Ellis Story Quotes

We all have a thirst for wonder. It's a deeply human quality. Science and religion are both bound up with it. What I'm saying is, you don't have to make stories up, you don't have to exaggerate. There's wonder and awe enough in the real world. Nature's a lot better at inventing wonders than we are.

We don’t go hard and fast down here,” Ellie said. “Long and slow and laid-back is more our style.

Wigmore turned towards the window. A column of armoured vehicles was making its way down the Mall towards Buckingham Palace. As he watched, he cursed himself for not remaining at the hotel. He looked at Merlin. ‘Very well. Go ahead with your bloody questions.

Chris Claremont once said of Alan Moore, "if he could plot, we'd all have to get together and kill him." Which utterly misses the most compelling part of Alan's writing, the way he develops and expresses ideas and character. Plot does not define story. Plot is the framework within which ideas are explored and personalities and relationships are unfolded.

It was hard to hear him, but she turned around, and when she faced him again he was smiling broadly. He pulled his glove off and held up three fingers, then kissed his palm and pressed it to the glass. She pressed her hand against his, and said, “Good luck.” Shea skated off with a nod. “Oh. My. God. Y’all disgust me. That was straight out of some sappy love story,” Harper complained.

If ever you do go back, what is it you want of Evesham?" "Do I know? [...] The silence, it might be ... or the stillness. To have no more running to do ... to have arrived, and have no more need to run. The appetite changes. Now I think it would be a beautiful thing to be still.

I could barely manage myself sometimes, let alone some miniature kleinman person whose sole method of communication was crying. How would I know what she wanted? How would I keep her happy?

Perhaps things are most beautiful when they are not quite real; when you look upon a scene as an outsider, and come to possess it in its entirety and forever; when you live in the present with the lucidity and feeling of memory; when, for want of connection, the world deepens and becomes art.

Bad decisions make good stories. --from an Internet list.

The people did not cross the turnstiles of customs at Ellis Island. They were already citizens. But where they came from, they were not treated as such.

Interviewer ...In the case of "American Psycho" I felt there was something more than just this desire to inflict pain--or that Ellis was being cruel the way you said serious artists need to be willing to be. DFW: You're just displaying the sort of cynicism that lets readers be manipulated by bad writing. I think it's a kind of black cynicism about today's world that Ellis and certain others depend on for their readership. Look, if the contemporary condition is hopelessly shitty, insipid, materialistic, emotionally retarded, sadomasochistic, and stupid, then I (or any writer) can get away with slapping together stories with characters who are stupid, vapid, emotionally retarded, which is easy, because these sorts of characters require no development. With descriptions that are simply lists of brand-name consumer products. Where stupid people say insipid stuff to each other. If what's always distinguished bad writing -- flat characters, a narrative world that's cliched and not recognizably human, etc. -- is also a description of today's world, then bad writing becomes an ingenious mimesis of a bad world. If readers simply believe the world is stupid and shallow and mean, then Ellis can write a mean shallow stupid novel that becomes a mordant deadpan commentary on the badness of everything. Look man, we'd probably most of us agree that these are dark times, and stupid ones, but do we need fiction that does nothing but dramatize how dark and stupid everything is? In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this world and to illuminate the possibilities for being alive and human in it. You can defend "Psycho" as being a sort of performative digest of late-eighties social problems, but it's no more than that.

Why do I even have to say this? Why do I have to say "Get off the unique and probably alien living plinth that zaps the unwary?" What is wrong with my life that I have to say these things out loud...?

Brother Cadfael knew better than to be in a hurry, where souls were concerned. There was plenty of elbow-room in eternity.

Some people at the party, she adds, are freaks, then mentions a drug I've never heard of, and tells me a story that involves ski masks, zombies, a van, chains, a secret community, and asks me about a Hispanic girl who disappeared in some desert.

The director mentions the whispers about Clifton's sexual orientation, a supposed gig on a porn site years ago, a rumor about a very famous actor and a tryst in Santa Barbara and Clifton's denial in a Rolling Stone cover story about the very famous actor's new movie which Clifton had a small part in: 'We're so into girls it's ridiculous.

Fantasy stories will always be popular, as there are always readers who are willing to escape, freely, to the worlds that the authors create, and spend time with the characters we give life to.

She lifted the book to her nose. A book had a smell more soothing than any of Mrs. Hawkins's herbs. There was nothing like a good story to take her out of a world she didn't much like.

I really believe that our stories make us who we are. I don't think people are born as empty shells. They already have the makings of a personality and they have intelligence. But from the moment they're born and maybe before that they start accumulating stories and it's those stories that have the biggest effect on them.

My novel is sponsored by Tampax. It’s the story of three generations of women and spans three decades. That’s a lot of menstruation. So every time a character rides the cotton pogo stick—Voilà! Tampax.

