Exit Gracefully Quotes

There’s a trick to the 'graceful exit.' It begins with the vision to recognize when a job, a life stage, or a relationship is over — and let it go. It means leaving what’s over without denying its validity or its past importance to our lives. It involves a sense of future, a belief that every exit line is an entry, that we are moving up, rather than out.

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.

James dropped Cordelia’s hands. They were no longer dancing. James turned away from Cordelia without a word and strode across the room toward the newcomers. She stood, frozen in confusion, as James bent to kiss the hand of the stunningly beautiful girl who had just walked into the room. Titters rose on the dance floor. Lucie had stepped back from Matthew, her eyes wide. Alastair and Thomas both turned to look at Cordelia with expressions of surprise. At any moment, Cordelia knew, her mother would notice that she was drifting in the middle of the dance floor like an abandoned tugboat and charge toward her, and then Cordelia would die. She would die of the humiliation. Cordelia was scanning the room for the nearest exit, ready to flee, when a hand grasped her arm. She was spun around and into an expert grip: a moment later she was dancing again, her feet automatically following her partner’s. “That’s right.” It was Matthew Fairchild. Fair hair, spicy cologne, a blur of a smile. His hands were gentle as he swept her back into the waltz. “Just—try to smile, and no one will notice anything happened. James and I are practically interchangeable in the public consciousness anyway.” “James—left,” Cordelia said, in shock. “I know,” said Matthew. “Very bad form. One should not leave a lady on the dance floor unless something is actually on fire. I’ll have a word.” “A word,” Cordelia echoed. She was beginning to feel less stunned and more angry. “A word?” “Several words, if it will make you feel better?

Ewww... intelligent design people! They're just buck-toothed, Bible-pushing nincompoops with community-college degrees who're trying to sell a gussied-up creationism to a cretinous public! No need to address their concerns or respond to their arguments. They are Not Science. They are poopy-heads. There. I just saved you the trouble of reading 90 percent of the responses to the ID position... This is how losers act just before they lose: arrogant, self-satisfied, too important to be bothered with substantive refutation, and disdainful of their own faults... The only remaining question is whether Darwinism will exit gracefully, or whether it will go down biting, screaming, censoring, and denouncing to the bitter end. — Tech Central Station contributor Douglas Kern, 2005

We went down the stairs to the café on the ground floor. I had discovered that was the best way to get rid of friends. Once you had a drink all you had to say was: “Well, I’ve got to get back and get off some cables,” and it was done. It is very important to discover graceful exits like that in the newspaper business, where it is such an important part of the ethics that you should never seem to be working.

I had suddenly become aware of my hands, which meant only one thing: It was time to say my farewells and make a graceful—or at least dignified—exit. Dogger had once told me, 'Your hands know when it's time to go.' And he had been right. The hands are the canaries in one's own personal coal mine: They need to be watched carefully and obeyed. A fidget demands attention, and a full-blown not-knowing-what-to-do-with-them means 'Vamoose!

Very well,” he said with a small sigh. “Ladies today are so very capable. It breaks my hea rt, really.” He leaned in, almost as if sharing a secret. “No one likes to feel superfluous.” Grace just stared at him. “Rendered mute by my grace and charm,” he said, stepping back to allow them to exit. “It happens all the time. Really, I shouldn‟t be allowed near the ladies. I have such a vexing effect on you.

You’ve lived as a citizen in a great city. Five years or a hundred—what’s the difference? The laws make no distinction. And to be sent away from it, not by a tyrant or a dishonest judge, but by Nature, who first invited you in—why is that so terrible? Like the impresario ringing down the curtain on an actor: “But I’ve only gotten through three acts . . . !” Yes. This will be a drama in three acts, the length fixed by the power that directed your creation, and now directs your dissolution. Neither was yours to determine. So make your exit with grace—the same grace shown to you.

Just as the towering myth of Abraham Lincoln—honest backwoods lawyer, spinner of yarns, righter of wrongs—tells only part of the truth, so, too, is the myth of America woefully incomplete. The country that Ronald Reagan once called “a shining city upon a hill” has, in fact, been tangled up in darkness since before she was born. Millions of souls have graced the American stage over the centuries, played parts both great and small, and made their final exits. But of all the souls who witnessed America’s birth and growth, who fought in her finest hours, and who had a hand in her hidden history, only one soul remains to tell the whole truth. What follows is the story of Henry Sturges. What follows is the story of an American life.

It is very important to discover graceful exits like that in the newspaper business, where it is such an important part of the ethics that you should never seem to be working.

