Ellipses In Quotes

I want to change my punctuation. I long for exclamation marks, but I'm drowning in ellipses.

I wonder at my incapacity for easy banter, smooth conversation, empty words to fill awkward moments. I don't have a closet filled with umms and ellipses ready to insert at the beginnings and ends of sentences. I don't know how to be a verb, an adverb, any kind of modifier. I'm a noun through and through.

Underneath the moonlight, we laid and laughed like run-on sentences, kissed like ellipses, and you held me so close that I wear my bones down smooth against the grain of your skin.

Are your ellipses (...) implying something significant or do you just enjoy abusing grammar for no reason?

Man is not a circle with a single center; he is an ellipse with two focii. Facts are one, ideas are the other.

I long for exclamation marks, but I'm drowning in ellipses.

Like the he-man movie stars who turn out to be queer . . . or the silent-film actors whose voices sound terrible recorded--the audience only wants a limited amount of honesty. [ellipses original]

I'm sorry," Billy says, "but I felt it was too organized. I like ellipses and teeny jottings and spontaneous poems and particularly all those devices like long lists of melancholy things.

I long for exclamation marks, but I'm drowning in ellipses.

Are my words ever actually audible, or do they just echo in my head while people stare at me, waiting? I want to change my punctuation. I long for exclamation marks, but I’m drowning in ellipses.

Spare me the goddamn ellipses.” He hissed.

Thank you, Professor Weston... <— How about those ellipses? Did they fit there) —Gillian

His way had therefore come full circle, or rather had taken the form of an ellipse or a spiral, following as ever no straight unbroken line, for the rectilinear belongs only to Geometry and not to Nature and Life.

Do you still have feelings for him?” And she wants to be honest, to say that of course she does. She never gets closure, never gets to say good-bye—no periods, or exclamations, just a lifetime of ellipses. Everyone else starts over, they get a blank page, but hers are full of text. People talk about carrying torches for old flames, and it’s not a full fire, but Addie’s hands are full of candles. How is she supposed to set them down, or put them out? She has long run out of air. But it is not love. It is not love, and that is what he’s asking.

I think for a minute. Watching my wife fade into the distance, I put a hand on my heart. "Dead." I wave a hand toward my wife. "Dead." My eyes drift toward the sky and lose their focus. "Want it...to hurt. But...doesn't." Julie looks at me like she's waiting for more, and I wonder if I've expressed anything at all with my halting, mumbled soliloquy. Are my words ever actually audible, or do they just echo in my head while people stare at me, waiting? I want to change my punctuation. I long for exclamation marks, but I'm drowning in ellipses.

Julia had a friend, a man named Dennys, who was as a boy a tremendously gifted artist. They had been friends since they were small, and she once showed me some of the drawings he made when he was ten or twelve: little sketches of birds pecking at the ground, of his face, round and blank, of his father, the local veterinarian, his hand smoothing the fur of a grimacing terrier. Dennys’s father didn’t see the point of drawing lessons, however, and so he was never formally schooled. But when they were older, and Julia went to university, Dennys went to art school to learn how to draw. For the first week, he said, they were allowed to draw whatever they wanted, and it was always Dennys’s sketches that the professor selected to pin up on the wall for praise and critique. But then they were made to learn how to draw: to re-draw, in essence. Week two, they only drew ellipses. Wide ellipses, fat ellipses, skinny ellipses. Week three, they drew circles: three-dimensional circles, two-dimensional circles. Then it was a flower. Then a vase. Then a hand. Then a head. Then a body. And with each week of proper training, Dennys got worse and worse. By the time the term had ended, his pictures were never displayed on the wall. He had grown too self-conscious to draw. When he saw a dog now, its long fur whisking the ground beneath it, he saw not a dog but a circle on a box, and when he tried to draw it, he worried about proportion, not about recording its doggy-ness.

In many ways, writing is the act of saying I, of imposing oneself upon other people, of saying listen to me, see it my way, change your mind. It’s an aggressive, even a hostile act. You can disguise its aggressiveness all you want with veils of subordinate clauses and qualifiers and tentative subjunctives, with ellipses and evasions—with the whole manner of intimating rather than claiming, of alluding rather than stating—but there’s no getting around the fact that setting words on paper is the tactic of a secret bully, an invasion, an imposition of the writer’s sensibility on the reader’s most private space.

I don’t have a closet filled with umms and ellipses ready to insert at the beginnings and ends of sentences. I don’t know how to be a verb, an adverb, any kind of modifier. I’m a noun through and through.

The endless void of space stretched out before it. Millennia had passed as it roared through the plane of the Milky Way galaxy. The awesome ellipse of its original path was continually altered by intermittent proximity to myriad stars. It gave off minute bits of itself as it rocketed silently through the vacuum of space, but still, after all these millennia it was counted large as such things were measured, and the fact that it had never collided with anything else after such a tremendous interval of travel was a mute testimony to the vastness and comparative emptiness of the universe. Much as humans, on a molecular level, are comprised mostly of space not of matter, so the universe, for all its galaxies and solar systems, is comprised primarily of interconnecting emptiness. Dark, colossal, mindless, and mighty in its mass and velocity, it came on and on through space. The great alignment had set it on a new path. Now, one last nudge from the Red Giant in the previous solar system had fixed its new course, on a fateful rendezvous. Though it was oblivious to its own destination and nothing in the universe with awareness had yet detected it . . . Its path was set.

I always thought, or imagined, that there were these invisible lines trembling in our wake, outlining our trajectories through life, throbbing with electric energy. Lines that sometimes cross one other, or follow in parallel ellipses without ever touching, or meet up for one brief moment and then part. A universe of lines crisscrossing in the void.

The ellipses. To me it means that my story isn’t over. And no matter what obstacles come my way, I can always change it.

It’s not an easy time, love, but it’s the time we have. I’m here for it, here with you, ‘tho cannot hold your hand. There is no railing, no concrete ground. So wander Into the uncharted, allowing all the feelings But not letting them hold you back. Step out With them, dance with them, In the liminal space between our Before-world and our Future-world … the ellipses … the dot dot dot … The myriad notes between any two pitches … The distance between all that is finite … The infinite

Like many people whose lives had formed around a particularly painful incident, she had grown used to providing ellipses around the event of her brother's death to keep conversations comfortable. At some point the subconscious logic of this had spread to the rest of her life so that she rarely talked about things she had been deeply affected by. It wasn't hard to do.