I end up watching this movie about some girl who's supposed to be so smart and edgy and unpopular. She wears glasses, that's how you know she's so smart. And she's the only one that has dark hair in the school- a place that looks like Planet Blond. Anyway, she somehow ends up going to the prom- hello, gag- and she doesn't wear her glasses, so suddenly she's all beautiful. And she's bashful and shy because she doesn't feel comfortable wearing a dress. But then the guy says something like, "Wow, I never knew you were so pretty," and she feels on top of the world. So, basically, the whole point is she's pretty. Oh, and smart, too. But what's really important here is that she's pretty. For a second I think about Katie. About her thin little Clarissa Le Fey. It must be a pain being fat. There are NO fat people on Planet Blond. I don't get it. I mean, even movies where the actress is smart- like they seem like they'd be smart in real life, they're all gorgeous. And they usually get a boyfriend somewhere in the story. Even if they say they don't want one. They always, always end up falling in love, and you're supposed to be like, "Oh, good." I once said this to my mom, and she laughed. "Honey, Hollywood... reality- two different universes. Don't make yourself crazy." Which made me feel pretty pathetic. Like I didn't know the difference between a movie and the real world. But then when everyone gets on you about your hair and your clothes and your this and your that, and "Are you fat?" and "Are you sexy?" you start thinking, Hey, maybe I'm not the only one who can't tell the difference between movies and reality. Maybe everyone really does think you can look like that. And that you should look like that. Because, you know, otherwise you might not get to go to the prom and fall in love.

He was an average-looking, hard working fellow who was more comfortable reading about people in books than socializing with them.

It was a very meta way to die — Optimal, even: to become a story while making one.

Every summer has it's own story.

Honest autoethnographic exploration generates a lot of fears and self-doubt and emotional pain. Just when you think you can't stand the pain anymore that's when the real work begins. Then there is the vulnerability of revealing yourself, not being able to take back what you 've written or having any control over how readers interpret your story.

And who knows, thought Cadfael, which is in the right, the young man who sees the best in all, and trusts all, or the old one who suspects all until he has probed them through and through? The one may stumble into a snare now and then, but at least enjoy sunshine along the way, between falls. The other may never miss his footing, but seldom experience joy. Better find a way somewhere between!

A farm is just an accumulation of stories really. Same with people... "A farmer's footsteps are the best fertiliser," Dad used to say, which just means that the more you walk around your place the better everything seems to grow and flourish.

All my heroines, yes, even the Little Mermaid, even poor, dull, listless Sleeping Beauty, have given me this sense of possibility. They made me feel I wasn't forced to live out the story my family wanted for me, that I wasn't doomed to plod forward to a fate predetermined by God, that I didn't need to be defined by my seizures, or trapped in fictions of my own making, or shaped by other people's stories. That I wanted to write my own life.

Today they’re ordering you to marry, tomorrow they’ll hand you a machine gun and order you to start shooting people randomly, how about that?

Tell me, are you a sinner, or are you sin herself?

we tell ourselves stories in order to live

I believe we don’t choose our stories,” the poet and author Honor Moore once said. “Our stories choose us….And if we don’t tell them, then we are somehow diminished.

I felt let down when I could see the writer too much at work on a character because it reminded me forcefully that of course I don't have a writer working on my story, guiding me to safety, bending the laws of reality for me, bringing me in a hero to rescue me or transporting me to a happier life by the stroke of her pen. No writer is writing me a better journey. No writer is guiding me through my misunderstandings and muddles and wrong turns to reach my happy ending. And then I realize I am the writer. ...we all write out our own lives.

Judging by the gossip Ellie had overheard in the mall earlier that week, evil scarecrows were becoming a pest. Probably spreading with fields of monoculture corn and soy crops. The formerly diverse scare stories of the prairie were being replaced by repetitive encounters with straw-filled bodies and dead, button eyes.

You were right the first time, Cathy. It was a stupid, silly story. Ridiculous! Only insane people would die for the sake of love. I'll bet you a hundred to one a woman wrote that junky romantic trash!" Just a minute ago I'd despised that author for bringing about such a miserable ending, then there I went, rushing to the defense. "T. M. Ellis could very well have been a man! Though I doubt any woman writer in the nineteenth century had much chance of being published, unless she used her initials, or a man's name. And why is it all men think everything a woman writes is trivial or trashy-or just plain silly drivel? Don't men have romantic notions? Don't men dream of finding the perfect love? And it seems to me, that Raymond was far more mushy-minded than Lily!

She left her heels here. God, of all the things she could have left—earrings, boogered-up tissue paper, soiled panties, a toothbrush—she leaves her damn heels—O cruel fate!—the same ones she wore the night I first took her to bed—looked real good in them, too. She wanted them off at first, but I wouldn’t let her, I said, “If you remove those heels, I’ll fuck them instead of you.

On Friday, Rose invites Sophie and I around to the house. We arrive at eight, armed with some fancy wine Dad handed us from his cellar. Unsurprisingly, it’s Rose who answers the door. Crawford’s there, too, talking like he’s done ten lines of cocaine. ‘Unco Tom, you missed what happened today because I was at the table with the naked sand and I was making a big cake and then I gave it to Mummy and I said “eat a bit of this cake” and she did, she ate a bit, but it was really yucky because it was made of the naked sand!’ ‘Kinetic sand,’ Rose says, ‘It’s called kinetic sand.’ But Crawford’s way too wired to listen. ‘And then after lunch Mummy was changing Ellie’s nappy and we took Ellie’s nappy off and Ellie farted and a poo fell out and went on the floor!’ ‘Darling,’ Rose interrupts, ‘I’m not sure everyone likes that story as much as you do.’ Perhaps not, but it’s absolutely slayed Crawford, who’s laughing so hard that he’s having to gasp between phrases. ‘And… and it was… so smelly… Mummy had to… open the window!