Peaceful and graceful exit from life is second best thing that can happen to a human being. The best is of course enlightenment.

The most telling part about a person’s character is how gracefully, they exit from your life.

Yes. This will be a drama in three acts, the length fixed by the power that directed your creation, and now directs your dissolution. Neither was yours to determine. So make your exit with grace—the same grace shown to you.

In that marvelous Indian epic poem, the Mahabharata, the sage Yudhisthira is asked: “Of all things in life, what is the most amazing?” Yudhisthira answers: “That a man, seeing others die all around him, never thinks that he will die.

I was on the first one when I felt his fingers encircle my wrist. “Sophie, come on. I don’t want to fight with you.” Turning, I opened my mouth to say I didn’t want to fight with him either. But before I could, I saw the telltale flash out of the corner of my eye, and the next thing I knew, my arm was jerking out of his grasp. “If you don’t want to fight with her, maybe you shouldn’t suggest she team up with people who want to kill her,” my voice snarled. Archer backed up so fast he nearly stumbled, and I wasn’t sure I’d ever seen him look so freaked out. But he recovered quickly. “Elodie, if I wanted to talk to you, I’d do a séance or something. Maybe go on an episode of Ghost Hunters. But right now, I want to talk to Sophie. So clear out.” Elodie had no intention of doing that. “You always were a crappy boyfriend,” she said. “Once you left, I chalked that up to you, you know, not actually liking me. But unless I’m blind as well as dead, you really like Sophie. In fact, hard as it is for me to fathom, I think you love her.” Shut up, shut up, shut up! Screw that, she retorted. You two spend all your time making stupid jokes and being all witty. Someone has to get real. “What’s your point?” Archer asked, narrowing his eyes at me. Her. Whatever. God, this was getting confusing. “Cal loves her, too, you know. And the last time I checked, he wasn’t part of a cult of monster killers. I’m just saying that if you’re going have loyalties that divided, maybe it’s time to bow out gracefully.” You couldn’t say Elodie didn’t know how to make a dramatic exit. The next thing I knew, I was pitching forward into Archer’s arms, my head swimming. Archer clutched my waist and then abruptly shoved me at arm’s length. “Sophie?” he asked, looking intently into my eyes. “Yeah,” I said, my voice shaking. “I’m back.” His fingers loosened, becoming more of a caress than a grip. “So you can’t control when she swoops in like that? She can just take you over…whenever?” I tried to laugh, but it came out more of a cough. “You know Elodie. I don’t think anyone has ever controlled her.” Frowning, Archer pulled his hands back and shoved them in his pockets. “Well, that’s awesome.” I grabbed the railing to steady myself. “Archer…that stuff she said. You know it’s not true.” He shrugged and moved past me onto the steps. “Saying the most hateful things possible is like Elodie’s superpower. Don’t worry about it.” He paused and looked over his shoulder. “We should probably go tell Jenna what we found down here.” Oh, right. We’d just unearthed a whole bunch of demons. That probably trumped over relationship issues. Another few seconds passed. “Come on, Mercer,” Archer said, holding his hand out to me. This time, I took it.

When a soul leaves a body gracefully, it, knowingly or unknowingly, lowers its life intensity enough so that it can exit the physical body with minimal drama. Elderly folk, who manage to pass on peacefully, go through a process of gradually and progressively diminishing their life energy. They come and go, exiting and returning, until they finally don’t return again. It is common to see old people sitting in their chair, barely there, and then they will spring back to life until, one day, the back and forth is done. This is a good way to die. It carries the least amount of karmic refuse and allows the individual to move forward with less drag.

He looked up at Dana. Tears streamed down her face. No sounds escaped. The silence wrung his heart. He almost preferred sobs to this stoic display and that said something since a woman’s tears normally sent him scrambling to the closest exit. Jon sat with his back propped against a tree, pulled her close, and wrapped his arms around her. “What if they . . .” His arms tightened. “We’ll deal with it together.” “We?” “You aren’t alone anymore, baby. Never again. I’ll walk through every step of this with you. As long as you’ll allow me, we’re a team.” Dana pressed her head against his shoulder, her face against his neck. “I’m guessing you know about my history with Ross. That’s in the past, before you knew me. If Grace’s thugs assaulted me, would it . . .?” She lapsed into silence. “Affect how I feel about you?” he asked. She nodded. “Whatever they did shames them, Dana. You aren’t to blame for anything they might have done to you. People in this line of work are masters at their trade. Nothing will affect how much you mean to me or the role I hope you’ll play in my life from now on.” She sat up to look into his eyes. “What role?” Hope shined from her gaze. “A permanent one. When you’re safe and on U.S. soil, we’ll talk. I meant what I said. We’ll get through this together. I’ll stay beside you all the way.

