Entrances And Exits Quotes

All the world's a stage, And all the men and women merely players; They have their exits and their entrances; And one man in his time plays many parts, His acts being seven ages.

Look on every exit as being an entrance somewhere else.

But dreams come through stone walls, light up dark rooms, or darken light ones, and their persons make their exits and their entrances as they please, and laugh at locksmiths.

We do on stage things that are supposed to happen off. Which is a kind of integrity, if you look on every exit as being an entrance somewhere else.

Remember, children. For every exit, there is also an entrance. ~ Milligan, The Mysterious Benedict Society

The regular choreography, entrances and exits of blooms in stages such that the garden looked like an ever-evolving carousel of swirling rainbows and radiant butterflies, seemed condensed. All of the flowers still obeyed some silent urgent command to make their debut. But this year, it definitely unfolded more quickly, as if racing to meet a new compelling deadline.

For every exit, there is also an entrance.

Life ought to be more like a play; the entrances and exits would be a lot cleaner.

It's all right- this isn't the end of it. Endings and beginnings are as different than exits and entrances.

Life is similar to a bus ride. The journey begins when we board the bus. We meet people along our way of which some are strangers, some friends and some strangers yet to be friends. There are stops at intervals and people board in. At times some of these people make their presence felt, leave an impact through their grace and beauty on us fellow passengers while on other occasions they remain indifferent. But then it is important for some people to make an exit, to get down and walk the paths they were destined to because if people always made an entrance and never left either for the better or worse, then we would feel suffocated and confused like those people in the bus, the purpose of the journey would lose its essence and the journey altogether would neither be worthwhile nor smooth.

We keep to our usual stuff, more or less, only inside out. We do on stage the things that are supposed to happen off. Which is a kind of integrity, if you look on every exit being an entrance somewhere else.

....whatever else remained the same, the light had changed, and you cannot find the pearly dawn at noonday. The fact is unalterable, that a fellow-mortal with whose nature you are acquainted solely through the brief entrances and exits of a few imaginative weeks called courtship, may, when seen in the continuity of married companionship, be disclosed as something better or worse than what you have preconceived, but will certainly not appear altogether the same.

Actors are all about entrances, but writers are all about exits.

Where there's an entrance, there's got to be an exit. Most things work that way.

They do not understand that that I have to effect different transitions; have to cover the entrances and exits of several different men who alternately act their parts as Bernard.

Life is a lot like the interstate, where every exit is an entrance someplace else.

An agony. The exit like the entrance - but reversed. A palindrome: gut-tug.

William Shakespeare: All the world’s a stage, And all the men and women merely players; They have their exits and their entrances.

Have you ever taken the wrong freeway entrance? You just need to drive to the next exit to turn around, but you hate every inch of travel because you’re going away from your goal.

life is a lot like the interstate, where every exit is an entrance someplace else.

We were like actors who had missed the cue that their scene was over. Life ought to be more like a play; the entrances and exits would be a lot cleaner.

All these crushing questions; but whatever else remained the same, the light had changed, and you cannot find the pearly dawn at noonday. The fact is unalterable, that a fellow-mortal with whose nature you are acquainted solely through the brief entrances and exits of a few imaginative weeks called courtship, may, when seen in the continuity of married companionship, be disclosed as something better or worse than what you have preconceived, but will certainly not appear altogether the same. And it would be astonishing to find how soon the change is felt if we had no kindred changes to compare with it. To share lodgings with a brilliant dinner companion, or to see your favourite politician in the Ministry, may bring about changes quite as rapid: in these cases too we begin by knowing little and believing much, and we sometimes end by inverting the quantities.

[If you] give into your [emotional] illusions, and you will find yourself lost in a maze with no exits, nor entrances, but winding paths that lead you in circles so many times that you grow familiar and comfortable with the very place you shouldn't be in.

Whatever else remained the same, the light had changed, and you cannot find the pearly dawn at noonday. The fact is unalterable, that a fellow-mortal with whose nature you are acquainted solely through the brief entrances and exits of a few imaginative weeks called courtship, may, when seen in the continuity of married companionship, be disclosed as something better or worse than what you have preconceived, but will certainly not appear altogether the same.

Pretty girls were not perceived as a threat in the city. They moved around freely. They could watch the military and police posts, mapping entrances and exits, defenses, and gun positions, and noting the enemy’s numbers and routines.

All the world’s a stage, And all the men and women merely players: They have their exits and their entrances; And one man in his time plays many parts.

The story that you wanted to write will never be pen down that way, The chapters of incidences will variate, The entrance and exit of characters will alter, The starting of pages might be different, The ending of pages might be unclear, The attractive introduction, The charming ending, Considering the facts in your mind, Concluding with ideas in your heart, The end product will be something else, The same goes with your life, This person is going to be my lover, friend, helper, and well-wisher, or in case some of you decide an enemy, We’re breathing humans, Our thoughts, our minds, our hearts, and our souls, everything works according to our moods, likes, dislikes, etc., There’s a problem with us, There’s a fault in ourselves, When we think that they’ll be there for us, No, they wouldn’t be, Why should they be? They have a different story to live, It’s not their duty to make your story happening, So be delighted with your tale, And enjoy whatever comes your way.

All the world’s a stage, and all the men and women merely players. They have their exits and their entrances; and one man in his time plays many parts.