Moral of the story?

For every mile of road there are two miles of ditches, Ellie. Two sides. Two stories.

It is well known, that when one side only of a story is heard, and often repeated, the human mind becomes impressed with it, insensibly.

Angela Carter who started bringing me back to fairy tales. Her revisionist stories, in The Bloody Chamber (1979),

I’ll only kiss you when you ask me to. When your breathless with how much you need me to kiss you. Then, and only then, will I kiss you

I'm so lucky to have a family, adopted or not! I'm so lucky to be alive!" Judy Ellis Taylor tells her three school-age girls.... They roll their eyes.

I write, therefore I am.

You have two choices in life: You can like what you do, or you can dislike it. I have chosen to like it.” —Barbara Bush

The ships were still in the water . . . everywhere the skeletons of ships as if to demand remembrance and warn us of our own mortality,” remembered George.

God, if they’d only break out and rebel properly for once!’ he said to Ellis before starting. ‘But it’ll be a bloody washout as usual. Always the same story with these rebellions—peter out almost before they’ve begun. Would you believe it, I’ve never fired my gun at a fellow yet, not even a dacoit. Eleven years of it, not counting the War, and never killed a man. Depressing.’ ‘Oh,

Sheen's supposed propensity for violence against women hadn't hurt his popularity with female fans either, and if anyone wants to know what that means, then that's a story for maybe fifty other books.

We live in liminal time, each moment sliding into the next, the future into the present, the present into the past. We believe all things are possible, and that there are always more stories to be written.

And then I realize I am the writer. I don't mean because I write. I mean because we all write our own lives. Scheherazade's greatest piece of storytelling is not the stories she tells, but the story she lives.

Ellie began to arrive home laden with Halloween decorations she had made at school and entertained Gage with the story of the Headless Horseman. Gage spent that evening babbling happily about somebody named Itchybod Brain.

My monk had to be a man of wide worldly experience and an inexhaustible fund of resigned tolerance for the human condition. His crusading and seafaring past, with all its enthusiasms and disillusionments, was referred to from the beginning. Only later did readers begin to wonder and ask about his former roving life, and how and why he became a monk. For reasons of continuity I did not wish to go back in time and write a book about his crusading days. Whatever else may be true of it, the entire sequence of novels proceeds steadily season by season, year by year, in a progressive tension which I did not want to break. But when I had the opportunity to cast a glance behind by way of a short story, to shed light on his vocation, I was glad to use it. So here he is, not a convert, for this is not a conversion. In an age of relatively uncomplicated faith, not yet obsessed and tormented by cantankerous schisms, sects and politicians, Cadfael has always been an unquestioning believer. What happens to him on the road to Woodstock is simply the acceptance of a revelation from within that the life he has lived to date, active, mobile and often violent, has reached its natural end, and he is confronted by a new need and a different challenge.

You are a bright light, Elli.’ His own breath hitches, a sound that I cannot quite grasp. His eyes are darkening, his lips tightening. His hands grasp me tighter and he moves closer, his mouth inches from mine, I can almost taste the sweetness and saltiness of his scent, the rich coffee beans and sugar, the vague spearmint. I say nothing, I’m not even sure I’m breathing. ‘You shouldn’t have to see such pain, such blackness. You are too pure.’ His lips do not collide with mine, his skin does not brush against me, only his voice sends a shiver down every notch in my spine, trailing goose bumps over my skin. He tilts his head to the side, his lips gently brushing against my ear. And that is all. I’m not good enough for him. I’m not. That’s why… that’s why… ‘Too pure…

Tears pricked Kristin’s eyes. She knew Fran was right. She’d used similar words herself—up until Ohio had happened. She was the first to tell people they should be out and proud. It was much easier to say when you hadn’t been the victim of hatred and discrimination.

It was so easy to decide their fate, when they were nothing more than numbers on the sheets, presented to us for a signature by our adjutants. Now they were real people, with broken lives, torn families, and memories which would haunt them for the rest of their lives.

He looked down at the desk, at his notebook resting there with the pen on top. He had never thought of engineering as a way to escape the world; after all, engineers didn't build stories or other worlds. Or, well, perhaps they did; perhaps, late at night, huddled around the boiler with the driver and the conductor, they told their own stories. Famous robberies in the west, derailments, perhaps even ghost trains or passengers long dead who still prowled the carriages. Either way, Jack had turned his profession into his escape, which Ellis could respect.

It’s usually hard to let go and move on, but once you do, you’ll feel free and realise it was the best decision you’ve ever made. I’ve often tried to explain it and now realise some things can never be explained, nor should you waste your time trying. Just walk away.” – Ellie Borak

you say that other species are too dumb to believe in gods but we’re so advanced and technological that we believe in a super natural story of supreme beings that was thought up thousands of years ago by our primitive ancestors who thought that the sun and planets revolved around the earth, who believed that the gods looked down upon us through windows in the heavens, that is to say, stars, so, yes, we’re so advanced that we believe in something that is so clearly fantastical that it’s possible that these ‘dumb animals’ you speak of so derogatively, just might be more intelligent than us.