One evening while at prayer, wrapped in those threads, I saw my entire life flash before me. This was not like my pretty dream; it was actually rather ugly. I saw my life as vitiated by pride, by the inordinate desire to be liked, loved, approved, applauded, and accepted . . . My motives were peeled away to reveal complete self-centred yuck. . . . Brother Dominique Voillaume saw my exit from the chapel and asked me what happened. So I told him, told him everything, about my disgust with my own motives and my thoughts of walking away from it all. In that moment he said a powerful thing, a life-changing thing: "You are on the threshold of receiving the greatest grace of your life. You are discovering what it means to be poor in spirit. Brother Brennan, it's okay not to be okay.

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.

Y' are welcome, my fair guests. That noble lady, Or gentleman that is not freely merry, Is not my friend. This, to confirm my welcome, And to you all, good health. [Drinks] Lord Sands. Your grace is noble. Let me have such a bowl may hold my thanks, And save me so much talking. Cardinal Wolsey. My Lord Sands, I am beholding to you; cheer your neighbours. Ladies, you are not merry. Gentlemen, Whose fault is this? Lord Sands. The red wine first must rise In their fair cheeks, my lord, then we shall have 'em Talk us to silence. Anne Bullen. You are a merry gamester, My Lord Sands. Lord Sands. Yes, if I make my play. Here's to your ladyship: and pledge it, madam, For 'tis to such a thing,— Anne Bullen. You cannot show me. Lord Sands. I told your grace they would talk anon. [Drum and trumpet; chambers discharg'd] Cardinal Wolsey. What's that? Lord Chamberlain. Look out there, some of ye. [Exit Servant] Cardinal Wolsey. What warlike voice, And to what end is this? Nay, ladies, fear not; By all the laws of war y' are privileg’d.

King of the Ruskin was my show last year, last May, in New College Long Room. I filled that old room with seven big paintings. Big, colourful paintings. King of the Ruskin included better work than Abstractionism. I’ve tried since to paint like that and I can’t. The King of the Ruskin paintings were it. I didn’t realise it at the time but they were the best paintings I would ever make. They were the paintings I wanted to see and they did everything I wanted painting to do at that time. So these are my last paintings. I will never paint again. But why didn’t I stop in the first place? No one ever knows when to stop. They just decline. For me, I had to kill my painting. With King of the Ruskin I had delivered the mortal wounds but one rarely has the pleasure of a quick and graceful exit. No, it has been slow, painful and distressing. Of course I am speaking in hindsight; I only realised it was the end with the randomly themed, scrappy, clustered paintings where it finally became apparent to me that I had no skills, no ideas, no interest, no pride and no pleasure in painting. I was like a dying cowboy, making a final, feeble bid at victory with random, aimless shots at an invisible enemy.

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.

We stepped in, and, as we paid the cover charge, the music hit us. The double doors buzzed open and we walked in. A handsome man and his lover in an orange top snuggled as they walked to the exit. Veronica turned to me and smiled, taking my hand. I unbuttoned my shirt at the neck and exposed my collar. It was a thin metal collar with a padlock on the front. If the padlock wasn’t attached it would have looked like any other interesting necklace that was tight against my neck, but it got more interesting with the padlock. On Veronica’s left hand there was a thick bracelet, and that had a key on it. Her right wrist had a glow bracelet. We walked past the tables of people as they drank and screamed over the music to talk. We decided to go right to the dance floor. She took me by the hand, led me. We were on the dance floor and I couldn’t dance. I ended up just throwing myself around, getting lost in the people surrounding us. The bodies pressed against us, the industrial music loud and crisp. The bass shook your bones, and my ribcage felt like it was rattled to pieces. I closed my eyes and just moved. Veronica moved with a grace I hadn’t seen in awhile when I opened my eyes. She pressed herself against a couple that surrounded her. I felt my breath catch in my throat, my heart pounded from excitement. She squeezed past them and moved to me, her hands ran down my face, and then she gripped the padlock with her left hand. She pulled me down to her, which wasn’t very far, but it was the intensity of the moment that made all the difference. What she did next made me jump, my body tensed and relaxed in milliseconds. She gave me a deep kiss, and, while she kissed me, distracted me, her other hand undid my padlock. I pulled back as I jumped in shock. Our eyes were locked on each others’ in the flashing neon stage lights. She had a twinkle in her eye as she pulled me close to her. “Find a man, for you.” I pulled back, looked at her in surprise. She smiled wickedly, an erotic edge to her features suddenly. She was hot when she was getting dressed and she was even hotter now. I didn’t know what the hell was going on, but I leaned into her ear. “Are you looking for a woman?

