultimate secret to keeping a man content with one woman lies in her sensuality.

So we see that, according to string theory, the observed properties of each elementary particle arise because its internal string undergoes a particular resonant vibrational pattern. This perspective differs sharply from that espoused by physicists before the discovery of string theory; in the earlier perspective the differences among the fundamental particles were explained by saying that, in effect, each particle species was “cut from a different fabric.” Although each particle was viewed as elementary, the kind of “stuff” each embodied was thought to be different. Electron “stuff,” for example, had negative electric charge, while neutrino “stuff” had no electric charge. String theory alters this picture radically by declaring that the “stuff” of all matter and all forces is the same. Each elementary particle is composed of a single string—that is, each particle is a single string—and all strings are absolutely identical. Differences between the particles arise because their respective strings undergo different resonant vibrational patterns. What appear to be different elementary particles are actually different “notes” on a fundamental string. The universe—being composed of an enormous number of these vibrating strings—is akin to a cosmic symphony.

Let us beware of thinking that the world is a living being. Where should it expand? On what should it feed? How could it grow and multiply? We have some notion of the nature of the organic; and we should not reinterpret the exceedingly derivative, late, rare, accidental, that we perceive only on the crust of the earth and make of it something essential, universal, and eternal, which is what those people do who call the universe an organism. This nauseates me. Let us even beware of believing that the universe is a machine: it is certainly not constructed for one purpose, and calling it a 'machine' does it far too much honor. Let us beware of positing generally and everywhere anything as elegant as the cyclical movements of our neighboring stars; even a glance into the Milky Way raises doubts whether there are not far coarser and more contradictory movements there, as well as stars with eternally linear paths, etc. The astral order in which we live is an exception; this order and the relative duration that depends on it have again made possible an exception of exceptions: the formation of the organic. The total character of the world, however, is in all eternity chaos—in the sense not of a lack of necessity but of a lack of order, arrangement, form, beauty, wisdom, and whatever other names there are for our aesthetic anthropomorphisms. Judged from the point of view of our reason, unsuccessful attempts are by all odds the rule, the exceptions are not the secret aim, and the whole musical box repeats eternally its tune which may never be called a melody—and ultimately even the phrase 'unsuccessful attempt' is too anthropomorphic and reproachful. But how could we reproach or praise the universe? Let us beware of attributing to it heartlessness and unreason or their opposites: it is neither perfect nor beautiful, nor noble, nor does it wish to become any of these things; it does not by any means strive to imitate man. None of our aesthetic and moral judgments apply to it. Nor does it have any instinct for self-preservation or any other instinct; and it does not observe any laws either. Let us beware of saying that there are laws in nature. There are only necessities: there is nobody who commands, nobody who obeys, nobody who trespasses. Once you know that there are no purposes, you also know that there is no accident; for it is only beside a world of purposes that the word 'accident' has meaning. Let us beware of saying that death is the opposite of life. The living are merely a species of the dead, and a very rare species. Let us beware of thinking that the world eternally creates new things. There are no eternally enduring substances; matter is as much of an error as the God of the Eleatics. But when shall we ever be done with our caution and care? When will all these shadows of God cease to darken our minds? When will we complete our de-deification of nature? When may we begin to 'naturalize' humanity in terms of a pure, newly discovered, newly redeemed nature?

An elegant Italian woman, worldly, sophisticated. Francesca. At the end of World War II, she meets and marries an American soldier, moves with him to his small Iowan farm town of good people who bring carrot cakes to their neighbors, look after the elderly, and ostracize those who flout norms by, say, committing adultery. Her husband is kind, devoted, and limited. She loves her children. One day her family leaves town for a week, to show their pigs at a state fair. She's alone in the farmhouse for the first time in her married life. She relishes her solitude. Until a photographer fro National Geographic knocks on the door, asking directions to a nearby landmark... and they fall into a passionate, four-day affair. He begs her to run away with him; she packs her bags. Until, at the last minute, she unpacks them. Partly because she's married, and she has children, and the town's eyes are on them all. But also because she knows that she and the photographer have already taken each other to the perfect and beautiful world. And that now it's time to descend to the actual one. If they try to live in that other world for good, it will recede into the distance; it will be as if they'd never been there at all. She says goodbye, and they long for each other for the rest of their lives. Yet Francesca is quietly sustained by their encounter, the photographer creatively renewed. On his deathbed years later, he sends her a book of images he made, commemorating their four days together. If this story sounds familiar , it's because it comes from The Bridges of Madison County, a 1992 novel by Robert James Waller that sold more than twelve million copies, and a 1995 movie, starring Meryl Streep and Clint Eastwood, that grossed $182 million. The press attributed its popularity to a rash of women trapped in unhappy marriages and pining for handsome photographers. But that's not what the story was really about. In the frenzy after the book came out, there were two camps: one that loved it because the couple's love was pure and endured over the decades. The other camp saw this as a copout--that real love is working through challenges of an actual relationship. Which was right?