When your mama was the geek, my dreamlets,' Papa would say, 'she made the nipping off of noggins such a crystal mystery that the hens themselves yearned toward her, waltzing around her, hypnotized with longing. "Spread your lips, sweet Lil," they'd cluck, "and show us your choppers!"' This same Crystal Lil, our star-haired mama, sitting snug on the built-in sofa that was Arty's bed at night, would chuckle at the sewing in her lap and shake her head. 'Don't piffle to the children, Al. Those hens ran like whiteheads.' Nights on the road this would be, between shows and towns in some campground or pull-off, with the other vans and trucks and trailers of Binewski's Carnival Fabulon ranged up around us, safe in our portable village. After supper, sitting with full bellies in the lamp glow, we Binewskis were supposed to read and study. But if it rained the story mood would sneak up on Papa. The hiss and tick on the metal of our big living van distracted him from his papers. Rain on a show night was catastrophe. Rain on the road meant talk, which, for Papa, was pure pleasure. 'It's a shame and a pity, Lil,' he'd say, 'that these offspring of yours should only know the slumming summer geeks from Yale.' 'Princeton, dear,' Mama would correct him mildly. 'Randall will be a sophomore this fall. I believe he's our first Princeton boy.' We children would sense our story slipping away to trivia. Arty would nudge me and I'd pipe up with, 'Tell about the time when Mama was the geek!' and Arty and Elly and Iphy and Chick would all slide into line with me on the floor between Papa's chair and Mama. Mama would pretend to be fascinated by her sewing and Papa would tweak his swooping mustache and vibrate his tangled eyebrows, pretending reluctance. 'WellIll . . .' he'd begin, 'it was a long time ago . . .' 'Before we were born!' 'Before . . .' he'd proclaim, waving an arm in his grandest ringmaster style, 'before I even dreamed you, my dreamlets!' 'I was still Lillian Hinchcliff in those days,' mused Mama. 'And when your father spoke to me, which was seldom and reluctantly, he called me "Miss." ' 'Miss!' we would giggle. Papa would whisper to us loudly, as though Mama couldn't hear, 'Terrified! I was so smitten I'd stutter when I tried to talk to her. "M-M-M-Miss . . ." I'd say.' We'd giggle helplessly at the idea of Papa, the GREAT TALKER, so flummoxed. 'I, of course, addressed your father as Mister Binewski.

I’d love to be able to tell you a story about the future, but I’d rather tell you a story that counts. I’d rather give you a sense of where you might come from, because you need to know where you’ve been to know where to go. The future is your story to tell. And maybe you have more options for the future than you thought. Maybe there are different ways to see what comes next. Wear your iron goggles and walk down Dark Lane at night to see what you can see. Stand by the weir and look at the river of time. Understand that you are part of something very old and yet constantly renewed. And that you may think you can forget history, but history will certainly not forget you. We all need a cunning plan. So be cunning.

Do Engineers have stories, Jack?" he asked. "What?" Jack said, without moving. "Stories. Myths. Things to keep the boredom out on a long shift." "I think they play cards, mostly," Jack answered. It was a lie, but he told it with surprising deftness; not a waver in his voice or a hesitation in his words. Only the tightening of his shoulders told Ellis he was lying.

And these are his daughters, Hallie and Luna. Guys, this is my cousin Winnie and her friend Ellie.” “Oh, we already know Winnie,” Hallie informed him. “You do?” Chip grinned down at her in surprise. “Yes, she lives next door,” said Luna excitedly, bouncing up and down. “We saw her bum today!” Record scratch. Horrible silence. Chip looked confused. “Her what?” “Her bum.” Luna patted her own backside while I held my breath and tried to make myself disappear. “We saw it when we were in her bedroom today.” “Luna!” Hallie elbowed her sister. “Daddy told us in the car not to tell that story tonight. You’re gonna get us in trouble and then we can’t go swimming tomorrow.” “I forgot.” Luna rubbed her shoulder and looked up at Dex. “Sorry, Daddy.” Dex struggled for words and came up with, “Fucking hell, Luna.

The second is the military narrative of the battles on Long Island and Manhattan, where the British army and navy delivered a series of devastating defeats to an American army of amateurs, but missed whatever chance existed to end it all. The focal point of this story is the Continental Army, and the major actors are George Washington, Nathanael Greene, and the British brothers Richard and William Howe.

Jewish immigrants like the Floms and the Borgenichts and the Janklows were not like the other immigrants who came to America in the nineteenth and early twentieth centuries. The Irish and the Italians were peasants, tenant farmers from the impoverished countryside of Europe. Not so the Jews. For centuries in Europe, they had been forbidden to own land, so they had clustered in cities and towns, taking up urban trades and professions. Seventy percent of the Eastern European Jews who came through Ellis Island in the thirty years or so before the First World War had some kind of occupational skill. They had owned small groceries or jewelry stores. They had been bookbinders or watchmakers. Overwhelmingly, though, their experience lay in the clothing trade. They were tailors and dressmakers, hat and cap makers, and furriers and tanners.

[I]t seems that everyone has fallen under the thrall of this idea that we’re all writers and dramatists now, that each of us has a special voice and something very important to say, usually about a feeling we have, and all this gets expressed in the black maw of social media billions of times a day. Usually this feeling is outrage, because outrage gets attention, outrage gets clicks, outrage can make your voice heard above the deafening din of voices squalling over one another in this nightmarish new culture—and the outrage is often tied to a lunacy demanding human perfection, spotless citizens, clean and likable comrades, and requiring thousands of apologies daily. Advocating while creating your own drama and your brand is where the game is now. And if you don’t follow the new corporate rules accordingly you are banished, exiled, erased from history.