As soon as the numbers get up in a chart - or better yet, a graph - as soon as they thus become blessed with some specious authenticity, they become the drivers in high-risk, low-data situations because these people are so anxious to have data. That's when you hear them saying things like "It will be a billion-dollar market in 2016. If we only get five percent of that market..." When you hear that sort of stuff, exit gracefully, holding on to your wallet.

Sorry, Jericho. I almost didn’t recognize you with your dick in your pants. If you’ll excuse me, I have to get home.” I tried to flounce off, but walking in short steps with a paper sack around my hips wasn’t a graceful way to make an exit. He rolled the truck beside me and the engine rumbled, but he didn’t say a word. So I walked a little faster. He drove a little faster. Finally, I broke into a run. Jericho hit the gas and kept up with me. “Get in the goddamn truck, Isabelle.” “No.”“You’re a female wolf running naked in the street. Get in.” “I’m not naked,” I panted. “I’m wearing recyclables.” Dark, Dannika (2014-07-27). Five Weeks (Seven Series #3) (pp. 49-50). . Kindle Edition.

John Martyn on instead, Grace and Danger,

and by mid-1781 it had caused him to conclude that France now sought a graceful exit from this stalemated war. Although he did not know it—nor would he ever learn the truth—his judgment was correct. Vergennes was prepared to consent to a long term truce uti possidetis; a diminutive United States would have existed, but Great Britain almost certainly would have retained Maine, northern Vermont, the Carolinas, Georgia, the tramontane West, and portions of New York, including New York City, and New England doubtless would be denied access to the Newfoundland fisheries.53

He turned to me and, with a mockingly courteous gesture, said, “I fault no one for ambition. If you wish, you may gracefully exit now and save yourself some regrettably painful experience. I like you. Your ignorance is refreshing, and your passions amusing. For a time we could keep each other company.” I opened my mouth, trying to find an insult cosmic enough to express my rejection, but I realized just in time that resistance would only encourage him. He would enjoy my being angry and helpless, and I knew then what he would not enjoy. “Unfortunately,” I said, striving to mimic Vidanric’s most annoying Court drawl, “I find you boring.

Be cordial and gracefully exit any conversation before it becomes hostile, antagonistic, or abusive.

The formula is simple for managing them: validate, smile, don’t engage, and exit gracefully.

CONVERSATION GUIDELINES What is the secret to good conversation? Shared interest in the subject; easy, natural flow from topic to topic; humor, when appropriate; the right amount of give-and-take—all of these elements are present. Countless people who have spoken to me about their social anxiety have said that their biggest social difficulty is having a conversation, whether it’s beginning one or keeping it going. How to start a conversation? When talking with someone new, it’s a good idea to move from general to specific, starting with basic subjects such as the weather, news, and some reference to the event or situation at hand. From comments made in the first few minutes, you might move on to talk about what the person does for a living, where he or she lives, and what hobbies he or she pursues. Stay attuned to the interactive chemistry that is developing. Eventually, it may be appropriate to touch upon more personal topics: likes and dislikes, family life, values, and personal beliefs. This section will offer guidelines for starting a conversation, and tips on how to keep it going, when to change the subject, and how to create the opportunity for a graceful exit as the conversation ends.

Changing Topics Changing topics gracefully is the hallmark of an excellent conversationalist. Changing topics keeps the conversation fresh and allows you to explore further ideas of mutual interest. And if you detect that your conversational partner is uncomfortable with a subject, or not interested in it, changing the topic will be tactful and greatly appreciated. Good conversations usually move naturally from one subject to the next. Sometimes, the movement will be to a somewhat unrelated area. The important thing is to go with the flow. The best way to change the subject is to guide the conversation based on information you were given earlier. Suppose your conversation focuses on volleyball, and your partner mentions having enjoyed volleyball on the beach in Florida last month. As the discussion of volleyball winds down, you might elect to return to the topic of Florida—when and where your partner visited, what places you are familiar with or would like to see, and so on. A second way to change subjects is to branch off from the “available” topics by referring to the event at hand: At a party: “Have you tried the crab dip? It’s really terrific.” “Can I freshen your drink?” “I simply must have some more chicken wings. The sauce is amazing!” At a book club meeting: “I wanted to go and compliment the author. I see he’s free now.” These are friendly gestures, and leave open two possibilities: the chance for a graceful exit on either part, or the possibility of continuing the conversation at the refreshment table or in line near the author. It’s important to be able to change subjects quickly if you sense that your companion is losing interest or is sensitive to something you’ve touched upon (body language will tell you if words do not). Providing easy outs is the considerate thing to do.

