Fascinating Place Quotes

So you don't ever get angry at him?" Jem laughed out loud. "I would hardly say that. Sometimes I want to strangle him." "How on earth do you prevent yourself?" "I go to my favorite place in London," said Jem, "and I stand and look at the water, and I think about the continuity of life, and how the river rolls on, oblivious of the petty upsets in our lives." Tessa was fascinated. "Does that work?" "Not really, but after that I think about how I could kill him while he slept if I really wanted to, and then I feel better.

Sometimes, it is not the kings and queen who make for the most fascinating history but the shadowy souls who happen to be in the right place at the right time.

I walked past Malison, up Lower Main to Main and across the road. I didn’t need to look to know he was behind me. I entered Royal Wood, went a short way along a path and waited. It was cool and dim beneath the trees. When Malison entered the Wood, I continued eastward.  I wanted to place his body in hallowed ground. He was born a Mearan. The least I could do was send him to Loric. The distance between us closed until he was on my heels. He chose to come, I told myself, as if that lessened the crime I planned. He chose what I have to offer. We were almost to the cemetery before he asked where we were going. I answered with another question. “Do you like living in the High Lord’s kitchens?” He, of course, replied, “No.” “Well, we’re going to a better place.” When we reached the edge of the Wood, I pushed aside a branch to see the Temple of Loric and Calec’s cottage. No smoke was coming from the chimney, and I assumed the old man was yet abed. His pony was grazing in the field of graves. The sun hid behind a bank of clouds. Malison moved beside me. “It’s a graveyard.” “Are you afraid of ghosts?” I asked. “My father’s a ghost,” he whispered. I asked if he wanted to learn how to throw a knife. He said, “Yes,” as I knew he would.  He untucked his shirt, withdrew the knife he had stolen and gave it to me. It was a thick-bladed, single-edged knife, better suited for dicing celery than slitting a young throat. But it would serve my purpose. That I also knew. I’d spent all night projecting how the morning would unfold and, except for indulging in the tea, it had happened as I had imagined.  Damut kissed her son farewell. Malison followed me of his own free will. Without fear, he placed the instrument of his death into my hand. We were at the appointed place, at the appointed time. The stolen knife was warm from the heat of his body. I had only to use it. Yet I hesitated, and again prayed for Sythene to show me a different path. “Aren’t you going to show me?” Malison prompted, as if to echo my prayer.

As she was putting her boots on Daisy threw a barb over her shoulder that struck Connie right in the middle of her chest. ‘Grow up, Connie! This place is not for faint-hearted romantics!

I think being a teenager is such a compelling time period in your life--it gives you some of your worst scars and some of your most exhilarating moments. It's a fascinating place; old enough to feel truly adult, old enough to make decisions that affect the rest of your life, old enough to fall in love, yet, at the same time too young (in most cases) to be free to make a lot of those decisions without someone else's approval.

I want my children to understand the world, but not just because the world is fascinating and the human mind is curious. I want them to understand it so that they will be positioned to make it a better place

Everyone knows that Africa is not reasonable place but if we can get
across that neither are we, we strengthen the bond with the continent.
People are not conscious beings, just ask any marketer. Irrationality
of the early explorers, irrationality of the new ones, irrationality
of the place we go into. What a great canvas we have to paint on...

Libraries are fascinating places; sometimes you feel you are under the canopy of a railway station, and when you read books about exotic places there's a feeling of traveling to distant lands.

And believe it or not, we did end up going to the bottom of the ocean, just not for the reasons I had wanted to go there in the first place.

There is a distinct difference between "suspense" and "surprise," and yet many pictures continually confuse the two. I'll explain what I mean. We are now having a very innocent little chat. Let's suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, "Boom!" There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o'clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: "You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!" In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story.

For most people, there are only two places in the world. Where they live and their TV set. If a thing happens on television, we have every right to find it fascinating, whatever it is.

There is something particularly fascinating about seeing places you know in a piece of art - be that in a film, or a photograph, or a painting.

There is nothing I love more than traveling to a place where I know nobody, and where everything will be a surprise, and then writing about it. It’s like having a new lover—even the parts you aren’t crazy about have the crackling fascination of the unfamiliar.

But there are people who take salt with their coffee. They say it gives a tang, a savour, which is peculiar and fascinating. In the same way there are certain places, surrounded by a halo of romance, to which the inevitable disillusionment you experience on seeing them gives a singular spice. You had expected something wholly beautiful and you get an impression which is infinitely more complicated than any that beauty can give you. It is the weakness in the character of a great man which may make him less admirable but certainly more interesting. Nothing had prepared me for Honolulu...

I think that the idea of finding another person to share your life with is the most fascinating, beautiful quest you could ever be on in life. And yes, living your dreams is so important too, and a lot of times I’ve put that before everything else. But then you get to a place where the whole time you’re living these dreams, you look beside you to say to someone, “Hey, isn’t this so much fun?” And if there’s no one there to say it to, what’s the point?