In America, immigration is the story of hope and achievement, of youth, of freedom, of creation. But all entrances on one stage are exits elsewhere.

All the world’s a stage. And all the men and women merely players. They have their exits, and their entrances, and one man in his time plays many parts.

To know whether it's the entrance or the exit, you need to open the door.

Entrances do not become exits, and there is nothing to guarantee that the door you walked through a moment ago will still be there when you turn around to look for it again.

how the word janitor came from Janus, the god of entrances and exits,

Rituals are, among other things, tools that help us process change. There is so much change in this universe, so many entrances and exits, and ways to mark them...each one astonishing in its own way.

Tragedy's language stresses that whatever is within us is obscure, many faceted, impossible to see. Performance gave this question of what is within a physical force. The spectators were far away from the performers, on that hill above the theatre. At the centre of their vision was a small hut, into which they could not see. The physical action presented to their attention was violent but mostly unseen. They inferred it, as they inferred inner movement, from words spoken by figures whose entrances and exits into and out of the visible space patterned the play. They saw its results when that facade opened to reveal a dead body. This genre, with its dialectics of seen and unseen, inside and outside, exit and entrance, was a simultaneously internal and external, intellectual and somatic expression of contemporary questions about the inward sources of harm, knowledge, power, and darkness.

… Bird’s waking dream was harsh, the reverse face of the innocent dream that had ushered him into sleep, a thing armored in burrs that inspired anguish. Sleep for Bird was a funnel which he entered through the wide and easy entrance and had to leave by the narrow exit.

Rituals are, among other things, tools that help us process change. There is so much change in this universe. So many entrances and exits, and ways to mark them, each one astonishing in its own way. Even if we don't see birth or life as a miracle in a theological sense, it's still breathtakingly worthy of celebration.

The fact is that human beings come into the world with a passion for control, they go out of the world the same way, and research suggests that if they lose their ability to control things at any point between their entrance and their exit, they become unhappy, helpless, hopeless, and depressed.40 And occasionally dead.

SELF-HELP FOR FELLOW REFUGEES If your name suggests a country where bells might have been used for entertainment, or to announce the entrances and exits of the seasons and the birthdays of gods and demons, it's probably best to dress in plain clothes when you arrive in the United States. And try not to talk too loud. If you happen to have watched armed men beat and drag your father out the front door of your house and into the back of an idling truck, before your mother jerked you from the threshold and buried your face in her skirt folds, try not to judge your mother too harshly. Don't ask her what she thought she was doing, turning a child's eyes away from history and toward that place all human aching starts. And if you meet someone in your adopted country and think you see in the other's face an open sky, some promise of a new beginning, it probably means you're standing too far. Or if you think you read in the other, as in a book whose first and last pages are missing, the story of your own birthplace, a country twice erased, once by fire, once by forgetfulness, it probably means you're standing too close. In any case, try not to let another carry the burden of your own nostalgia or hope. And if you're one of those whose left side of the face doesn't match the right, it might be a clue looking the other way was a habit your predecessors found useful for survival. Don't lament not being beautiful. Get used to seeing while not seeing. Get busy remembering while forgetting. Dying to live while not wanting to go on. Very likely, your ancestors decorated their bells of every shape and size with elaborate calendars and diagrams of distant star systems, but with no maps for scattered descendants. And I bet you can't say what language your father spoke when he shouted to your mother from the back of the truck, "Let the boy see!" Maybe it wasn't the language you used at home. Maybe it was a forbidden language. Or maybe there was too much screaming and weeping and the noise of guns in the streets. It doesn't matter. What matters is this: The kingdom of heaven is good. But heaven on earth is better. Thinking is good. But living is better. Alone in your favorite chair with a book you enjoy is fine. But spooning is even better.

In NATO terms, Turkey is a key country because it controls the entrance to and exit from the Black Sea through the narrow gap of the Bosporus Strait. If it closes the Strait, which is less than a mile across at its narrowest point, the Russian Black Sea Fleet cannot break out into the Mediterranean and then the Atlantic. Even getting through the Bosporus only takes you into the Sea of Marmara; you still have to navigate through the Dardanelles Straits to get to the Aegean Sea en route to the Mediterranean.

Everyone's always tryin to find an entrance to the kingdom of heaven, she says. Me, I ain't so interested in entrances. All I want's a kingdom of exits.

There is one entrance to life, but a thousand possible exits. It all depends on the rooms you choose.

Every exit you take is just an entrance to a different location. Therefore, exits don't exist; they're all just entrances to another place.

September 1973, that's where this novel begins. That's the entrance. We'll just hope there's an exit. If there isn't one, there wouldn't be any point in writing anything.

Death is not the end! The exit for the world of mortals is the entrance to the world of immortals!

To me theatricalism means dramatic embellishment: the art of the aposiopesis; the abrupt closing of a book; the lighting of a cigarette; the effects off-stage, a pistol shot, a cry, a fall, a crash; an effective entrance, an effective exit – all of which may seem cheap and obvious, but if treated sensitively and with discretion, they are the poetry of the theatre.

So there I am standing in the wings. All atremble with these two little pills in my pocket … And I took them out and looked at them and said, ‘I’m going to do this on my own. I am not going to take any pills. I don’t want any aid from anybody but God,’ and I just flung them across the entire backstage and strode out, and that’s the last thing I remember until the end of the concert when I saw the entire audience there, standing and cheering and screaming. But from the time of my entrance until the time of my last exit I remember nothing. There’s nothing I can tell you. It was all a dream.