He’s like us, Ellie, I think—most days just one big sore place. Still, he hasn’t lost all his zest for living. He still likes his spool, and he still likes a visit from his old blockmate. Sixty years I held the story of John Coffey inside me, sixty and more, and now I’ve told it. I kind of had the idea that’s why he came back. To let me know I should hurry up and do it while there was still time. Because I’m like him—getting there.

Londra treninde dönüş için yerlerimizi aldığımızda kederli bir ses tonuyla, "Nihayetinde," dedi mühendis, "benim için epey büyük bir işti bu! Hem parmağımı hem de elli gineyi kaybettim, peki elime geçen ne?" "Deneyim," dedi Holmes gülerek. "Dolaylı da olsa faydasını görürsün, hayatının geri kalanında eşlik ettiğin insanların seni varlığından keyif alınan biri olarak hatırlamasını istiyorsan yapman gereken tek şey bu hikâyeyi anlatmak.

Natalie Parish summed it up for me one night. I'd taken her to Safe Harbor Inn for supper because I needed her company, and she had said: “Guy, it’s too good a story to give up. People don’t want it to disappear. Every winter they have a different one. Sometimes it’s a flying saucer. Sometimes it’s a giant ghost coyote raiding the farms. Sometimes they pick a deserted house and haunt it with ghosts. It’s a winter pastime, a game — telling stories like that.

Think, Carter. Use the “little grey cells”, as Agatha Christie’s Poirot says in the stories. All the great detectives spent time reflecting on the case. Remember Sherlock Holmes playing his violin far into the night.’ ‘And injecting himself with cocaine?’ interjected Steph. ‘You won’t be doing that, will you, sir?’ she asked cheekily. ‘No,’ replied Oldroyd. ‘The similarities between myself and Conan Doyle’s creation are few, apart from our brilliantly perceptive minds.

So we wouldn't run out of things to talk about over lunch, I tried to read a trendy new short-story collection called Wok that I bought at Barnes & Noble last night and whose young author was recently profiled in the Fast Track section of New York magazine, but every story started off with the line "When the moon hits your eye like a big pizza pie" and I had to put this slim volume back into my bookshelf and drink a J&B on the rocks, followed by two Xanax, to recover from the effort.

Dear Ellie, I’m writing as one of your oldest friends to tell you that you’ve really been acting different lately, and I hope you snap out of it. I don’t blame you. I blame it on the evil Ximena Chin, who is negatively influencing you! First she twisted Savanna’s brain, and now she’s turning you into a pretty zombie just like she is. I hope you stop being friends with her and remember all the good times we used to have. Remember Mr. Browne’s November precept: “Have no friends not equal to yourself!” Can we please be friends again? Your former really good friend,

The Mercy The ship that took my mother to Ellis Island eighty-three years ago was named "The Mercy." She remembers trying to eat a banana without first peeling it and seeing her first orange in the hands of a young Scot, a seaman who gave her a bite and wiped her mouth for her with a red bandana and taught her the word, "orange," saying it patiently over and over. A long autumn voyage, the days darkening with the black waters calming as night came on, then nothing as far as her eyes could see and space without limit rushing off to the corners of creation. She prayed in Russian and Yiddish to find her family in New York, prayers unheard or misunderstood or perhaps ignored by all the powers that swept the waves of darkness before she woke, that kept "The Mercy" afloat while smallpox raged among the passengers and crew until the dead were buried at sea with strange prayers in a tongue she could not fathom. "The Mercy," I read on the yellowing pages of a book I located in a windowless room of the library on 42nd Street, sat thirty-one days offshore in quarantine before the passengers disembarked. There a story ends. Other ships arrived, "Tancred" out of Glasgow, "The Neptune" registered as Danish, "Umberto IV," the list goes on for pages, November gives way to winter, the sea pounds this alien shore. Italian miners from Piemonte dig under towns in western Pennsylvania only to rediscover the same nightmare they left at home. A nine-year-old girl travels all night by train with one suitcase and an orange. She learns that mercy is something you can eat again and again while the juice spills over your chin, you can wipe it away with the back of your hands and you can never get enough.

The mythology of a people is far more than a collection of pretty or terrifying fables to be retold in carefully bowdlerized form to our schoolchildren. It is the comment of the men of one particular age or civilization on the mysteries of human existence and the human mind, their model for social behaviour, and their attempt to define in stories of gods and demons their perception of the inner realities. We can learn much from the mythologies of earlier peoples if we have the humility to respect ways of thought widely differing from our own. In certain respects we may be far cleverer than they, but not necessarily wiser. We cannot return to the mythological thinking of an earlier age; it is beyond our reach, like the vanished world of childhood. Even if we feel a nostalgic longing for the past, like that of Jon Keats for Ancient Greece of William Morris for medieval England, there is now no way of entry. The Nazis tries to revive the myths of ancient Germany in their ideology, but such an attempt could only lead to sterility and moral suicide. We cannot deny the demands of our own age, but this need not prevent us turning to the faith of another age with sympathetic understanding, and recapturing imaginatively some of its vanished power. It will even help us view more clearly the assumptions and beliefs of our own time

...the gift of good writing, good storytelling, was allowing readers to temporarily inhabit someone else's soul. It's the only time in our lives when we actually live and breathe through another person's lens. Crack open the pages of any book and suddenly we're transported into a different world. My perspective had been expanded and altered thanks to the many pages of historical fiction and poetry that I had devoured. Stories had helped shape me, written by authors who had vastly different experiences than mine. Yet these writers welcomed me i not their worlds and allowed me to glimpse (even briefly) what life was like through their perspective. Books had shifted my understanding, offered me an opportunity to see myself in a different light.