Have you plans for the evening?” “Maybe I’ll embroider another pillowcase.” The corners of his mouth flattened. “I’ll take you driving tomorrow afternoon, weather permitting.” She folded her arms, not at all prepared to allow his high-handedness. “Perhaps I’m busy tomorrow afternoon. Perhaps I have plans, and perhaps a smitten suitor would patiently wait until his invitation fits in with his lady’s plans.” “It wasn’t an invitation.” “My point exactly.” She turned on her heel, intent on making a dignified exit, but he stopped her with a hand on her shoulder. When she turned back to him, he did not drop his hand, but rather, drew one finger along her jaw. “I beg your pardon, Miss Windham. Does it suit your plans to join me for a drive tomorrow afternoon? I’d be ever so grateful for your company.” There was no smile lurking around his mouth, no humor in his eyes, and Maggie’s insides started to flutter most inconveniently. He looked for all the world like a man whose every happiness depended on her answer. Damn him. “Gracious, Mr. Hazlit. When you ask so prettily, I can but consent.

I’m sorry for taking so long.” Tori straightened her shoulders as if readying herself for battle, then traipsed down the steps to the street. “I had a few last-minute details to see to.” Ben hurried around the back of the wagon to meet her and had opened his mouth to offer assurances that the delay was no problem when Lewis popped his head up. “About time! Sheesh, Ma. You took for-ev-er.” Ben cast a warning glance at the boy. “I’m sure whatever your ma was doing was important.” He turned back to Tori and gave her his most charming grin. “She’s worth waiting on.” Her lips tightened at that, but into a shape that looked more like disapproval than appreciation of a compliment. So much for his charm. “Yes, well . . . I suggest we delay no longer.” Tori lengthened her stride, giving him no chance to assist her into the wagon. She scrambled up the wheel spokes and onto the bench before he could even think about fitting his hands to her waist and hoisting her up. Unfortunate, that. Ben shrugged off his disappointment and moved forward to give his team a final check before climbing into the driver’s seat. Emma handed a large basket up to Tori and wished her farewell while Grace Mallory waved from behind the store railing. As he clucked to his Shires and set the wagon in motion, Ben grinned to himself. One of the best parts of this plan to call on area homesteaders was the sheer number of times they’d be required to enter and exit the wagon. Tori might have escaped him this time, but he’d have a couple dozen more chances to wrap his fingers around her slender waist.