A man's life is his whole life, not the last glimmering snuff of the candle; and this, I say, is considerable, and not a little matter, whether we regard its pleasures or its pains. To draw a peevish conclusion to the contrary from our own superannuated desires or forgetful indifference is about as reasonable as to say, a man never was young because he has grown old, or never lived because he is now dead. The length or agreeableness of a journey does not depend on the few last steps of it, nor is the size of a building to be judged of from the last stone that is added to it. It is neither the first nor last hour of our existence, but the space that parts these two - not our exit nor our entrance upon the stage, but what we do, feel, and think while there - that we are to attend to in pronouncing sentence upon it.

Now utter (this supplication, and then prepare yourself to migrate to Medina), “My Lord!  Let my entrance be an honest entrance, let my exit be an honest exit, and bestow upon me power from You to help me.” [80] 

It was early morning and already hot. There was a strong odor of earth and grass drying in the sun. We climbed among tall shrubs, on indistinct paths that led toward the tracks. When we reached an electrical pylon we took off our smocks and put them in the schoolbags, which we hid in the bushes. Then we raced through the scrubland, which we knew well, and flew excitedly down the slope that led to the tunnel. The entrance on the right was very dark: we had never been inside that obscurity. We held each other by the hand and entered. It was a long passage, and the luminous circle of the exit seemed far away. Once we got accustomed to the shadowy light, we saw lines of silvery water that slid along the walls, large puddles. Apprehensively, dazed by the echo of our steps, we kept going. Then Lila let out a shout and laughed at the violent explosion of sound. Immediately I shouted and laughed in turn. From that moment all we did was shout, together and separately: laughter and cries, cries and laughter, for the pleasure of hearing them amplified. The tension diminished, the journey began.

Thus fortified I might take my rest in peace. But dreams come through stone walls, light up dark rooms, or darken light ones, and their persons make their exits and their entrances as they please, and laugh at locksmiths.

We were tiny players upon that stage, I realised, called upon to deliver a short line or two before taking our bows and exiting forever. And the distance between one’s entrance and one’s final curtain was a short one indeed in the scope of eternity.

Scythe Anastasia was equally dumbfounded. "You?" she said. "No," Morrison blurted, "not me! I mean, yes, it's me, but I'm not the Toll, I mean." Any hope of strong, silent intimidation was gone. Now he was little more than a stammering imbecile, which is how he always felt around Scythe Anastasia. "What are you even doing here?" she asked. He started to explain, but realized it was way too long a story for the moment. And besides, he was sure her story was a better one. The other scythe in her entourage—Amazonian by the look of his robe—chimed in, several beats behind the curve. "You mean to say you two know each other?" But before either of them could answer, Mendoza came up behind Morrison, tapping him on the shoulder. "As usual, you're in the way, Morrison," he grumbled, having completely missed the conversation. Morrison stepped aside and allowed the curate to exit. And the moment Mendoza saw Anastasia, he became just as befuddled as Morrison. Although his eyes darted wildly, he managed to hold his silence. Now they stood on either side of the entrance to the cave in their usual formation. Then the Toll emerged from the cave between them. He paused short, just as Morrison and Mendoza had, gaping in a way that a holy man probably never should. "Okay," said Scythe Anastasia. "Now I know I've lost my mind.

Clandestine Service, tells us a story about the building at the center of the Pentagon courtyard, which is now a food court but used to be a hot dog stand. Chesnutt explains that during the height of the Cold War, when satellite technology first came into being, Soviet analysts monitoring the Pentagon became convinced that the building was the entrance to an underground facility, like a nuclear missile silo. The analysts could find no other explanation as to why thousands of people entered and exited this tiny building, all day, every day. Apparently the Soviets never figured it out, and the hot dog stand remained a target throughout the Cold War—along with the rest of the Pentagon. It’s a great anecdote and makes one wonder what really is underneath the Pentagon, which is rumored to have multiple stories belowground.

The company that employed me strived only to serve up the cheapest fare that its customers would tolerate, churn it out as fast as possible, and charge as much as they could get away with. If it were possible to do so, the company would sell what all businesses of its kind dream about selling, creating that which all our efforts were tacitly supposed to achieve: the ultimate product – Nothing. And for this product they would command the ultimate price – Everything. This market strategy would then go on until one day, among the world-wide ruins of derelict factories and warehouses and office buildings, there stood only a single, shining, windowless structure with no entrance and no exit. Inside would be – will be – only a dense network of computers calculating profits. Outside will be tribes of savage vagrants with no comprehension of the nature or purpose of the shining, windowless structure. Perhaps they will worship it as a god. Perhaps they will try to destroy it, their primitive armory proving wholly ineffectual against the smooth and impervious walls of the structure, upon which not even a scratch can be inflicted.

The rails intersect and combine in complex and convoluted ways. There are sixteen platforms in total. In addition, there are two private rail lines, the Odakyu line and the Keio line, and three subway lines plugged in, as it were, from the side. It is a total maze. During rush hour, that maze transforms into a sea of humanity, a sea that foams up, rages, and roars as it surges toward the entrances and exits. Streams of people changing trains become entangled, giving rise to dangerous, swirling whirlpools. No prophet, no matter how righteous, could part that fierce, turbulent sea.