We almost always live outside ourselves, and life itself is a continual dispersion. But it's towards ourselves that we tend, as towards a centre around which, like planets, we trace absurd and distant ellipses.

Mankind is not a circle with a single centre but an ellipse with two focal points of which facts are one and ideas the other.

I love you like a semicolon; a half-pause in a torrent of thought during which life stutters into being. I want to take you in the breathless spaces between ellipses where passion builds and shudders into a trailing afterthought.

I always thought, or imagined, that there were these invisible lines trembling in our wake, outlining our trajectories through life, throbbing with electric energy. Lines that sometimes cross one other, or follow in parallel ellipses without ever touching, or meet up for one brief moment and then part. A universe of lines crisscrossing in the void.

If you think it is hard to get humans to follow traffic laws, imagine convincing an asteroid to move along an ellipse.

The orbit of every planet is an ellipse with the sun at one of the two foci.

Ellipses," according to Henry, are "fucking excellent." The exclamation mark is just a weird guy who talks too loudly.

Hesitant, broken sentences strung together by a cartilage of ellipses and question marks.

There was a universe of pain residing in that ellipses.

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

Man is not a circle with a single centre; he is an ellipse with a double focus. Facts form one of these, and ideas the other.

They call me a tyrant . . . One arrives at a tyrant's throne by the help of scoundrels . . . What faction do I belong to? You yourselves. What is that faction which, since the Revolution began, has crushed the factions and swept away hireling traitors? It is you, it is the people, it is the principles of the Revolution. . . . [trans. G. Rudé, ellipses sic; Last Speech to the Convention (July 26, 1794)].

Rationalists, wearing square hats, Think, in square rooms, Looking at the floor, Looking at the ceiling. They confine themselves To right-angled triangles. If they tried rhomboids, Cones, waving lines, ellipses— As, for example, the ellipse of the half-moon— Rationalists would wear sombreros.

This story is one for which some people will have to suspend their belief. If it wasn't me and this wasn't happening to me, I would be one of those people. Many won't struggle to believe it, though, for their minds have been opened; unlocked by whatever kind of key causes people to believe. Those people are either born that way or, as babies, when their minds are like little buds, they are nurtured until their petals slowly open and prepare for the very nature of life to feed them. As the rain falls and the sun shines, they grow, grow, grow; minds so open, they go through life aware and accepting, seeing light where there is dark, seeing possibility in dead ends, tasting victory as others spit out failure, questioning when others accept. Just a little less jaded, a little less cynical. A little less likely to throw in the towel. Some peoples' minds open later in life, through tragedy or triumph. Either thing acting as the key to unlatch and lift the lid on that know-it-all box, to accept the unknown, to say goodbye to pragmatism and straight lines. But then there are those whose minds are merely a bouquet of stalks, which bud as they learn new information - a new bud for a new fact - but yet they never open, never flourish. They are the people of capital letters and full stops, but never of question marks and ellipses...

Ronan's phone buzzed with a text: Gansey. Reached out to a few peers, it said, as if he were sixty instead of the same age as Ronan. Image you sent confirmed logo for Boudicca. All-lady group involved in the protection and organization of women in business. Henry says his mother thinks they're pretty powerful. Another text came in. Boudicca is actually a very interesting historical figure in her won right. Another: She was a warrior queen of the Celts around 60 CE and she fought against the Romans Another: Blue wants you to know Boudicca is Another: Sorry sent too soon quote is 'Boudicca is the original goth. Ronan Lynch wishes he was that badass' Another: Is badass one word or two Ronan's phone displayed ellipses to show that Gansey was about to shoot off another text. Ronan texted back hurriedly, If you have to ask you aren't one. Thanks old man. I'll wiki it.

It was Margot who taught me that rule: Never let them see your ellipses. Also from Margot: Never respond right away to a text message that's made you emotional. Wait at least an hour, preferably longer. Why? Because 90% of the time, according to Margot, you'll come to see that no response is the best response. The cruelest, even. The most powerful.

What the ethnographer is in fact faced with—except when (as, of course, he must do) he is pursuing the more automatized routines of data collection—is a multiplicity of complex conceptual structures, many of them superimposed upon or knotted into one another, which are at once strange, irregular, and inexplicit, and which he must contrive somehow first to grasp and then to render. And this is true at the most down-to-earth, jungle field work levels of his activity; interviewing informants, observing rituals, eliciting kin terms, tracing property lines, censusing households … writing his journal. Doing ethnography is like trying to read (in the sense of “construct a reading of”) a manuscript—foreign, faded, full of ellipses, incoherencies, suspicious emendations, and tendentious commentaries, but written not in conventionalized graphs of sound but in transient examples of shaped behavior.

I want to change my punctuation. I long for exclamation marks, but I’m drowning in ellipses.

Nothing is more natural to drunken men than ellipses. The ellipsis is the zig-zag of the phrase.

Certainly not! I didn't build a machine to solve ridiculous crossword puzzles! That's hack work, not Great Art! Just give it a topic, any topic, as difficult as you like..." Klapaucius thought, and thought some more. Finally he nodded and said: "Very well. Let's have a love poem, lyrical, pastoral, and expressed in the language of pure mathematics. Tensor algebra mainly, with a little topology and higher calculus, if need be. But with feeling, you understand, and in the cybernetic spirit." "Love and tensor algebra?" Have you taken leave of your senses?" Trurl began, but stopped, for his electronic bard was already declaiming: Come, let us hasten to a higher plane, Where dyads tread the fairy fields of Venn, Their indices bedecked from one to n, Commingled in an endless Markov chain! Come, every frustum longs to be a cone, And every vector dreams of matrices. Hark to the gentle gradient of the breeze: It whispers of a more ergodic zone. In Reimann, Hilbert or in Banach space Let superscripts and subscripts go their ways. Our asymptotes no longer out of phase, We shall encounter, counting, face to face. I'll grant thee random access to my heart, Thou'lt tell me all the constants of thy love; And so we two shall all love's lemmas prove, And in bound partition never part. For what did Cauchy know, or Christoffel, Or Fourier, or any Boole or Euler, Wielding their compasses, their pens and rulers, Of thy supernal sinusoidal spell? Cancel me not--for what then shall remain? Abscissas, some mantissas, modules, modes, A root or two, a torus and a node: The inverse of my verse, a null domain. Ellipse of bliss, converge, O lips divine! The product of our scalars is defined! Cyberiad draws nigh, and the skew mind Cuts capers like a happy haversine. I see the eigenvalue in thine eye, I hear the tender tensor in thy sigh. Bernoulli would have been content to die, Had he but known such a^2 cos 2 phi!