Eve is a different sort of girl. She tries to make herself fit. She works tirelessly, exhaustingly at it. There certainly is a safety to the prescribed, neat little boxes. But the snake touches an ache that finds healing in every hiss. And when Eve sits at the roots of the tree, they wrapped around her like a mother's hug, welcoming her home, too. She breathes in the mossy bark, the flowers that grow around it, finds comfort in the way the wind whistles through its dancing leaves. In reply she murmurs, not a prayer, but a portrait of the seeds she hides in the depths of her soul. And the tree at the heart of the walled garden called Paradise listens. Sometimes, she thinks, I am not the name he's given me and therefore maybe neither is the grass or that animal in the distance or even the sky. Words become their own walls of sort, especially when everything is made to fit his definition. Eve swears she can feel a rumble from deep within the bark, a bumble bee's hum. If you wish to own something, you give it a name, comes the answer. If you wish to know something, you listen to what it tells you. Yes, the snake hisses. - excerpt from “Her True Name: A Story from the Grandmother Tree” – featured in Asherah: Roots of the Mother Tree.

One can do only so much to control one's life,' Ernestine said, and with that, a summary statement as philosophically potent as any she cared to make, she returned the wallet to her handbag, thanked me for lunch, and, gathering herself almost visibly back into that orderly, ordinary existence that rigorously distanced itself from delusionary thinking, whether white or black or in between, she left the car. Instead of my then heading home, I drove crosstown to the cemetery and, after parking on the street, walked in through the gate, and not quite knowing what was happening, standing in the falling darkness beside the uneven earth mound roughly heaped over Coleman's coffin, I was completely seized by his story, by its end and by its beginning, and, then and there, I began this book. I began by wondering what it had been like when Coleman had told Faunia the truth about that beginning--assuming that he ever had; assuming, that is, that he had to have. Assuming that what he could not outright say to me on the day he burst in all but shouting, "Write my story, damn you!" and what he could not say to me when he had to abandon (because of the secret, I now realized) writing the story himself, he could not in the end resist confessing to her, to the college cleaning woman who'd become his comrade-in-arms, the first and last person since Ellie Magee for whom he could strip down and turn around so as to expose, protruding from his naked back, the mechanical key by which he had wound himself up to set off on his great escapade. Ellie, before her Steena, and finally Faunia. The only woman never to know his secret is the woman he spent his life with, his wife. Why Faunia?

The translucent, golden punch tastes velvety, voluptuous and not off-puttingly milky. Under its influence, I stage a party for my heroines in my imagination, and in my flat. It's less like the glowering encounter I imagined between Cathy Earnshaw and Flora Poste, and more like the riotous bash in Breakfast at Tiffany's. Not everyone is going to like milk punch. So there are also dirty martinis, and bagels and baklava, and my mother's masafan, Iraqi marzipan. The Little Mermaid is in the bath, with her tail still on, singing because she never did give up her soaring voice. Anne Shirley and Jo March are having a furious argument about plot versus character, gesticulating with ink-stained hands. Scarlett is in the living room, her skirts taking up half the space, trying to show Lizzy how to bat her eyelashes. Lizzy is laughing her head off ut Scarlett has acquired a sense of humour, and doesn't mind a bit. Melanie is talking book with Esther Greenwood, who has brought her baby and also the proofs of her first poetry collection. Franny and Zooey have rolled back the rug and are doing a soft shoe shuffle in rhinestone hats. Lucy Honeychurch is hammering out some Beethoven (in this scenario I have a piano. A ground piano. Well, why not?) Marjorie Morningstar is gossiping about directors with Pauline and Posy Fossil. They've come straight from the shows they're in, till in stage make-up and full of stories. Petrova, in a leather aviator jacket, goggles pushed back, a chic scarf knotted around her neck, is telling the thrilling story of her latest flight and how she fixed an engine fault in mid-air. Mira, in her paint-stained jeans and poncho, is listening, fascinated, asking a thousand questions. Mildred has been persuaded to drink a tiny glass of sherry, then another tiny glass, then another and now she and Lolly are doing a wild, strange dance in the hallway, stamping their feet, their hair flying wild and electric. Lolly's cakes, in the shape of patriarchs she hates, are going down a treat. The Dolls from the Valley are telling Flora some truly scandalous and unrepeatable stories, and she is firmly advising them to get rid of their men and find worthier paramours. Celie is modelling trousers of her own design and taking orders from the Lace women; Judy is giving her a ten-point plan on how to expand her business to an international market. She is quite drunk but nevertheless the plan seems quite coherent, even if it is punctuated by her bellowing 'More leopard print, more leopard print!' Cathy looks tumultuous and on the edge of violent weeping and just as I think she's going to storm out or trash my flat, Jane arrives, late, with an unexpected guest. Cathy turns in anticipation: is it Heathcliff? Once I would have joined her but now I'm glad it isn't him. It's a better surprise. It's Emily's hawk. Hero or Nero. Jane's found him at last, and has him on her arm, perched on her glove; small for a bird of prey, he is dashing and patrician looking, brown and white, observing the room with dark, flinty eyes. When Cathy sees him, she looks at Jane and smiles. And in the kitchen is a heroine I probably should have had when I was four and sitting on my parents' carpet, wishing it would fly. In the kitchen is Scheherazade.

didn’t set out to break my heart, or Ellie’s. He was just acting on his own desires, living his own story. I hope I’ve become someone who doesn’t get angry when others are just trying to get by. I hope I can be the kind of person who looks toward forgiveness first.