The bricked-up fourteenth-century “doors of the dead” are still visible. These ghosts of doors beside the main entrance were designed, some say, to take out the plague victims—bad luck for them to exit by the main entrance. I notice in the regular doors, people often leave their keys in the lock.

Have you ever heard of dramaturgy? It’s a fancy term for something William Shakespeare spelled out in his play As You Like It about 400 years ago: All the world’s a stage, And all the men and women merely players: They have their exits and their entrances; And one man in his time plays many parts. Another way to say this? Fake it ’til you make it. I love this phrase. There are two ways to read it: 1. Pretend to be something you’re not until you are—fake it until you’re successful, until everybody sees you the way you want them to; or 2. Pretend to be making something until you actually make something.

Two thoughts walked into my place. The first thought said that we hadn’t slept together because sex would have closed an entrance behind us and opened an exit ahead of us. The second thought told me quite clearly what to do. Maybe Takeshi’s wife was right—maybe it is unsafe to base an important decision on your feelings for a person. Takeshi says the same thing often enough. Every bonk, he says, quadruples in price by the morning after. But who are Takeshi or his wife to lecture anybody? If not love, then what? I looked at the time. Three o’clock. She was how many thousand kilometers and one time zone away. I could leave some money to cover the cost of the call. “Good timing,” Tomoyo answered, like I was calling from the cigarette machine around the corner. “I’m unpacking.” “Missing me?” “A tiny little bit, maybe.” “Liar! You don’t sound surprised to hear me.” I could hear the smile in her voice. “I’m not. When are you coming?

Walking past the kitchen counter again, I reached into my left pocket and grabbed my chocolate supply. I stopped and grabbed the door to exit. As I did, I dipped my shoulder and dropped my laptop in the entrance. I stood for a long moment, looking at the computer bag. I released my grip on my right hand and dropped the chocolate bars beside it, locked the door, and left.

On the east side of the street, the dark old factories—Civil War factories, foundries, brassworks, heavy-industrial plants blackened from the chimneys pumping smoke for a hundred years—were windowless now, the sunlight sealed out with brick and mortar, their exits and entrances plugged with cinderblock. These were the factories where people had lost fingers and arms and got their feet crushed and their faces scalded, where children once labored in the heat and the cold, the nineteenth-century factories that churned up people and churned out goods and now were unpierceable, airtight tombs. It was Newark that was entombed there, a city that was not going to stir again. The pyramids of Newark: as huge and dark and hideously impermeable as a great dynasty’s burial edifice has every historical right to be.

Then the bandit turned tail and broke for the open. Greeley hit the sidewalk only seconds after him, big as he was and with a panic-stricken woman to detour around. A slice of hindmost heel was all he saw of the man. The store entrance adjoined a corner; that gave the fugitive a few added seconds of shelter, and as Greeley flashed around it in turn, again the breaks were the lawbreaker's. There was a school midway up the street toward the next avenue. It was a couple of minutes past three now, and a torrent of young humanity came pouring out of the building by every staircase and exit, flooding the street. In through them the sprinting man plunged, knocking over right and left the ones that didn't get out of his way quickly enough. If it had been hazardous to take a shot at him in the store, it would have been criminal out here. The kids parted, screaming in delighted excitement, as Greeley tore through them after the bandit with uptilted gun, but he couldn't just callously knock them flat like the man before him had. He sidestepped, got out of their way as often as they did his, and he began to fall behind the other, lose ground. The kids weren't just on that one street - they had dispersed over the entire vicinity by now, for a radius of a block or more in every direction, in frisky, milling, homeward-bound groups. Through them the quarry zigzagged, pulling slowly but surely away. He kept going in a straight line, because it was to his advantage to do so - the presence of these kids made for greater safety - but he was already far enough in the lead so that when he should finally decide to turn off - the answer was pretty obvious; a taxi or a doorway or a basement. Any of them would do. ("Detective William Brown")

Nothing goes unobserved in that strict town where people lack occupation. Malicious curiosity there has even invented what is known as a busybody, that is a double mirror fixed to the outside of the windowledge so that the streets can be monitored even from inside the houses, all the comings and goings watched, a kind of trap to catch all the exits and entrances the encounters and gestures that do not realize they are being observed, the looks that prove everything.

They exited the French doors at the back of the entrance hall and walked out onto the empty flagstone terrace. Daisy turned to shake a finger waggishly at Lillian. “If you’re gone for longer than a quarter hour, Evie and I will come looking for you.” Lillian responded with a low laugh. “I won’t tarry.” She winked and smiled into Evie’s worried face. “I’ll be fine, dear. And just think of all the interesting things I’ll be able to tell you when I return!” “That’s what I’m afr-fraid of,” Evie replied.

She looked over at the clock. The afternoon update would come on soon. She never missed it. She told herself she wanted to know what was happening out there, but the truth was more simple. What she really wanted to hear was news of one person: David Vale. But that report never came, and it probably wouldn’t. There were two ways out of the tombs in Antarctica—through the ice entrance there in Antarctica or via the portal to Gibraltar. Her father had closed the Gibraltar exit permanently, and the Immari army was waiting in Antarctica. They would never let David live. Kate tried to push the thought away as the radio announcer came on.