I feel myself begin to blush and I wonder at my inability to be so free with words and feelings. I wonder at my incapacity for easy banter, smooth conversation, empty words to fill awkward moments. I don’t have a closet filled with umms and ellipses ready to insert at the beginnings and ends of sentences. I don’t know how to be a verb, an adverb, any kind of modifier. I’m a noun through and through. Stuffed so full of people places things and ideas that I don’t know how to break out of my own brain. How to start a conversation. I want to trust but it scares the skin off my bones.

You can disguise its aggressiveness all you want with veils of subordinate clauses and qualifiers and tentative subjunctives, with ellipses and evasion—with the whole manner of intimating rather than claiming, of alluding rather than stating—but there’s no getting around the fact that setting words on paper is the tactic of a secret bully, an invasion, an imposition of the writer’s sensibility on the reader’s most private space.

Even here in these sentences, I place my hands on your back and see how dark they are as they lie against the unchangeable white backdrop of your skin. Even now, I see … your waist and hips as I knead out the tensions, the small bones along your spine, a row of ellipses no silence translates. Even after all these years, the contrast between our skin surprises me–the way a blank page does when my hand, gripping a pen, begins to move through its spatial field, trying to act upon its life without marring it. But by writing, I mar it. I change, embellish, and preserve you all at once. — Ocean Vuong, On Earth We’re Briefly Gorgeous (Penguin, 2019)

The mathematical order is beautiful precisely because it has no effect on the real world. Life isn't going to be easier, nor is anyone going to make a fortune, just because they know something about prime numbers. Of course, lots of mathematical discoveries have practical applications, no matter how esoteric they may seem. Research on ellipses made it possible to determine the orbits of the planets, and Einstein used non-Euclidean geometry to describe the form of the universe. Even prime numbers were used during the war to create codes—to cite a regrettable example. But those things aren't the goal of mathematics. The only goal is to discover the truth.

Dynamical beauty transcends specific objects and phenomena, and invites us to imagine the expanse of possibilities. For example, the sizes and shapes of actual planetary orbits are not simple. They are neither the (compounded) circles of Aristotle, Ptolemy, and Nicolaus Copernicus, nor even the more nearly accurate ellipses of Kepler, but rather curves that must be calculated numerically, as functions of time, evolving in complicated ways that depend on the positions and masses of the Sun and the other planets. There is great beauty and simplicity here, but it is only fully evident when we understand the deep design. The appearance of particular objects does not exhaust the beauty of the laws.

At some signal, floodlights around the lip of the crater were switched on, and the bright earthlight was obliterated by a far more brilliant glare. In the lunar vacuum the beams were, of course, completely invisible; they formed overlapping ellipses of blinding white, centered on the monolith. And where they touched it, its ebon surface seemed to swallow them. Pandora’s box, thought Floyd, with a sudden sense of foreboding—waiting to be opened by inquisitive Man. And what will he find inside?

How strange is it that our beloved finds its way to us in everything? The orange moon, a freckle, the smell of coffee— are all bridges to the one we desire. How does our beloved find us in this way? Or are we the ones instead who find our beloved in everything? Our intense want of them necessitates the nearness of them. And so we seek beauty only to be flooded with the beauty of our beloved. And we write ellipses on the page only to be thrice reminded of the freckle below their lips...

Introns are not the exception in human genes; they are the rule. Human introns are often enormous-spanning several hundreds of thousands of bases of DNA. And genes themselves are separated from each other by long stretches of intervening DNA, called intergenic DNA. Intergenic DNA and introns-spaces between genes and stuffers within genes-are though to have sequences that allow genes to be regulated in context. To return to our analogy; these regions might be described as long ellipses scattered with occasional punctuation marks. The human genome can thus be visualized as: This......is............the......(...)...s...truc...ture......of......your......gen...om...e; The words represent genes. The long ellipses between the words represent the stretches of intergenic DNA. The shorter ellipses within the words (gen...ome...e) are introns. The parentheses and semicolons-punctuation marks-are regions of DNA that regulate genes.

Godwin and Shepard (1979) pointed out a decade ago that policy scientists were doing the equivalent of “Forcing Squares, Triangles and Ellipses into a Circular Paradigm” by using the commons-dilemma model without serious attention to whether or not the variables in the empirical world conformed to the theoretical model.

The structure of the human genome can thus be likened to a sentence that reads- This......is the......str...uc......ture...,,,...of...your...(...gen...ome...)... - where the words correspond to the genes, the ellipses correspond to the spacers and stuffers, and the occasional punctuation marks demarcate the regulatory sequence of genes.

They were the cars at the fair that were whirling around her; no, they were the planets, while the sun stood, burning and spinning and guttering in the centre; here they came again, Mercury, Venus, Earth, Mars, Jupiter, Saturn, Uranus, Neptune, Pluto; but they were not planets, for it was not the merry-go-round at all, but the Ferris wheel, they were constellations, in the hub of which, like a great cold eye, burned Polaris, and round and round it here they went: Cassiopeia, Cepheus, the Lynx, Ursa Major, Ursa Minor, and the Dragon; yet they were not constellations, but, somehow, myriads of beautiful butterflies, she was sailing into Acapulco harbour through a hurricane of beautiful butterflies, zigzagging overhead and endlessly vanishing astern over the sea, the sea, rough and pure, the long dawn rollers advancing, rising, and crashing down to glide in colourless ellipses over the sand, sinking, sinking, someone was calling her name far away and she remembered, they were in a dark wood, she heard the wind and the rain rushing through the forest and saw the tremours of lightning shuddering through the heavens and the horse—great God, the horse—and would this scene repeat itself endlessly and forever?—the horse, rearing, poised over her, petrified in midair, a statue, somebody was sitting on the statue, it was Yvonne Griffaton, no, it was the statue of Huerta, the drunkard, the murderer, it was the Consul, or it was a mechanical horse on the merry-go-round, the carrousel, but the carrousel had stopped and she was in a ravine down which a million horses were thundering towards her, and she must escape, through the friendly forest to their house, their little home by the sea.

In order to cope with death, you need the correct punctuation. Not a final period, not a comma as on Aleya, but a chance to fill in the blank--- life, 'dot dot dot'.

to speak ill of others is a dishonest way of praising yourself.

L'homme n'est pas un cercle à un seul centre ; c'est une ellipse à deux foyers. Les faits sont l'un, les idées sont l'autre.

...photography is an ellipse of language and a condensation of an ‘ineffable’ society...