Another cat? I followed Maya into the bedroom. There a third cat, a heavy brown-and-black male, sauntered out from under the bed and sniffed at me. I could smell his fish breath. “And that’s Emmet,” Maya told me. Stella, Tinkerbell, and Emmet. Why on earth would one woman want three cats?

Maya made her own dinner, which smelled pretty good. Stella seemed to think so, too, because she jumped right up on the table and waltzed around, like a bad cat! I couldn’t believe her lack of manners. Maya didn’t even scold her. I suppose Maya thought cats weren’t even worth training. After spending the afternoon with these three, I pretty much agreed with her.

Come” meant praise and petting and a treat, so pretty soon I always showed up for it. But my favorite words from him were “Good dog!” “Good dog!” always meant he would pet me, rubbing my fur until I wriggled from my toes to my tail with happiness. His hands smelled of oil and his truck and of papers and other people.

My husband didn’t set out to break my heart, or Ellie’s. He was just acting on his own desires, living his own story.

My husband didn’t set out to break my heart, or Ellie’s. He was just acting on his own desires, living his own story. I hope I’ve become someone who doesn’t get angry when others are just trying to get by.

To all those who shared their experience of GIDS as service users or as their family members, thank you for telling your stories. Ellie, Jack, Phoebe, Hannah, ‘Jacob’, ‘Michelle’, ‘Diana’, ‘Harriet’ – thank you for trusting with me with such personal accounts, and, in some cases, highly sensitive information.

My soul was ready to gracefully slip through the memories of those I loved for a final goodbye before I took refuge in death…

He came twice a week to see Louisa Ellis, and every time, sitting there in her delicately sweet room, he felt as if surrounded by a hedge of lace. He was afraid to stir lest he should put a clumsy foot or hand through the fairy web, and he had always the consciousness that Louisa was watching fearfully lest he should.

I wrote the first novel in the A Dog’s Purpose series to convince my then girlfriend, Cathryn Michon, that despite the pain of losing her dog Ellie, we should adopt a puppy. (It worked: we brought little Tucker into our family, and Cathryn liked the story so much she married me!)

Tell a better story than the one you were once told. The words are yours, and yours alone, from now until you're old. Tell a better tory—tell it well and tell it true. The beginning was all written but the middle's up to you.

The prize money certainly said something about FIFA’s priorities, though. The same week the 2015 Women’s World Cup kicked off, United Passions debuted in movie theaters. It was a propaganda film that FIFA produced about itself and bankrolled for around $30 million. That’s double the total amount of prize money FIFA made available to all teams participating in the 2015 Women’s World Cup. The film earned less than $1,000 in its debut weekend in North America, for the worst box-office opening in history, and it went down as the lowest-grossing film in U.S. history. Almost all the millions of dollars FIFA poured into making the movie was lost. The film has a 0% rating on the popular movie-review-aggregation website Rotten Tomatoes, and a New York Times review called it “one of the most unwatchable films in recent memory.” And remember the uncomfortable encounter at the team hotel between the Americans and Brazilians after the 2007 Women’s World Cup semifinal? That would never happen in a men’s World Cup. That’s because FIFA assigns different hotels and training facilities to each men’s team, to serve as a base camp throughout the tournament. The women don’t get base camps—they jump from city to city and from hotel to hotel during the World Cup, and they usually end up bumping into their opponents, who are given the same accommodations. American coach Jill Ellis said she almost walked into the German meal room at the World Cup once. “Sometimes you’re in the elevator with your opponent going down to the team buses for a game,” Heather O’Reilly says. “It’s pretty awkward.

Jill Ellis maintained a positive attitude in her postgame press conference, saying that she was “pleased” with the win—but that only added fodder for the loudest critics of the team. Michelle Akers, the retired legend who won the Golden Boot in the national team’s 1991 World Cup win, told reporters: “If she is pleased with the way we played tonight, then what the hell is she doing coaching our U.S. team?

don’t read stuff when we win, and I don’t read stuff when we lose. Why? Because I was there,” Ellis says. “I know how it felt, and I know what it looked like. The only people I worry about and care about is the players.” The questions about their lackluster performances had started to become routine for the players passing through the mixed zones after practices and games in Canada. The players uniformly said the same thing: They know they can play better, they are not worried, and, no, they don’t listen to what the critics have to say. But with Carli Lloyd, who stuck to the same message as her teammates, there was a hint of frustration. Lloyd is the kind of player who wants to take a game by the scruff of the neck and win it all on her own. She hadn’t been able to do that.