When I mentioned the guard at the emperor’s gate, perhaps you imagined a front corridor with two doors, one entrance and one exit, with your mind as the guard. Whatever feeling or thought enters, you are aware of its entrance, and when it leaves, you are aware of its exit. But the image has a shortcoming: it suggests that those who enter and exit the corridor are different from the guard. In fact our thoughts and feelings are us. They are a part of ourselves. There is a temptation to look upon them, or at least some of them, as an enemy force which is trying to disturb the concentration and understanding of your mind. But, in fact, when we are angry, we ourselves are anger. When we are happy, we ourselves are happiness. When we have certain thoughts, we are those thoughts. We are both the guard and the visitor at the same time. We are both the mind and the observer of the mind. Therefore, chasing away or dwelling on any thought isn’t the important thing. The important thing is to be aware of the thought. This observation is not an objectification of the mind: it does not establish distinction between subject and object. Mind does not grab on to mind; mind does not push mind away. Mind can only observe itself. This observation isn’t an observation of some object outside and independent of the observer.

She had seen Southern men, soft voiced and dangerous in the days before the war, reckless and hard in the last despairing days of the fighting. But in the faces of the two men who stared at each other across the candle flame so short a while ago there had been something that was different, something that heartened her but frightened her — fury which could find no words, determination which would stop at nothing. For the first time, she felt a kinship with the people about her, felt one with them in their fears, their bitterness, their determination. No, it wasn’t to be borne! The South was too beautiful a place to be let go without a struggle, too loved to be trampled by Yankees who hated Southerners enough to enjoy grinding them into the dirt, too dear a homeland to be turned over to ignorant people drunk with whisky and freedom. As she thought of Tony’s sudden entrance and swift exit, she felt herself akin to him, for she remembered the old story how her father had left Ireland, left hastily and by night, after a murder which was no murder to him or to his family. Gerald’s blood was in her, violent blood. She remembered her hot joy in shooting the marauding Yankee. Violent blood was in them all, perilously close to the surface, lurking just beneath the kindly courteous exteriors. All of them, all the men she knew, even the drowsy-eyed Ashley and fidgety old Frank, were like that underneath — murderous, violent if the need arose. Even Rhett, conscienceless scamp that he was, had killed a man for being “uppity to a lady.

Trust me, Jennifer. Just...trust me." I drove another block or two. "Why should I?" "Why shouldn't you?" Because you left me, Cameron. After everything we went through. But I knew it wasn't his fault, any more than it was mine. It wasn't like either of us had control over our lives. We were at the mercy of our parents, both of us. Anyway, I'd already turned the car toward the freeway entrance. I turned on the car radio and we drove twenty minutes without talking. When the exit finally came into view, ugly warehouses and the new Wal-Mart looming before us, I said, "Let's go to my old apartment first. I haven't been there since we moved." "I've gone by it a couple of times." "Really?" "Yeah. Living there with you was kind of my best memory." I imagined that, him going to the apartment and looking up at the window and thinking about me.

The Portal Potion Success! After weeks and weeks of trying, I’ve finally discovered the correct ingredients for the potion I’d hoped to create for my son! With just a few drops, the potion turns any written work into a portal to the world it describes. Even with my ability to create portals to and from the Otherworld, I never thought it would be possible to create a substance that allowed me passage to any world I wished. My son will get to see the places and meet the characters he’s spent his whole childhood dreaming about! And best of all, I’ll get to watch his happiness soar as it happens! The ingredients are much simpler than I imagined, but difficult to obtain. Their purposes are more metaphysical than practical, so it took some imagination to get the concoction right. The first requirement is a branch from the oldest tree in the woods. To bring the pages to life, I figured the potion would need the very thing that brought the paper to life in the first place. And what else has more life than an ancient tree? The second ingredient is a feather from the finest pheasant in the sky. This will guarantee your potion has no limits, like a bird in flight. It will ensure you can travel to lands far and wide, beyond your imagination. The third component is a liquefied lock and key that belonged to a true love. Just as this person unlocked your heart to a life of love, it will open the door of the literary dimensions your heart desires to experience. The fourth ingredient is two weeks of moonlight. Just as the moon causes waves in the ocean, the moonlight will stir your potion to life. Last, but most important, give the potion a spark of magic to activate all the ingredients. Send it a beam of joy straight from your heart. The potion does not work on any biographies or history books, but purely on works that have been imagined. Now, I must warn about the dangers of entering a fictional world: 1. Time only exists as long as the story continues. Be sure to leave the book before the story ends, or you may disappear as the story concludes. 2. Each world is made of only what the author describes. Do not expect the characters to have any knowledge of our world or the Otherworld. 3. Beware of the story’s villains. Unlike people in our world or the Otherworld, most literary villains are created to be heartless and stripped of all morals, so do not expect any mercy should you cross paths with one. 4. The book you choose to enter will act as your entrance and exit. Be certain nothing happens to it; it is your only way out. The