Now, the earth occupies one of the foci of the ellipse, and so at one point in its course is at its apogee, that is, at its farthest from the sun,

She never gets closure, never gets to say good-bye—no periods, or exclamations, just a lifetime of ellipses. Everyone else starts over, they get a blank page, but hers are full of text. People talk about carrying torches for old flames, and it’s not a full fire, but Addie’s hands are full of candles. How is she supposed to set them down, or put them out? She has long run out of air.

Senlin loved nothing more in the world than a warm hearth to set his feet upon and a good book to pour his whole mind into. While an evening storm rattled the shutters and a glass of port wine warmed in his hand, Senlin would read into the wee hours of the night. He especially delighted in the old tales, the epics in which heroes set out on some impossible and noble errand, confronting the dangers in their path with fatalistic bravery. Men often died along the way, killed in brutal and unnatural ways; they were gored by war machines, trampled by steeds, and dismembered by their heartless enemies. Their deaths were boastful and lyrical and always, always more romantic than real. Death was not an end. It was an ellipsis. There was no romance in the scene before him. There were no ellipses here. The bodies lay upon the ground like broken exclamation points.

And you yourselves, ruling over your billions of neurons, what do you know about the impression of unity that is no more to be scorned than the rest of your experience? Listen, to be honest, I have the impression of living in a perpetual, universal fairyland, where things that can be explained are the exception. It seems to me that the normal is to the marvelous as the circle is to the ellipse: a specific instance, skimpy and impoverished, gutted of everything that makes conics powerful. Your ordinary trigonometry looks great next to these two focal points, the sine and cosine — both elliptical — whose relationship can only be expressed in a formula if you dare write in a little 'i', the sign of an imaginary number whose content you cannot imagine. Is the square root of -1 any more rational or thinkable than the action of a god on your soul? Both are proven by their effectiveness.

The best benchside exoticisms January could offer were all on show—the starling, the dandelion, the blown seeds and the birds skeining against the grey clouds, hazing it and mazing it, a featherlight kaleidoscope noon-damp and knowing the sky was never truly grey, just filled with a thousand years of birds’ paths, and wishful seeds, a bird-seed sky as something meddled and ripe and wish-hot, the breeze bird-breath soft like a—what—heart stopped in a lobby above one’s lungs as well it might, as might it will—seeds take a shape too soft to be called a burr, like falling asleep on a bench with the sun on your face, seeds in a shape too soft to be called a globe, too breakable to be a constellation, too tough to not be worth wishing upon, the crowd of birds, an unheard murmuration (pl. n.) not led by one bird but a cloud-folly of seeds, blasted by one of countless breaths escaping from blasted wished-upon clock as a breath, providing a clockwork with no regard to time nor hands, flocking with no purpose other than the clotting and thrilling and thrumming, a flock as gathered ellipses rather than lines of wing and bone and beak, falling asleep grey-headed rather than young and dazzling—more puff than flower—collecting the ellipses of empty speech bubbles, the words never said or sayable, former pauses in speech as busy as leaderless birds, twisting, blown apart softly, to warm and colour even the widest of skies.

Knowing a woman's mind and spirit had been allowed me, with dance I discovered my body more intimately than I had imagined possible. With the acceptance of the ethnicity of my thighs and backside, came a clearer understanding of my voice as a woman and poet. The freedom to move in space, to demand of my own sweat perfection that could continually be approached, though never known, waz poem to me, my body and mind ellipsing, probably for the first time in my life. Dance as explicated by Raymond Sawyer and Ed Mock insisted that everything African, everything halfway colloquial, a grimace, a strut, an arched back over a yawn, waz mine. I moved what waz my unconscious knowledge of being a colored woman's body to my known everydayness.

If you make certain assumptions about the force of gravity, and how the weight of an object diminishes as it gets farther away, it’s not improbable at all,” Isaac said. “It just happens. You would keep going round and round forever.” “In a circle?” “An ellipse.” “An ellipse…” and here the bomb finally went off in his head, and Daniel had to sit down on the ground, the moisture of last year’s fallen apples soaking through his breeches. “Like a planet.” “Just so—if only we could jump fast enough, or had a strong enough wind at our backs, we could all be planets.

In many ways writing is the act of saying I, of imposing oneself upon other people, of saying listen to me, see it my way, change your mind. It’s an aggressive, even a hostile act. You can disguise its aggressiveness all you want with veils of subordinate clauses and qualifiers and tentative subjunctives, with ellipses and evasions—with the whole manner of intimating rather than claiming, of alluding rather than stating—but there’s no getting around the fact that setting words on paper is the tactic of a secret bully, an invasion, an imposition of the writer’s sensibility on the reader’s most private space.

How boundless is the horoscope of spring! One can read it in a thousand different ways, interpret it blindly, spell it out at will, happy to be able to decipher anything at all amid the misleading divinations of birds. The text can be read forward or backward, lose its sense and find it again in many versions, in a thousand alternatives. Because the text of spring is marked by hints, ellipses, lines dotted on an empty azure, and because the gaps between the syllables are filled by the frivolous guesses and surmises of birds, my story, like that text, will follow many different tracks and will be punctuated by springlike dashes, sighs, and dots.

But then they were made to learn how to draw: to re-draw, in essence. Week two, they only drew ellipses. Wide ellipses, fat ellipses, skinny ellipses. Week three, they drew circles: three-dimensional circles, two-dimensional circles. Then it was a flower. Then a vase. Then a hand. Then a head. Then a body. And with each week of proper training, Dennys got worse and worse. By the time the term had ended, his pictures were never displayed on the wall. He had grown too self-conscious to draw. When he saw a dog now, its long fur whisking the ground beneath it, he saw not a dog but a circle on a box, and when he tried to draw it, he worried about proportion, not about recording its doggy-ness.

Thus Kepler's three laws are: I. Each planet moves around the sun in an ellipse, with the sun at one focus. II. The radius vector from the sun to the planet sweeps out equal areas in equal intervals of time. III. The squares of the periods of any two planets are proportional to the cubes of the semimajor axes of their respective orbits : T - a'3/2

Life is one never-ending edit... In writing about my life, editing is time travel, collapsing, folding, expanding time. Gathering disparate wispy threads into neat chapters and sections. Memories rearranged, pulled apart, de-emphasized. Secrets and fears erased in between drafts only to emerge again as tangents to be deleted or set aside. Invisible track changes that reframe a narrative only to be solidified, trashed, and reborn. Filtering truths until the most essential elements remain. Em dashes that link; ellipses that prolong. A constant telling and retelling until the act itself threatens to weaken the blood and guts of a piece. Editing is a dialogue with demons, ancestors, and the future; a witchy dark art that summons the forces of the universe into legibility.