The Americans didn’t know it yet, however, but that win over Colombia was serendipitous in an unexpected way. Yellow cards given to both Lauren Holiday (née Cheney) and Megan Rapinoe meant that Jill Ellis would be forced to change her tactics. The team was about to fix all of its midfield problems. A blessing in disguise was about to save the USA’s World Cup. It was about to unleash Carli Lloyd. Up to that point in the tournament, Lloyd had been asked to play alongside Lauren Holiday in an ill-defined central midfield partnership. Neither one of them was a defensive midfielder, and neither one of them was an attacking midfielder. They were expected to split those duties between them on the fly. That not only led to gaping holes and poor positioning in the midfield, but it restrained Lloyd, who throughout her career was best as a pure attacking player who could push forward without restraint.

Stories can be powerful things.

The story became a clash between British tyranny and colonial liberty, scheming British officials and supplicating colonists, all culminating in the clash at Lexington and Concord between General Thomas Gage’s “ministerial army” and “the unsuspecting inhabitants” of Massachusetts. All this was conveyed in what we might call the sentimental style of the innocent victim.33 It is impossible to know how much of this cartoonlike version of the imperial crisis Jefferson actually believed and how much was a stylistic affectation.

Page 147: Ellie gazed up at me, her eyes radiating happiness, anticipation, and the ultimate contentment of a child who’s well loved.

All stories begin with the first words, the first sentence... A story is like a puzzle with 26 unique pieces. Once the basics fall into place, a grand narrative takes hold, led by characters driving to a breaking point for them and the author.

Humans are only ever one generation away from forgetting their past. Stories die on muted mouths. Pages rot and burn. Computers delete their cache. It takes effort to pass on knowledge. It takes zero effort to forget.

Ellie wanted to give up. Her parents were gone, her village in danger, she was lost in the dark and her hatchamobs couldn’t help her. She had nothing left to lose. The bear roared again, and she heard something rustling from behind her. She turned her head to see several spiders scurrying away from the big, hungry bear. She grit her teeth, she wouldn’t give up. She couldn’t. She had to fight to save her parents. She pushed herself up with her arms, and shakily reached toward her belt, toward Copper’s egg. “Lying in the dirt isn’t very comfy. Did you know you could make a bed if you find enough of the tasty wooly things?” a voice said from in front of her. She paused, looking

No one in his family could remember talking about it. Must have been dreadful, they agreed. And, being Walkers, and Bushes, they didn't bring it up. It was only years later, when he got into politics and had to learn to retail bits of his life, that he ever tried to put words around the war. His first attempts, in the sixties, were mostly about the cahm-rah-deree and the spirit of the American Fighting Man. The Vietnam War was an issue then, and Bush was for it. (Most people in Texas were.) He said he learned "a lot about life" from his years in the Navy—but he never said what the lessons were. Later, when peace was in vogue, Bush said the war had "sobered" him with a grave understanding of the cost of conflict—he'd seen his buddies die. The voters could count on him not to send their sons to war, because he knew what it was. Still later, when he turned Presidential prospect, and every bit of his life had to be melted down to the coin of the realm–character–Bush had to essay more thoughts about the war, what it meant to him, how it shaped his soul. But he made an awful hash of it, trying to be jaunty. He told the story of being shot down. Then he added: "Lemme tell ya, that'll make you start to think about the separation of church and state . Finally, in a much-edited transcript of an interview with a minister whom he hired as liaison to the born-again crowd, Bush worked out a statement on faith and the war: something sound, to cover the bases. It wasn't foxhole Christianity, and he couldn't say he saw Jesus on the water—no, it was quieter than that.... But there, on the Finback, he spent his time standing watch on deck in the wee hours, silent, reflective, under the bright stars... "It was wonderful and energizing, a time to talk to God. "One of the things I realized out there all alone was how much family meant to me. Having faced death and been given another chance to live, I could see just how important those values and principles were that my parents had instilled in me, and of course how much I loved Barbara, the girl I knew I would marry…” That was not quite how he was recalled by the men of the Finback. Oh, they liked him: a real funny guy. And they gave him another nickname, Ellie. That was short for Elephant. What they recollected was Bush in the wardroom, tossing his head and emitting on command the roaring trumpeted squeal of the enraged pachyderm; it was the most uncanny imitation of an elephant. Nor were "sobered" or "reflective" words that leapt to Bar's mind when she remembered George at that time. The image she recalled was from their honeymoon, when she and George strolled the promenades, amid the elderly retirees who wintered at that Sea Island resort. All at once, George would scream "AIR RAID! AIR RAID!" and dive into the shrubs, while Bar stood alone and blushing on the path, prey to the pitying glances of the geezers who clucked about "that poor shell-shocked young man." But there was, once, a time when he talked about the war, at night, at home, to one friend, between campaigns, when he didn't have to cover any bases at all. "You know," he said, "it was the first time in my life I was ever scared. "And then, when they came and pulled me out ..." (Him, Dottie Bush's son, out of a million miles of empty ocean!) "Well." Bush trailed off, pleasantly, just shaking his head.

The people did not cross the turnstiles of customs at Ellis Island. They were already citizens. But where they came from, they were not treated as such. Their every step was controlled by the meticulous laws of Jim Crow, a nineteenth-century minstrel figure that would become shorthand for the violently enforced codes of the southern caste system. The Jim Crow regime persisted from the 1880s to the 1960s, some eighty years, the average life span of a fairly healthy man. It afflicted the

This is not my bedroom!