If, uh, Luce wants to get out, someone's gonna have to help her down from the window." She drummed her fingers on the table, looking sheepish. "I made a library book barricade near the entrance in case any of the Sword & Cross-eyeds felt inclined to disrupt us." "Dibs." Cam already had his arm slipped through the crook of Luce's elbow. She started to argue, but none of the other angels seemed to think it was a bad idea. Daniel didn't even notice. Near the back exit, Shelby and Miles both mouthed Be careful to Luce with varying degrees of fierceness. Cam walked her to the window, radiating warmth with his smile. He slid the glass pane up and together they looked out at the campus where they'd met, where they'd grown close, where he'd tricked her into kissing him. They weren't all bad memories... He hopped through the window first, landing smoothly on the ledge, and he held out a hand for hers. "Milady." His grip was strong and it made her feel tiny and weightless as Cam drifted down from the ledge, two stories in two seconds. His wings were concealed, but he still moved as gracefully as if he were flying. They landed softly on the dewy grass. "I take it you don't want my company," he said. "At the cemetery-not, you know, in general." "Right. No, thanks." He looked away and reached into his pocket, pulled out a tiny silver bell. It looked ancient, with Hebrew writing on it. He handed it to her. "Just ring when you want a lift back up." "Cam," Luce said. "What is my role in all of this?" Cam reached out to touch her cheek, then seemed to think better of it. His hand hovered in the air. "Daniel's right. It isn't our place to tell you." He didn't wait for her response-just bent his knees and soared off the ground. He didn't even look back.

Yes, he’d like to go back to that night and make a different decision. He’s like to erase these last several years-years that, as he sees them now, are long and indistinguishable, and monotonous and angry. Or maybe he’d go further back than that, back far enough to see Bishop again, to help him. Or to convince his mom not to leave. But even that wouldn’t be far enough to recover whatever it is he lost, whatever he sacrificed to his mother’s brutal influence, that real part of him that was buried when he started trying to please her. What kind of person would he have become had his instincts not been screaming at him that his mother was moments from leaving? Was he ever free of that weight? Was he ever authentically himself? These are the questions you ask when you’re cracking up. When you suddenly recognize that not only are you living a life you never intended to lead but also you are feeling assaulted and punished by the life you have. You begin searching for those early wrong turns. What moment led you into the maze? You being thinking the entrance to the maze might also be the exit, and if you can identify the moment you screwed up then you can perform some huge course correction and save yourself.

All the world’s a stage, And all the men and women merely players. They have their exits and their entrances, And one man in his time plays many parts, His acts being seven ages. At first the infant, Mewling and puking in the nurse’s arms. Then the whining schoolboy with his satchel (145) And shining morning face, creeping like snail Unwillingly to school. And then the lover, Sighing like furnace, with a woeful ballad Made to his mistress' eyebrow. Then a soldier, Full of strange oaths and bearded like the pard, (150) Jealous in honor, sudden and quick in quarrel, Seeking the bubble reputation Even in the cannon’s mouth. And then the justice, In fair round belly with good capon lined, With eyes severe and beard of formal cut, (155) Full of wise saws and modern instances; And so he plays his part. The sixth age shifts Into the lean and slippered pantaloon With spectacles on nose and pouch on side, His youthful hose, well saved, a world too wide (160) For his shrunk shank, and his big manly voice, Turning again toward childish treble, pipes And whistles in his sound. Last scene of all, That ends this strange eventful history, Is second childishness and mere oblivion, (165) Sans teeth, sans eyes, sans taste, sans everything. All

Let’s go home,” she said. He arched his brows. “Already? I thought you would want to stay for a while.” Dark eyes flashed. “No, I want to take you home where women can’t stare at you like hyenas after a baby chick.” He laughed-loudly, which caught a fair bit of attention. “Surely I’m more threatening than a chick?” She smiled, ruining her petulant expression. “A puppy perhaps.” Grey stepped closer so that their torsos touched. It was totally improper behavior, but the gossips already had so much to talk about, one more thing would hardly matter. “Is that all you want to take me home for? To protect me?” Her gaze turned coy. “I received the newest edition of Voluptuous today. I thought I might read to you.” Was it just him or had the temperature in the room suddenly climbed ten degrees. “Let’s go.” He grabbed her by the hand and started weaving their way toward the door. People stopped hi to say hello, and he was forced to speak to them rather than be as rude as he wanted. A good fifteen minutes passed before he and Rose finally made it to the entrance of the ballroom, only to have Vienne La Rieux descend upon them. “Monsieur et Madame le Duc!” she cried, clasping her hands together in front of her breast-abundantly displayed above a peacock-colored gown that must have cost a small fortune. “Finally, you leave my club together, non?” Grey winked at her. “At last, madam. But we may want a room again someday.” The French woman grinned, delighting in Rose’s obvious embarrassment. “Mais oui! An anniversary present, Your Grace. On the house.” He thanked her and bade her farewell. “She knew?” Rose’s tone was incredulous as they made their way closer to the exit. “How could she know?” Grey shrugged. “The woman seems to know deuced near everything that happens here.

fucking parking spot.” The woman hauled herself out of the front seat. Her face wrinkled with the effort and her small, old eyes leaked and blinked in the sun. Your father took a step back. He stood for a moment, shoved his hands in his pockets, and crossed the parking lot toward me, the rage fading and his face becoming again the mask it had been since I’d returned from London and, four days before, made my foolish confession—a mask I no longer had a right to question or remove. We exited the structure and pulled into a handicapped spot in front of the emergency room entrance and ran. I held my sunglasses in my left hand and clutched my purse with my right. I had forgotten my sweater. Your father flung his windbreaker over his shoulder and the zipper stung my cheek, the beginnings of retribution, perhaps, for a past that had long ago laid down the invisible blueprint of our future.