Indeed ethnography and theory resemble nothing so much as the two arcs of a hyperbola, which cast their beams in opposite directions, lighting up the surfaces, respectively, of mind and world. They are back to back, and darkness reigns between them. But what if each arc were to reverse its orientation, so as to embrace the other in an encompassing, brightly illuminated ellipse? We would then have neither ethnography nor theory, nor even a compound of both. What we would have is an undivided, interstitial field of anthropology. If ethnographic theory is the hyperbola, anthropology is the ellipse. For ethnography, when it turns, is no longer ethnography but the educational correspondences of real life. And theory, when it turns, is no longer theory, but an imagination nourished by its observational engagements with the world. The rupture between reality and imagination—the one annexed to fact, the other to theory—has been the source of much havoc in the history of consciousness. It needs to be repaired. It is surely the task of anthropology, before all else, to repair it. In calling a halt to the proliferation of ethnography, I am not asking for more theory. My plea is for a return to anthropology.

[...] The movement of the celestial bodies can be given as an example. It is not exactly circular, but elliptic; the ellipse constitutes as it were a first “specification” of the circle, by the splitting of the center into two poles or “foci” in the direction of one of the diameters which thereafter plays a special “axial” part, while at the same time all the other diameters are differentiated one from another in respect of their lengths. It may be added incidentally in this connection that, since the planets describe ellipses of which the sun occupies one of the foci, the question arises as to what the other focus corresponds to; as there is nothing corporeal actually there, there must be something belonging only to the subtle order; but that question cannot be further examined here, as it would be quite outside our subject.

23 Emotions people feel, but can’t explain 1.    Sonder: The realization that each passerby has a life as vivid and complex as your own. 2.    Opia: The ambiguous intensity of Looking someone in the eye, which can feel simultaneously invasive and vulnerable. 3.    Monachopsis: The subtle but persistent feeling of being out of place. 4.    Énouement: The bittersweetness of having arrived in the future, seeing how things turn out, but not being able to tell your past self. 5.    Vellichor: The strange wistfulness of used bookshops. 6.    Rubatosis: The unsettling awareness of your own heartbeat. 7.    Kenopsia: The eerie, forlorn atmosphere of a place that is usually bustling with people but is now abandoned and quiet. 8.    Mauerbauertraurigkeit: The inexplicable urge to push people away, even close friends who you really like. 9.    Jouska: A hypothetical conversation that you compulsively play out in your head. 10.    Chrysalism: The amniotic tranquility of being indoors during a thunderstorm. 11.    Vemödalen: The frustration of photographic something amazing when thousands of identical photos already exist. 12.    Anecdoche: A conversation in which everyone is talking, but nobody is listening 13.    Ellipsism: A sadness that you’ll never be able to know how history will turn out. 14.    Kuebiko: A state of exhaustion inspired by acts of senseless violence. 15.    Lachesism: The desire to be struck by disaster – to survive a plane crash, or to lose everything in a fire. 16.    Exulansis: The tendency to give up trying to talk about an experience because people are unable to relate to it. 17.    Adronitis: Frustration with how long it takes to get to know someone. 18.    Rückkehrunruhe: The feeling of returning home after an immersive trip only to find it fading rapidly from your awareness. 19.    Nodus Tollens: The realization that the plot of your life doesn’t make sense to you anymore. 20.    Onism: The frustration of being stuck in just one body, that inhabits only one place at a time. 21.    Liberosis: The desire to care less about things. 22.    Altschmerz: Weariness with the same old issues that you’ve always had – the same boring flaws and anxieties that you’ve been gnawing on for years. 23.    Occhiolism: The awareness of the smallness of your perspective. John Koenig, The Dictionary of Obscure Sorrows (Simon & Schuster, November 16, 2021)

I had my Boswell, once,” Mason tells Boswell, “Dixon and I. We had a joint Boswell. Preacher nam’d Cherrycoke. Scribbling ev’rything down, just like you, Sir. Have you,” twirling his Hand in Ellipses,— “you know, ever . . . had one yourself? If I’m not prying.” “Had one what?” “Hum . . . a Boswell, Sir,— I mean, of your own. Well you couldn’t very well call him that, being one yourself,— say, a sort of Shadow ever in the Room who has haunted you, preserving your ev’ry spoken remark,— ” “Which else would have been lost forever to the great Wind of Oblivion,— think,” armsweep south, “as all civiliz’d Britain gathers at this hour, how much shapely Expression, from the titl’d Gambler, the Barmaid’s Suitor, the offended Fopling, the gratified Toss-Pot, is simply fading away upon the Air, out under the Door, into the Evening and the Silence beyond. All those voices. Why not pluck a few words from the multitudes rushing toward the Void of forgetfulness?

The mood is on me to-night only becuase I have listened to several hours of intelligent conversation and I am not a very brilliant person. Sometimes here on Pequod Island and back again on Beacon Street, I have the most curious delusion that our world may be a little narrow. I cannot avoid the impression that something has gone out of it (what, I do not know), and that our little world moves in an orbit of its own, a gain one of those confounded circles, or possibly an ellipse. Do you suppose that it moves without any relation to anything else? That it is broken off from some greater planet like the moon? We talk of life, we talk of art, but do we actually know anything about either? Have any of us really lived? Sometimes I am not entirely sure; sometimes I am afraid that we are all amazing people, placed in an ancestral mould. There is no spring, there is no force. Of course you know better than this, you who plunge every day in the operating room of the Massachusetts General, into life itself. Come up here and tell me I am wrong.

Until the coming of quantum mechanics, nothing happened to modify in any degree what is the essential purport of the first two laws of motion, namely this: that the laws of dynamics are to be stated in terms of accelerations. In this respect, Copernicus and Kepler are still to be classed with the ancients; they sought laws stating the shapes of the orbits of the heavenly bodies. Newton made it clear that laws stated in this form could never be more than approximate. The planets do not move in exact ellipses, because of the perturbations caused by the attractions of other planets. Nor is the orbit of a planet ever exactly repeated, for the same reason. But the law of gravitation, which dealt with accelerations, was very simple, and was thought to be quite exact until two hundred years after Newton's time. When it was amended by Einstein, it still remained a law dealing with accelerations. It is true that the conservation of energy is a law dealing with velocities, not accelerations. But in calculations which use this law it is still accelerations that have to be employed.