My favourite quotes, Part Two -- from Michael Connelly's "Harry Bosch" series The Black Box On Bosch’s first call to Henrik, the twin brother of Anneke - Henrik: "I am happy to talk now. Please, go ahead.” “Thank you. I, uh, first want to say as I said in my email that the investigation of your sister’s death is high priority. I am actively working on it. Though it was twenty years ago, I’m sure your sister’s death is something that hurts till this day. I’m sorry for your loss.” “Thank you, Detective. She was very beautiful and very excited about things. I miss her very much.” “I’m sure you do.” Over the years, Bosch had talked to many people who had lost loved ones to violence. There were too many to count but it never got any easier and his empathy never withered. The Burning Room 2 Grace was a young saxophonist with a powerful sound. She also sang. The song was “Somewhere Over the Rainbow,” and she produced a sound from the horn that no human voice could ever touch. It was plaintive and sad but it came with an undeniable wave of underlying hope. It made Bosch think that there was still a chance for him, that he could still find whatever it was he was looking for, no matter how short his time was. ---------------- He grabbed his briefcase off his chair and walked toward the exit door. Before he got there, he heard someone clapping behind him. He turned back and saw it was Soto, standing by her desk. Soon Tim Marcia rose up from his cubicle and started to clap. Then Mitzi Roberts did the same and then the other detectives. Bosch put his back against the door, ready to push through. He nodded his thanks and held his fist up at chest level and shook it. He then went through the door and was gone. The Burning Room 3 “What do you want to know, Bosch?” Harry nodded. His instinct was right. The good ones all had that hollow space inside. The empty place where the fire always burns. For something. Call it justice. Call it the need to know. Call it the need to believe that those who are evil will not remain hidden in darkness forever. At the end of the day Rodriguez was a good cop and he wanted what Bosch wanted. He could not remain angry and mute if it might cost Orlando Merced his due. ------------ “I have waited twenty years for this phone call . . . and all this time I thought it would go away. I knew I would always be sad for my sister. But I thought the other would go away.” “What is the other, Henrik?” Though he knew the answer. “Anger . . . I am still angry, Detective Bosch.” Bosch nodded. He looked down at his desk, at the photos of all the victims under the glass top. Cases and faces. His eyes moved from the photo of Anneke Jespersen to some of the others. The ones he had not yet spoken for. “So am I, Henrik,” he said. “So am I.” Angle of Investigation 1972 They were heading south on Vermont through territory unfamiliar to him. It was only his second day with Eckersly and his second on the job. Now He knew that passion was a key element in any investigation. Passion was the fuel that kept his fire burning. So he purposely sought the personal connection or, short of that, the personal outrage in every case. It kept him locked in and focused. But it wasn’t the Laura syndrome. It wasn’t the same as falling in love with a dead woman. By no means was Bosch in love with June Wilkins. He was in love with the idea of reaching back across time and catching the man who had killed her. The Scarecrow At one time the newsroom was the best place in the world to work. A bustling place of camaraderie, competition, gossip, cynical wit and humor, it was at the crossroads of ideas and debate. It produced stories and pages that were vibrant and intelligent, that set the agenda for what was discussed and considered important in a city as diverse and exciting as Los Angeles.

Cunningham derived inspiration from studying the funeral rituals of various cultures. And she ended up adopting one from the Jewish tradition. In it, the person presiding over the funeral asks everyone except for the immediate family to form two lines facing each other, making a kind of human hallway from the gravesite to the cars. Then the rabbi asks the immediate family to turn away from the grave and walk down that makeshift aisle, and as they do so, to look into the eyes of their friends, who “are now like pillars of constancy and love.” Cunningham described it as “a way to usher them into the next part of their journey, and the next stage of their grieving.” As the family walks by, the people at the farthest-back part of the line fold in and follow them, and then the rest, slowly, join a kind of procession out of the cemetery. It is a simple structural process that helps organize a group and facilitate a graceful exit. Yet it does so in a purposeful way that supports the people who most need it, connects them to the people still present, and gives everyone a way to move forward together.

Picture yourself when you’re old and gray. Do you really want that version of you to be struggling financially because present you couldn’t stop buying faux-fur pillows at Target?

exit gracefully. heal and grow. don’t look back.

hung up the phone. For a moment, the room was silent, everyone’s eyes glued on me. I had given Mubarak my best advice. I had offered him a plan for a graceful exit. Any leader who replaced him, I knew, might end up being a worse partner for the United States—and potentially worse for the Egyptian people. And the truth was, I could have lived with any genuine transition plan he might have presented, even if it left much of the regime’s existing network intact. I was enough of a realist to assume that had it not been for the stubborn persistence of those young people in Tahrir Square, I’d have worked with Mubarak for the rest of my presidency, despite what he stood for—just as I would continue to work with the rest of the “corrupt, rotting authoritarian order,” as Ben liked to call it, that controlled life in the Middle East and North Africa.

Ifind it difficult to tear my eyes away from Iris as we walk down the aisle toward the exit of the church. She is the embodiment of elegance and grace, with her smile as dazzling as the new diamond band on her finger. The ring serves as a reminder of her promise to me.

Try not to say anything to yourself that you wouldn’t say to your best friend.

Coincidence or a trick of fate (Amalfitano remembered a time when he believed that nothing happened by chance, everything happened for some reason, but when was that time? he couldn't remember, all he could remember was that at some point this was what he believed), something that must hold some meaning, some larger truth, a sign of the terrible state of grace in which Padilla found himself, an emergency exit overlooked until now, or a message intended specifically for Amalfitano, a message perhaps signaling that he should have faith, that things that seemed to have come to a halt were still in motion, things that seemed like ruined statues were mending themselves and recovering.