The fact is that human beings come into the world with a passion for control, they go out of the world the same way, and research suggests that if they lose their ability to control things at any point between their entrance and their exit, they become unhappy, helpless, hopeless and depressed.

Where's the entrance to the exit?

All the world’s a stage, And all the men and women merely players; They have their exits and their entrances; And one man in his time plays many parts. William Shakespeare, 1564—1616

Elizabeth Gilbert Sartre said, “Exits are everywhere.” But I feel like entrances are everywhere. And I think that the world would be an even more cruel place than it already is, if the only people who are allowed to go on spiritual journeys were people who could afford a plane ticket to India, you know? Because we all know that people find access to God through those thin places in the Universe and the thin places in their lives where they come very close to the divine, in all sorts of situations. You know, in prison, in their house, in the middle of the night, in the middle of a bad marriage, in the middle of a traffic jam. It’s always there. There’s an entrance that you can slide through. But I really do feel like the one non-negotiable thing that you need is to be able to find a tiny little corner of your life, of your day of stillness, where you can begin to ask yourself those burning essential questions of your life. Who am I? Where did I come from? Where am I going? What am I here for? And for that you need to find a sacred moment of silence to begin to look for that journey. And that’s available to everybody.

We see the uniquitarian view of our existence manifested in the fact that we each hold unique entrances into this world and unique exits out of it.

Vinod’s father, Sharad Pandurang Panchal, or Sharad Kaka (Uncle), as he’s popularly called, is a fitter at a factory near his home. There are a number of shops in that neighbourhood, part of a fairly large and well-stocked market, and Sharad Kaka is used to frequenting those shops, and not the mall. Consider Sharad Kaka’s journey in the mall. As he enters, there’s a uniformed guard waiting to frisk him. Once he’s in, there’s another man in uniform at the bottom of the escalator. At the entrance to the store, there’s yet another security guard inspecting Sharad Kaka’s bags, and ‘confiscating’ them while he shops. At the exit, there’s another uniform to check his bill. For just one simple visit to a store, Sharad Kaka encounters four uniformed people. It is enough to deter him from shopping in the mall. ‘I feel guilty, as though I’ve done something wrong, ‘ he says, when asked about his reluctance to shop at the mall. In his mind, far from protecting him, the uniformed guards seem to threaten him, as though they’re there to check him and snoop on him. He doesn’t view them as his protectors, but his challengers. ‘You never know,’ he explains, ‘when you could get into trouble with one of these guys.’ Uniformed people, explained the man, almost always meant trouble for simple folk like him.

Entrances and Exits Between 4 million and 2 million years ago, at least 11 different hominid species existed in central, eastern, and southern Africa. These species fall into three genera: Australopithecus, Paranthropus, and Kenyanthropus. At any given time during this era, from four to seven different species existed simultaneously.8 Paleoanthropologists surmise that at least six of the hominids were Australopithecus. Like earlier hominids, australopithecines can be thought of as bipedal apes, distinct from chimpanzees.9 The brain size of australopithecines (380 to 450 cm3) was slightly larger than that of chimpanzees (300 to 400 cm3). Though the cranium, facial features, and dental anatomy were apelike, they were distinct from the corresponding chimpanzee features. The australopithecines stood about four feet tall and matured rapidly, like the great apes. Skull, pelvis, and lower limbs all display features that indicate these hominids walked erect. Still, the bipedalism, called facultative, was distinct from the obligatory bipedalism employed by Homo hominids. Some paleoanthropologists think the australopithecines could also climb and move effectively through trees. This idea is based on their relatively long upper arms, short lower limbs, and funnel-shaped torsos. Work published in 2000 indicates that some australopithecines might have knuckle-walked like the great apes.10 The earliest australopithecines lived either in a woodland environment or in a mixed habitat of trees and open savannas. Later australopithecines lived only on the grassy plains. Their capacity to climb and move through trees, as well as walk erect, gave these hominids easy mobility in their varied environment. The oldest member of Australopithecus, Australopithecus anamensis, existed between 4.2 and 3.8 million years ago, based on fossils recovered near Lake Turkana in Kenya. Australopithecus afarensis fossils have been recovered in eastern Africa and date to between 4 and 3 million years old. “Lucy” (discovered in the early 1970s by Donald Johanson) is one of the best-known specimens. She is nearly 40 percent complete, with much of the postcranial skeleton intact.11 Remains of Australopithecus bahrelghazali, dated at 3.2 million years ago, have been recovered in Chad. Some paleoanthropologists think, however, that A. bahrelghazali is properly classified as an A. afarensis. Australopithecus africanus lived in South Africa between 3.0 and 2.2 million years ago, based on the fossil record. One of the best-known A. africanus specimens is the “Taung child” discovered in 1924 by Dart. The Taung child was the first australopithecine found.12

Will you be to us, so self-assured of healthy body, a person to be spurned and rejected, doubly disabled by our prejudice and fears? For we rarely open our hearts to people like you, sister. Nor have we crafted our world to accommodate your bent form. So you must creep around our perimeters, seeking access, a way into our spaces. You must double-check entrances, exits, stairs and heights to see if they welcome you or leave you standing helpless, like an infant before a rising cliff. Will we slip past you, embarrassed? Or will we see in you a graced opportunity to stretch our own crippled spirits, recognizing your inherent dignity, and respecting the courage of your endless silent struggle to be part of a world not fashioned for your infirmity?