I keep having dreams about a lad I met back when I was seventeen,” Bliss was saying. “Perfectly innocent afternoon in its way. One of those endless summers. You never remember it raining in your past, do you? Just summers. We collected blackberries. Then we sat on the beach and talked. He took his shirt off. I kept mine on. I was too ashamed of my body to do the same. He was beautiful. So piss-elegant in his way. All cheek-bones and wrists. Tanned hairless skin. I wanted to be the centre of his world forever.” Bliss smiled, his eyes somewhere in the distance, away from the heat of all these people and their mindless chatter. “It was just a kiss. That was all it was. A sweet, sweet kiss… I never saw him again, even though I went back to that place every afternoon for a week.” His eyes refocused and he glanced at Malcolm, at Oliver. His face was hard, his voice brittle. “I found out he’d been hit by a postal van not two hours after we’d kissed. Died later that night in hospital. I overheard my mother talking about it. She said his name and I had to run away to the beach. I wept for hours. All gone, gone, gone.

I mean, wouldn’t it be grand, to have a legend that grew while you were alive to enjoy it? To sit in a tavern and hear all the people around you speak of what you’ve done, with no notion that you were among them as flesh and blood?” “I can sit in a tavern and be ignored anytime I please,” muttered Calo. “I want to see the Kingdom of the Marrows someday,” said Sabetha. “Game my way from city to city…on the arms of nobles, emptying their pockets as I go, charming them witless. I’d be like a force of nature. They’d come up with some elegant title for their shared affliction. ‘It was her… it was… it was the Rose.’” Sabetha rolled this off her tongue, obviously savoring it. “The Rose of the Marrows, they’ll say. ‘The Rose of the Marrows has been my ruin!’ And they’ll tear their hair out explaining everything to their wives and bankers, while I ride on to the next city.” “Are we all going to need stupid nicknames, then?” said Calo. “We could be…the Shrubs of the North.” “The Weeds of Vintila,” said Galdo. “And if you’re a rose,” said Calo, “Locke’s going to need something as well.” “He can be a tulip,” said Galdo. “Delicate little tulip.” “Nah, if she’s the rose, he can be her thorn,” Calo snapped his fingers. “The Thorn of Camorr! Now that’s got some shine to it!” “That’s the dumbest fucking thing I’ve ever heard,” said Locke.

Speech, a form of action: "A capacity to use words with precision and a highly developed sense of their potential effect on listeners are of substantive importance and are not merely a matter of ritual elegance. The semantic obsessions of diplomats deserve more respect than they generally receive. What statesmen and diplomats say is often as vital as what they do. It would not be farfetched to go further and declare that speech is an incisive form of action." — Abba Eban, 1983 Spies, anonymity of: "The life of spies is to know, not to be known." — George Herbert, 1640 Spies, kinds of: "There are five kinds of spy: local spies, inside spies, reverse spies, dead spies and living spies. When the five kinds of spies are all active, no one knows their routes — this is the very essence of organizational genius, and gives leaders a major advantage. "Local spies are hired from among the people of a locality. Inside spies are hired from among enemy officials. Reverse spies are hired from among enemy spies. Dead spies transmit false intelligence to enemy spies. Living spies come back to report." — Sunzi [故用间有五：有乡间、有内间、有反间、有死间、有生间。五间俱起，莫知其道，是谓神纪，人君之宝也。乡间者，因其乡人而用之。内间者，因其官人而用之。反间者，因其敌间而用之。死间者，为诳事于外，令吾间知之，而传于敌。生间者，反报也。——《孙子兵法·用间》]

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