Charlie. He must have called Ariel by mistake. Satisfied that she had everything that was vital, and informing Bruno that she would be sending a moving company for her furniture and other items, Ariel exited the building with as much grace as she could, having to walk out to her car accompanied by the tank-like security guard. At least Bruno had offered to carry her cardboard box. Unexpectedly, once they reached her sedan and Bruno had loaded her belongings into the trunk, he gave her a tight bear hug and said, “Sorry, Ms. H. This ain’t right.” Then he turned and strode away quickly—but not before she saw the misty shine in his eyes. “Thank you, Bruno!” she called after him, and he waved a meaty hand in the air but kept walking. In her car alone, Ariel felt her own eyes finally fill too. She cried all the way home, so upset that she barely noticed the traffic that would normally be the source of her evening stress. When she pulled into the driveway of her sprawling Mediterranean Revival, she made sure to tidy her makeup so that it wasn’t so apparent that she had been crying. She would be strong so that, when she broke the news to Katie, her daughter wouldn’t feel like everything was out of control.

Japanese lilies and her beautiful face In a crowded market place, People walked, moved; and quite a few preferred to amble, While I searched for my known space, Where she sells beauty’s earthly samples without too much too gamble, I walked past the busy spaces and the bustling market views, People haggling, a few arguing, It was like life was tasked to seek reviews, In ways pleasing and many a time annoying, Finally I reached there where I wanted to be, And there she was this beautiful maiden, And as she prospected every face, her eyes finally rested on me, For a while nothing existed, as if time its pace had forgotten, Only to be revived back to life, When the maiden at the flower shop said, “Hello, and welcome to the shop of beautiful life,” My eyes moved, my lips shivered and in response I only shook my head, I looked at flowers with different colours, And her eyes followed mine to every spot where they rested, I could be there, with the flowers and the maiden, for many hours, Because at this flower shop, all the flowers only of her beauty attested, She knew it too because the sparkle in her eyes was brewing with confidence, She knew she was like the most beautiful summer rose that ever existed, And I only visited the shop to feel surrounded by this beauty’s appeal so dense, Her beauty was not just a visual act but an experience, where a new appeared as soon as the old exited, She was pure beauty, and maybe my only and my wilful addiction, While I was soaking in this experience of charm and beauty, She tenderly felt my hand trembling with love’s affliction, “Here, look at these new samples of eternal beauty,” She said this with a professional tone and demand, They were small clusters of white charm, Beautiful as anything beautiful can be resting peacefully in beauty’s eternal wand, Peaceful to look at that always kindled feelings warm, It was such a delight to witness and see, Then she silently quoth this, “They are called the Japanese lilies that sparkle like the pearls from the deepest sea, They look like joys suspended on the branches of bliss, These beautiful Japanese lilies bearing the sparkle of the pearl from the deepest sea.” I again nodded my head with a smile, As I looked at them closely, They indeed were clusters of white joy hanging there with a beautiful smile, And I said hurriedly, “certainly!” Then I realised something strange, They were bending downwards, as if gravity pulled them harder, It was nothing like flowers at other shops, so it indeed was very strange, I looked at all the flowers and then I looked at her, And there it was, in her eyes, her beautiful face her overall grace, That the flowers in her shop felt so inferior, Because all Japanese lilies and every Summer flower was but a reflection of her face, And it was difficult to tell whether they were her lovers or she was there lover, But to me, they all shone as the brilliance in her eyes, The rose had offered her its blush, The lies had granted her the twinkling miracle of the night skies, And all other flowers had rendered her eternally beautiful and lush, And whenever they looked at her, The flowers drooped a bit, And maybe that is why I buy all my flowers from her, Because like these helpless flowers I too love her every bit, and thus my love affair with her and her flowers has matured bit by bit! And now neither the flowers nor I can quit, So it is an affair that shall last till eternity and this is how I prefer it, She loving the flowers, I loving her, and as soon as my memory amidst her beautiful memories is lit, Then I am sure, like these flowers, and like me; now she too cannot quit, not even a bit!

Do you like horses?" "Truth be told, the only thing I love more is dragons." Wren whistles, and a whinny resounds throughout the air. I spin around, marveling as a horse gallops through the field of jasmine. She's like a bolt of obsidian in a blanket of white, her breaths like little gusts of wind. She rears several times once she's next to Wren, stomping her front hooves until he reaches out to pet her. "This is Nerra. She will take us where we must go." Like an acrobat performing a trick for the umpteenth time, Wren hops onto Nerra's back effortlessly. He reaches a hand out to me, and I climb on. He places my hands around his waist, and I swallow hard. "Hold on tight. You're in for a treat," he says. On the count of three, he kicks Nerra into a gallop. The horse is like a dragon bound to the earth. Her gait is smooth, her gallop so strong it practically feels like she's trying to take flight with each stride. I hold on tightly to Wren. We head north. Dressed in bright garments that appear to be dipped in a ray of sunlight, Emerald flitters around as we enter a field of daisies. "Hi," Wren says. "We're on our way to see Omniscius." Emerald gives a graceful nod, following behind Nerra with several other fairies. Much to my delight, as we exit the field of daisies and encroach on a field of red roses, the fairies' beautiful yellow garments turn red. Wren's shirt and my dress do the same.