There are five unread messages on the screen, which is what happens when you’re the meat in a hot girl sandwich. Threesomes trump checking your phone. That’s a no-brainer. Logan: Hey, bro, Wellsy’s friend Allie is crashing at our place this weekend. Logan: Keep your dick in your pants. G and I aren’t in the mood to beat u senseless if u try something. Wellsy might be in the mood for violence, tho. So: dick = pants = don’t bother our guest. Hannah: Allie’s staying with u guys til Sunday. She’s in a vulnerable place right now. Don’t take advantage of her or else I’ll be unhappy. And u don’t want to make me unhappy, do u? I snicker. Hannah, diplomatic as always. I quickly scan the last two messages. Garrett: Allie’s gonna crash in my room. Garrett: Your dick can stay in your room. Jeez, what is everybody’s fascination with my dick?

...so now, Mrs. Ramsay thought, she could return to that dream land, that unreal but fascinating place, the Manning's drawing-room at Marlow twenty years ago; where one moved about without haste or anxiety, for there was no future to worry about. She knew what had happened to them, what to her. It was like reading a good book again, for she knew the end of that story, since it had happened twenty years ago, and life, which shot down even from this dining-room table in cascades, heaven knows where, was sealed up there, and lay, like a lake, placidly between its banks.

People travel to faraway places to watch, in fascination, the kind of people they ignore at home.

People travel to faraway places to watch, in fascination, the kind of people they ignore at home.

Don’t you think the stairs are a good place for reading letters? I do. One is somehow suspended. One is on neutral ground - not in one’s own world nor in a strange one. They are an almost perfect meeting place. Oh Heavens! How stairs do fascinate me when I think of it. Waiting for people - sitting on strange stairs - hearing steps far above, watching the light playing by itself - hearing - far below a door, looking down into a kind of dim brightness, watching someone come up. But I could go on forever. Must put them in a story though! People come out of themselves on stairs - they issue forth, unprotected.

When I was a kid, I was fascinated by space And I learnt that time slows near a black hole. Inside a black hole, time stops altogether. Whether or not this theory will ever be proved, I’m moved to believe this would be the perfect place to love someone.

Since we place so much value on human life, why do we glorify, in a perverse sort of way, the extinguishment of life? The answer to that question, whatever it is, is at least a partial answer to why people continue to be fascinated by Hitler, Jack the Ripper—Manson.

An afternoon drive from Los Angeles will take you up into the high mountains, where eagles circle above the forests and the cold blue lakes, or out over the Mojave Desert, with its weird vegetation and immense vistas. Not very far away are Death Valley, and Yosemite, and Sequoia Forest with its giant trees which were growing long before the Parthenon was built; they are the oldest living things in the world. One should visit such places often, and be conscious, in the midst of the city, of their surrounding presence. For this is the real nature of California and the secret of its fascination; this untamed, undomesticated, aloof, prehistoric landscape which relentlessly reminds the traveller of his human condition and the circumstances of his tenure upon the earth. "You are perfectly welcome," it tells him, "during your short visit. Everything is at your disposal. Only, I must warn you, if things go wrong, don't blame me. I accept no responsibility. I am not part of your neurosis. Don't cry to me for safety. There is no home here. There is no security in your mansions or your fortresses, your family vaults or your banks or your double beds. Understand this fact, and you will be free. Accept it, and you will be happy.

I first became fascinated with the Sears catalogue because all the people in its pages were perfect. Nearly everybody I knew had something missing, a finger cut off, a toe split, an ear half-chewed away, an eye clouded with blindness from a glancing fence staple. And if they didn't have something missing, they were carrying scars from barbed wire, or knives, or fishhooks. But the people in the catalogue had no such hurts. They were not only whole, had all their arms and legs and eyes on their unscarred bodies, but they were also beautiful.

They [human lives] are composed like music. Guided by his sense of beauty, an individual transforms a fortuitous occurrence (Beethoven’s music, death under a train) into a motif, which then assumes a permanent place in the composition of the individual’s life. Anna could have chosen another way to take her life. But the motif of death and the railway station, unforgettably bound to the birth of love, enticed her in her hour of despair with its dark beauty. Without realizing it, the individual composes his life according to the laws of beauty even in times of greatest distress. It is wrong, then, to chide the novel for being fascinated by mysterious coincidences (like the meeting of Anna, Vronsky, the railway station, and death or the meeting of Beethoven, Tomas, Tereza, and the cognac), but it is right to chide man for being blind to such coincidences in his daily life. For he thereby deprives his life a dimension of beauty.

Reading transported me to exotic places, fascinating periods in history, and worlds that were vastly different from my own.

There was something so unreal about her, sitting there. I couldn’t even see her face; couldn’t discern the outline of her figure. Even then she fascinated me. That she could seem so calm, so still. She would sit in one place for hours at a time, unmoving, and I always wondered where she was in her mind, what she might be thinking, how she could possibly exist in that solitary world. More than anything else, I wanted to hear her speak. I was desperate to hear her voice.