The black ash that inundated the island was suitable for a superior quality of concrete, and the resulting caves, bunkers, pillboxes and large rooms were elaborate. Up to one quarter of the entire garrison was enlisted in the tunneling, and while some of the caves were suitable for two to three men with gear, others could hold up to 400, with multiple entrances and exits to prevent forces from becoming trapped. Ventilation systems were engineered to contend with the danger of sulfur fumes common to the island. On Mount Suribachi itself, the 60 foot-deep crater with a 20 foot ledge on which one could walk the entire circumference of the rim was particularly well-developed as a fortress. The Japanese had constructed elaborate caves all the way around the crater, and according to one of the 28th Marines who took the summit, “It was down in the crater that the Japanese were honey-combed.”[3]

The exits were entrances in disguise. -- Shannon B.

I had never before been so tortured by the slowness of the Mexico City traffic; the irritability of the drivers; the savagery of the dilapidated trucks that ought to have been banned ages ago; the sadness of the begging mothers carrying children in their shawls and extending their calloused hands; the awfulness of the crippled and the blind asking for alms; the melancholy of the children in clown costumes trying to entertain with their painted faces and the little balls they juggled; the insolence and obscene bungling of the pot-bellied police officers leaning against their motorcycles at strategic highway entrances and exits to collect their bite-size bribes; the insolent pathways cleared for the powerful people in their bulletproof limousines; the desperate, self-absorbed, and absent gaze of old people unsteadily crossing side streets without looking where they were going, those white-haired, but-faced men and women resigned to die the same way as they lived; the giant billboards advertising an imaginary world of bras and underpants covering small swaths of perfect bodies with white skin and blonde hair, high-priced shops selling luxury and enchanted vacations in promised paradises.

Every exit is an entrance to someplace else.

Jesus said, "Enter through the narrow gate. For wide is the gate and broad is the road that leads to destruction and many enter through it. But small is the gate and narrow is the road that leads to life and only a few find it." Mathew 7:13-14. Jesus was speaking of an entrance, not an exit. He was speaking of a beginning, not an end.

My trouble is I always try to save everything old clocks and calendars expired words buried in open graves But hoarded grains of sand keep shifting as rivers redefine boundaries and seasons

All the world’s a stage, And all the men and women merely players; They have their exits and their entrances, And one man in his time plays many parts . . .

The Three Estaits is a puzzle. In its original form it's an eight-hour dramatised sermon written by Sir David Lindsay of the Mount for the young King James V advising him on the responsibilities of kingship and government. Its relevance today is a bit misty. The art in preparing it for a modern audience starts with the cutting down of the original text to a manageable size. This Robert [Kemp] did superbly well. He was also well served by his original cast in 1948 who breathed life into the stereotypical characters. But the main advantage for that production and the later ones up till and including 1959 was in its producer. Tony [Tyrone] Guthrie took a fairly verbose script and wrung glory out of it. Movement, pageantry, crashing music with dozens of trumpets, banners, mass entrances and exits through the audience, anything to delight they eye and stop people trying to make sense of the dialogue. 1959 was the last time Guthrie produced it. I think by then he'd had enough and felt he was churning out productions without anything new to say. The play has been revived since, of course, but each revival has inevitably been a shadow of Guthrie's production and sometimes a pale replica of Robert's script.

I am at the concert and I am smirking in the corner, ignoring what my peers are discussing. Let us picture something good. I'm wearing a level-two bulletproof vest under my Ralph Lauren vintage flannel, and already it's almost entirely concealed. Makes me look slightly more built, nobody's complaining. It also protects against nine millimeter and forty caliber rounds, the only kinds police use anymore. I think. Over that, a Swiss military jacket littered with pockets, all of which I custom fit to hold the six magazines accompanying my short barrel rifle. It's a gun small enough to fit perfectly along my back while still under my coat. In the pockets of my Levi five-elevens - a switchblade and one smoke grenade, reserved for either my entrance or exit. I still haven't decided. In my waistband is a... ... and then two squad cars skid to a halt outside. I see them before they see me, as the front windows are tinted in my favor. With a fresh magazine, I am and shoot at - "HEY!" Someone shouting playfully in my face has yanked me back into the concert hall

Where there is an entrance, there is usually an exit. That’s the way things are made. Mailboxes, vacuum cleaners, zoos, salt shakers. Of course there are exceptions. Mousetraps, for instance.

All the world's a stage, and all the men and women merely players. They have their exits and their entrances.

All things should have both an entrance and an exit. That’s just the way it is.

It’s not a show about nothing. It’s a show about truth.

Man uses nature’s laws for destructive purposes,” he says. “The reason higher intelligence is here now is to counter man’s capability to destroy the planet.

Come, come, whoever you are, wanderer, worshiper, lover of leaving, it doesn’t matter,” says Rumi. “Ours is not a caravan of despair.

I think about entrance and exits. I think about dialogue. But most of all I think about voice—all character development in theatre is done through voice. And as I wrote my debut novel "The Big Fear", I thought about narrative voice with every line.

All the world’s a stage, And all the men and women merely players. They have their exits and their entrances, And one man in his time plays many parts…

Are we all not knights and ladies of the road? For all the world's our territory, We have our exits and entrances, Experiencing both rejection and acceptance, And each in his time Must joust with one To advance to the other.