Many won’t struggle to believe it though, for their minds have been opened; unlocked by whatever kind of key causes people to believe. They’re either born that way or, as babies, their little budlike minds are nurtured until their petals slowly open and prepare for the very nature of life to feed them. As the rain falls and the sun shines, they grow, grow, grow; minds so open they go through life aware and accepting, seeing light where there’s dark, seeing possibility in dead ends, tasting victory as others spit out failure, questioning when others accept. Just a little less jaded, a little less cynical. A little less likely to throw in the towel. Some people’s minds open later in life, through tragedy or triumph, either thing acting as the key to unlatch and lift the lid on that know-it-all box, to accept the unknown, to say good-bye to pragmatism and straight lines. But then there are those whose minds are merely a bouquet of stalks that bud as they learn new information—a new bud for each new fact—but yet they never open, never flourish. They are the people of capital letters and full stops but never of question marks and ellipses

The curriculum for the education of statesmen at the time of Plato included arithmetic, geometry, solid geometry, astronomy, and music-all of which, the Pythagorean Archytas tells us, fell under the general definition of "mathematics." According to legend, when Alexander the Great asked his teacher Menaechmus (who is reputed to have discovered the curves of the ellipse, the parabola, and the hyperbola) for a shortcut to geometry, he got the reply: "O King, for traveling over the country there are royal roads and roads for common citizens; but in geometry there is one road for all.

In 1684 Dr Halley came to visit at Cambridge [and] after they had some time together the Dr asked him what he thought the curve would be that would be described by the Planets supposing the force of attraction towards the Sun to be reciprocal to the square of their distance from it. This was a reference to a piece of mathematics known as the inverse square law, which Halley was convinced lay at the heart of the explanation, though he wasn’t sure exactly how. Sr Isaac replied immediately that it would be an [ellipse]. The Doctor, struck with joy & amazement, asked him how he knew it. ‘Why,’ saith he, ‘I have calculated it,’ whereupon Dr Halley asked him for his calculation without farther delay. Sr Isaac looked among his papers but could not find it. This was astounding – like someone saying he had found a cure for cancer but couldn’t remember where he had put the formula. Pressed by Halley, Newton agreed to redo the calculations and produce a paper. He did as promised, but then did much more. He retired for two years of intensive reflection and scribbling, and at length produced his masterwork: the Philosophiae Naturalis Principia Mathematica or Mathematical Principles of Natural Philosophy, better known as the Principia.

He really ought to remember. . . . The airburst, if it happens, will be in visual range. Abstractions, math, models are fine, but when you’re down to it and everybody’s hollering for a fix, this is what you do: you go and sit exactly on the target with indifferent shallow trenches for shelter, and you watch it in the silent fire-bloom of its last few seconds, and see what you will see. Chances are astronomically against a perfect hit, of course, that is why one is safest at the center of the target area. Rockets are supposed to be like artillery shells, they disperse about the aiming point in a giant ellipse—the Ellipse of Uncertainty. But

Six Significant Landscapes" I An old man sits In the shadow of a pine tree In China. He sees larkspur, Blue and white, At the edge of the shadow, Move in the wind. His beard moves in the wind. The pine tree moves in the wind. Thus water flows Over weeds. II The night is of the colour Of a woman's arm: Night, the female, Obscure, Fragrant and supple, Conceals herself. A pool shines, Like a bracelet Shaken in a dance. III I measure myself Against a tall tree. I find that I am much taller, For I reach right up to the sun, With my eye; And I reach to the shore of the sea With my ear. Nevertheless, I dislike The way ants crawl In and out of my shadow. IV When my dream was near the moon, The white folds of its gown Filled with yellow light. The soles of its feet Grew red. Its hair filled With certain blue crystallizations From stars, Not far off. V Not all the knives of the lamp-posts, Nor the chisels of the long streets, Nor the mallets of the domes And high towers, Can carve What one star can carve, Shining through the grape-leaves. VI Rationalists, wearing square hats, Think, in square rooms, Looking at the floor, Looking at the ceiling. They confine themselves To right-angled triangles. If they tried rhomboids, Cones, waving lines, ellipses -- As, for example, the ellipse of the half-moon -- Rationalists would wear sombreros.

Robert Hooke, who is perhaps best remembered now as the first person to describe a cell, and the great and stately Sir Christopher Wren, who was actually an astronomer first and architect second, though that is not often generally remembered now. In 1683, Halley, Hooke, and Wren were dining in London when the conversation turned to the motions of celestial objects. It was known that planets were inclined to orbit in a particular kind of oval known as an ellipse—“a very specific and precise curve,” to quote Richard Feynman—but it wasn’t understood why. Wren generously offered a prize worth forty shillings (equivalent to a couple of weeks’ pay) to whichever of the men could provide a solution.

Universal gravitation What else can we understand when we understand gravity? Everyone knows the earth is round. Why is the earth round? That is easy ; it is due to gravitation. The earth can be understood to be round merely because everything attracts everything else and so it has attracted itself together as far as it can! If we go even further, the earth is not exactly a sphere because it is rotating and this brings in centrifugal effects which tend to oppose gravity near the equator. It turns out that the earth should be elliptical, and we even get the right shape forthe ellipse. We can thus deduce that the sun, the moon, and the earth should be (nearly) spheres just from the law of gravitation.

Kepler found something different for elliptical orbits: As the planet moves along its orbit, it sweeps out a little wedge-shaped area within the ellipse. When it is close to the Sun, in a given period of time it traces out a large arc in its orbit, but the area represented by that arc is not very large because the planet is then near the Sun. When the planet is far from the Sun, it covers a much smaller arc in the same period of time, but that arc corresponds to a bigger area because the Sun is now more distant. Kepler found that these two areas were precisely the same no matter how elliptical the orbit: the long skinny area, corresponding to the planet far from the Sun, and the shorter, squatter area, when the planet is close to the Sun, are exactly equal. This was Kepler’s second law of planetary motion: Planets sweep out equal areas in equal times.