July 20 The Opening Lines Then they cried to the LORD in their trouble, and he saved them from their distress. He sent out his word and healed them; he rescued them from the grave. Let them give thanks to the LORD for his unfailing love. Psalm 107:19–21 NIV Some of you live in such road-weary bodies: knees ache, eyes dim, skin sags. Others exited the womb on an uphill ride. While I have no easy answers for your struggle, I implore you to see your challenge in the scope of God’s story. View these days on earth as but the opening lines of his sweeping saga. Let’s stand with Paul on the promise of eternity. So we’re not giving up. How could we! Even though on the outside it often looks like things are falling apart on us, on the inside, where God is making new life, not a day goes by without his unfolding grace. These hard times are small potatoes compared to the coming good times, the lavish celebration prepared for us. There’s far more here than meets the eye. The things we see now are here today, gone tomorrow. But the things we can’t see now will last forever. (2 Corinthians 4:16–18 MSG) Your suffering isn’t the end of the story. It’s the opening scene of God’s saga.

July 20 The Opening Lines Then they cried to the LORD in their trouble, and he saved them from their distress. He sent out his word and healed them; he rescued them from the grave. Let them give thanks to the LORD for his unfailing love. Psalm 107:19–21 NIV Some of you live in such road-weary bodies: knees ache, eyes dim, skin sags. Others exited the womb on an uphill ride. While I have no easy answers for your struggle, I implore you to see your challenge in the scope of God’s story. View these days on earth as but the opening lines of his sweeping saga. Let’s stand with Paul on the promise of eternity. So we’re not giving up. How could we! Even though on the outside it often looks like things are falling apart on us, on the inside, where God is making new life, not a day goes by without his unfolding grace. These hard times are small potatoes compared to the coming good times, the lavish celebration prepared for us. There’s far more here than meets the eye. The things we see now are here today, gone tomorrow. But the things we can’t see now will last forever. (2 Corinthians 4:16–18 MSG) Your suffering isn’t the end of the story. It’s the opening scene of God’s saga. God’s Story, Your

Even in the face of certain adversity, a true lady always makes a graceful exit.

I looked out of my hotel room window at the Harare skyline and could hardly believe that I was in Zimbabwe. I had wanted to come to this country for so many years, and by God’s grace, I was finally here!

Too bad it was buried before Shakespeare,” Darren continues. “This stage never saw the likes of Romeo or Macbeth.” I whirl around to face him in horror. “No no no no no, don’t say the M word!” “What M word? Macbeth?” “‘Angels and ministers of grace defend us,’” I mutter, turning from him and heading for the exit. “Pippa, what are you doing?” he asks, right on my heels. I stop inside the tunnel and he bumps into me, clutching my elbows to steady me. “I’m sorry,” I say, shaking my head as embarrassed laughter overtakes me. “Theater background. Superstitious bunch.” “You’re superstitious?” His rough voice echoes above our heads, so he leans in closer and says, “I didn’t really see that coming.” “I’m usually not, but I guess that got ingrained. Everyone in my circle knows not to say that inside a theater.” “Bad luck, I take it?” he asks. I nod and he observes the place one more time before following me out. “Not to be insensitive to our surroundings or anything, but I think bad luck’s already done its business here.” “Old habits…blow up in your face.” I adjust my ponytail and try to concentrate on what’s around us, but from the corner of my eyes I see Darren bite his lip. I’m not sure if he finds this new information about me endearing or insane.

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?

Trying to retain his enthusiasm, he led her toward the opening in the overgrown boxwood hedge where a pair of musk rose bushes formed a thorny turnstile, marking the exit from the garden to the fallow fields and woods beyond. They stopped to take deep, lung-filling inhalations of the musk roses' delicious, honeylike perfume. Exclaiming with unaffected joy at the roses' late-blooming beauty, Alice cupped one of the creamy white blossoms gracefully in her gloved hand. He picked one, pulled off the thorns, and offered it to her. She took it in silence, searching his face warily, then turned away and walked on. Lucien just stood there watching her, praying he wouldn't do anything wrong.