As an anology, consider the word structure. In bacteria, the gene is embedded in the genome in precisely that format, structure, with no breaks, stuffers, interpositions, or interruptions. In the human genome, in contrast, the word is interrupted by intermediate stretches of DNA: s...tru...ct...ur...e. The long stretches of DNA marked by the ellipses (...) do not contain any protein-encoding information. When such an interrupted gene is used to generate a message-i.e., when DNA is used to build RNA-the stuffer frragments are excised from the RNA message, and the RNA is stitched together again with the intervening pieces removed: s...tru...ct...ur...e became simplified to structure. Roberts and Sharp later coined a phrase for the process: gene splicing or RNA splicing (since the RNA message of the gene was "spliced" to removed the stuffer fragments). At first, this split structure of genes seemed puzzling: Why would an animal genome waste such long stretches of DNA splitting genes into bits and pieces, only to stitch them back into a continuous message? But the inner logic of split genes soon became evident: by splitting genes into modules, a cell could generate bewildering combinations of messages out of a single gene. The word s...tru...c...t...ur...e can be spliced to yield cure and true and so forth, thereby creating vast numbers of variant messages-called isoforms-out of a single gene. From g...e...n...om...e you can use splicing to generate gene, gnome, and om. And modular genes also had an evolutionary advantage: the individual modules from different genes could be mixed and matched to build entirely new kinds of genes (c...om...e...t). Wally Gilbert, the Harvard geneticist, created a new word for these modules; he called them exons. The inbetween stuffer fragments were termed introns.

To B-major or B-minor: that is the question. Consider that the major and minor chords are separated by the smallest tonal step which is one half-step carrying in its pitch the gravity of all humanity which needs the major to recognize its relative, inherent tragedy which once given expression seeks the resurrection that only the major can procreate which self-expression gives beauty to the harmony of the major which then confirms the whole truth of the tragic minor saga which overcomes the hidden hand of destiny in the great ellipse of being and the greater cosmic void of nothingness which passage of time has sadly destined to be replayed in the same octave of the ineluctable modality of the audible which ellipse with such a simple twist resonates as infinity which is both meaningless beyond all human capacity for understanding but which holds within it the ubiquitous mystic beauty and truth of the pulsing human heart.

Our mathematics is a combination of invention and discoveries. The axioms of Euclidean geometry as a concept were an invention, just as the rules of chess were an invention. The axioms were also supplemented by a variety of invented concepts, such as triangles, parallelograms, ellipses, the golden ratio, and so on. The theorems of Euclidean geometry, on the other hand, were by and large discoveries; they were the paths linking the different concepts. In some cases, the proofs generated the theorems-mathematicians examined what they could prove and from that they deduced the theorems. In others, as described by Archimedes in The Method, they first found the answer to a particular question they were interested in, and then they worked out the proof. Typically, the concepts were inventions. Prime numbers as a concept were an invention, but all the theorems about prime numbers were discoveries. The mathematicians of ancient Babylon, Egypt, and China never invented the concept of prime numbers, in spite of their advanced mathematics. Could we say instead that they just did not "discover" prime numbers? Not any more than we could say that the United Kingdom did not "discover" a single, codified, documentary constitution. Just as a country can survive without a constitution, elaborate mathematics could develop without the concept of prime numbers. And it did! Do we know why the Greeks invented such concepts as the axioms and prime numbers? We cannot be sure, but we could guess that this was part of their relentless efforts to investigate the most fundamental constituents of the universe. Prime numbers were the basic building blocks of matter. Similarly, the axioms were the fountain from which all geometrical truths were supposed to flow. The dodecahedron represented the entire cosmos and the golden ratio was the concept that brought that symbol into existence.

I gave him my best cryptic smile. He grimaced. “What have you found out?” he asked. “I’m not at liberty to tell you that.” Not with the Pack suspect. He leaned forward more, letting the moonlight fall on his face. His gaze was direct and difficult to hold. Our stares locked and I gritted my teeth. Five seconds into the conversation and he was already giving me the alpha-stare. If he started clicking his teeth, I’d have to make a run for it. Or introduce him to my sword. “You will tell me what you know now,” he said. “Or?" He said nothing, so I elaborated. “See, this kind of threat usually has an ‘or’ attached to it. Or an ‘and.’ ‘Tell me and I’ll allow you to live’ or something like that.” His eyes ignited with gold. His gaze was unbearable now. “I can make you beg to tell me everything you know,” he said and his voice was a low growl. It sent icy fingers of terror down my spine. I gripped Slayer’s hilt until it hurt. The golden eyes were burning into my soul. “I don’t know,” I heard my own voice say, “you look kinda out of shape to me. How long has it been since you took care of your own dirty work?” His right hand twitched. Muscles boiled under the taut skin and fur burst, sheathing the arm. Claws slid from thickened fingers. The hand snapped inhumanly fast. I weaved back and it fanned my face, leaving no scars. A strand of hair fell onto my left cheek, severed from my braid. The claws retracted. “I think I still remember how,” he said. A spark of magic ran from my fingers into Slayer’s hilt and burst into the blade, coating the smooth metal in a milky-white glow. Not that the glow actually did anything useful, but it looked bloody impressive. “Any time you want to dance,” I said. He smiled, slow and lazy. “Not laughing anymore, little girl?” He was impressive, I’d give him that. I turned the blade, warming up my wrist. The saber drew a tight glowing ellipse in the air, flinging tiny drops of luminescence on the dirty floor. One of them fell close to the Beast Lord’s foot and he moved away. “I wonder if all this changing has made you sluggish.” “Bring your pig-sticker and we’ll find out.

Similarly, we look for echoes from the tenth and eleventh dimension. Perhaps evidence for string theory is hidden all around us, but we have to listen for its echoes, rather than try to observe it directly. For example, one possible signal from hyperspace is the existence of dark matter. Until recently, it was widely believed that the universe is mainly made of atoms. Astronomers have been shocked to find that only 4.9 percent of the universe is made of atoms like hydrogen and helium. Actually, most of the universe is hidden from us, in the form of dark matter and dark energy. (We recall that dark matter and dark energy are two distinct things. Twenty-six point eight percent of the universe is made of dark matter, which is invisible matter that surrounds the galaxies and keep them from flying apart. And 68.3 percent of the universe is made of dark energy, which is even more mysterious, the energy of empty space that is driving the galaxies apart.) Perhaps evidence for the theory of everything lies hidden in this invisible universe. Search for Dark Matter Dark matter is strange, it is invisible, yet it holds the Milky Way galaxy together. But since it has weight and no charge, if you tried to hold dark matter in your hand it would sift through your fingers as if they weren’t there. It would fall right through the floor, through the core of the Earth, and then to the other side of the Earth, where gravity would eventually cause it to reverse course and fall back to your location. It would then oscillate between you and the other side of the planet, as if the Earth weren’t there. As strange as dark matter is, we know it must exist. If we analyze the spin of the Milky Way galaxy and use Newton’s laws, we find that there is not enough mass to counteract the centrifugal force. Given the amount of mass we see, the galaxies in the universe should be unstable and they should fly apart, but they have been stable for billions of years. So we have two choices: either Newton’s equations are incorrect when applied to galaxies, or else there is an unseen object that is keeping the galaxies intact. (We recall that the planet Neptune was found in the same way, by postulating a new planet that explained Uranus’s deviations from a perfect ellipse.) At present, one leading candidate for dark matter is called the weakly interacting massive particles (WIMPs). Among them, one likely possibility is the photino, the supersymmetric partner of the photon. The photino is stable, has mass, is invisible, and has no charge, which fits precisely the characteristics of dark matter. Physicists believe the Earth moves in an invisible wind of dark matter that is probably passing through your body right now. If a photino collides with a proton, it may cause the proton to shatter into a shower of subatomic particles that can then be detected.

Most of the general considerations in the chapter on 'The Evolution of Ideas' equally apply to the evolution of art. In both fields the truly original geniuses are rare compared with the enormous number of talented practitioners; the former acting as spearheads, opening up new territories, which the latter will then diligently cultivate. In both fields there are periods of crisis, of 'creative anarchy', leading to a break-through to new frontiers-followed by decades, or centuries of consolidation, orthodoxy, stagnation, and decadence-until a new crisis arises, a holy discontent, which starts the cycle again. Other parallels could be drawn: 'multiple discoveries' -the simultaneous emergence of a new style, for which the time is ripe, independently in several places; 'collective discoveries' originating in a closely knit group, clique, school, or team; 'rediscoveries'- the periodic revivals of past and forgotten forms of art; lastly 'cross-fertilizations' between seemingly distant provinces of science and art. To quote a single example: the rediscovery of the treatise on conic sections by Apollonius of Perga, dating from the fourth century B.C., gave the ellipse to Kepler who built on it a new astronomy-and to Guarini, who introduced new vistas into architecture.

To write about your mother and father is to tell the story of your own close call, to count all the ways you never should have existed. To write about home is to write about how you dropped from space, dragging ellipses behind you like a comet, and how you entered your country and state and city, and finally your four-cornered house, and finally your mother’s body and finally your own. From the galaxy to the grain and back again. From the fingerprint to the grand design. Despite all the conspiracies of the universe, we are here; every moment we are here we arrive.

It was as if humans' lives didn't end per se, but kind of trailed off with punctuating ellipses. After that third dot it was open-ended, brilliantly poised for anything one could imagine. Earth was warm with potential like that.

Rappelons les noms de ces êtres imaginaires, à la nature d'ange, que ma plume, pendant le deuxième chant, a tirés d'un cerveau, brillant d'une lueur émanée d'eux-mêmes. Ils meurent . dès leur naissance, comme ces étincelles dont l'ail a de la peine à suivre l'effacement rapide, sur du papier brûlé. Léman ! ... Lohengrin Lombano Holzer !... un instant, vous appa-rûtes, recouverts des insignes de la jeunesse, à mon horizon charmé: mais je vous ai laissés retomber dans le chaos, comme des cloches de plongeur. Vous n'en sortirez plus. Il me suffit que j'aie gardé votre souvenir ; vous devez céder la place à d'autres substances, peut-être moins belles, qu'enfantera le débordement orageux d'un amour qui a résolu de ne pas apaiser sa soif auprès de la race humaine. Amour affamé, qui se dévoreraitlui-même, s'il ne cherchait sa nour-riture dans des fictions célestes : créant, à la longue, une pyramide de séraphins, plus nom-breux que les insectes qui fourmillent dans une goutte d'eau, il les entrelacera dans une ellipse qu'il fera tourbillonner autour de lui. Pendant ce temps le voyageur, arrêté contre l'aspect d'une cataracte, s'il relève le visage, verra, dans le loin-tain, un être humain, emporté vers la cave de l'enfer par une guirlande de camélias vivants ! Mais... silence!

Darwin found that all plants move in a recurring spiral oscillation, which he termed "circumnutation" (Latin for "circle" or "sway"). This spiral pattern varies between species and can range from a repeating circle to an ellipse to a trajectory of interlocking shapes much like the images from a Spirograph.

Rappelons les noms de ces êtres imaginaires, à la nature d'ange, que ma plume, pendant le deuxième chant, a tirés d'un cerveau, brillant d'une lueur émanée d'eux-mêmes. Ils meurent, dès leur naissance, comme ces étincelles dont l'ail a de la peine à suivre l'effacement rapide, sur du papier brûlé. (...) un instant, vous appa-rûtes, recouverts des insignes de la jeunesse, à mon horizon charmé: mais je vous ai laissés retomber dans le chaos, comme des cloches de plongeur. Vous n'en sortirez plus. Il me suffit que j'aie gardé votre souvenir ; vous devez céder la place à d'autres substances, peut-être moins belles, qu'enfantera le débordement orageux d'un amour qui a résolu de ne pas apaiser sa soif auprès de la race humaine. Amour affamé, qui se dévoreraitlui-même, s'il ne cherchait sa nour-riture dans des fictions célestes : créant, à la longue, une pyramide de séraphins, plus nom-breux que les insectes qui fourmillent dans une goutte d'eau, il les entrelacera dans une ellipse qu'il fera tourbillonner autour de lui. Pendant ce temps le voyageur, arrêté contre l'aspect d'une cataracte, s'il relève le visage, verra, dans le loin-tain, un être humain, emporté vers la cave de l'enfer par une guirlande de camélias vivants ! Mais... silence!

Clarissa shuffled toward the ellipse that framed the nighttime view of the Earth. They seemed to be passing over China, but then a dark shadow broke the familiar coastline and then completely obscured it. Her body became taut and her reflexes quick. She turned her implant on to attune her hearing to the tiniest sounds.

We almost always live outside ourselves, and life itself is a continual dispersion. But it’s towards ourselves that we tend, as towards a centre around which, like planets, we trace absurd and distant ellipses.

I spilled a bag of ellipses all over the floor. Now I don’t know where anything begins or ends.

Each novel you read (never mind the novels you write) will give you some theory of which attitude is best to strike at which moment, and—if you experience enough of them—will provide you, at the very least, with a wide repertoire of possible attitudes. But out in the field, experience has no chapter headings or paragraph breaks or ellipses in which to catch you breath…it just keeps coming at you. 7

O Lord of indirection and ellipses, ignore our prayers. Deliver us from distraction. (Dana Gioia, The Prophecy)