The world is a fascinating place. How could anyone be bored? Look around and there are a hundred amazing things to investigate.

But when I was seven or eight years old, the film that changed my life was Titanic. It amazed me that it was a story that took place a hundred years ago. Those people living in 1912 had better technology than most North Koreans! But mostly I couldn’t believe how someone could make a movie out of such a shameful love story. In North Korea, the filmmakers would have been executed. No real human stories were allowed, nothing but propaganda about the Leader. But in Titanic, the characters talked about love and humanity. I was amazed that Leonardo DiCaprio and Kate Winslet were willing to die for love, not just for the regime, as we were. The idea that people could choose their own destinies fascinated me. This pirated Hollywood movie gave me my first small taste of freedom.

When the web started, I used to get really grumpy with people because they put my poems up. They put my stories up. They put my stuff up on the web. I had this belief, which was completely erroneous, that if people put your stuff up on the web and you didn’t tell them to take it down, you would lose your copyright, which actually, is simply not true. And I also got very grumpy because I felt like they were pirating my stuff, that it was bad. And then I started to notice that two things seemed much more significant. One of which was… places where I was being pirated, particularly Russia where people were translating my stuff into Russian and spreading around into the world, I was selling more and more books. People were discovering me through being pirated. Then they were going out and buying the real books, and when a new book would come out in Russia, it would sell more and more copies. I thought this was fascinating, and I tried a few experiments. Some of them are quite hard, you know, persuading my publisher for example to take one of my books and put it out for free. We took “American Gods,” a book that was still selling and selling very well, and for a month they put it up completely free on their website. You could read it and you could download it. What happened was sales of my books, through independent bookstores, because that’s all we were measuring it through, went up the following month three hundred percent. I started to realize that actually, you’re not losing books. You’re not losing sales by having stuff out there. When I give a big talk now on these kinds of subjects and people say, “Well, what about the sales that I’m losing through having stuff copied, through having stuff floating out there?” I started asking audiences to just raise their hands for one question. Which is, I’d say, “Okay, do you have a favorite author?” They’d say, “Yes.” and I’d say, “Good. What I want is for everybody who discovered their favorite author by being lent a book, put up your hands.” And then, “Anybody who discovered your favorite author by walking into a bookstore and buying a book raise your hands.” And it’s probably about five, ten percent of the people who actually discovered an author who’s their favorite author, who is the person who they buy everything of. They buy the hardbacks and they treasure the fact that they got this author. Very few of them bought the book. They were lent it. They were given it. They did not pay for it, and that’s how they found their favorite author. And I thought, “You know, that’s really all this is. It’s people lending books. And you can’t look on that as a loss of sale. It’s not a lost sale, nobody who would have bought your book is not buying it because they can find it for free.” What you’re actually doing is advertising. You’re reaching more people, you’re raising awareness. Understanding that gave me a whole new idea of the shape of copyright and of what the web was doing. Because the biggest thing the web is doing is allowing people to hear things. Allowing people to read things. Allowing people to see things that they would never have otherwise seen. And I think, basically, that’s an incredibly good thing.

...This is a place of learning where very few learn anything of value. That you, who have courage and intelligence, are held in contempt by most of your kind here because you have no sorcery... I have seen you protect others, though they consider you to be weaker than they. I have seen a very few decent people, like the boy we took from the tower. I have seen women trade pleasure for coin to feed their children, and others do the same so that they could ignore their children while making themselves foolish with wines and powders. I have seen men who labor as long as the sun is up go home to wives who hold them in contempt for never being there. I have seen men beat and use those whom they should protect, even their own children. I have seen your kind place others of their own in slavery. I have seen them fighting to be free of the same. I have seen men of the law betray it, men who hate the law be kind. I have seen gentle defenders, sadistic healers, creators of beauty scorned while craftsmen of destruction are worshiped. Your Kind, Aleran, are the most vicious and gentle, most savage and noble, most treacherous and loyal, most terrifying and fascinating creatures I have ever seen.

My entire life, I've been fascinated with stories. To everyone else, it seemed like the story itself was enough. But I wanted to know why someone told the story in the first place. Had something happened? Or were they only wishing for something to happen?

It spread out its wings, fitted them carefully into place again, ducked its head for a moment, as though making a sort of obeisance to the sun, and then began to pour forth a torrent of a song. In the afternoon hush the volume of sound was startling. Winston and Julia clung together, fascinated. The music went on and on, minute after minute, with astonishing variations, never once repeating itself, almost as though the bird were deliberately showing off its virtuosity ... For whom, for what, was that bird singing? No mate, no rival was watching it. What made it sit at the edge of the lonely wood and pour its music into nothingness?

The body is an arrangement in spacetime, a patterning, a process; the mind is a process of the body, an organ, doing what organs do: organize. Order, pattern, connect. . . . an immensely flexible technology, or life strategy, which if used with skill and resourcefulness presents each of us with that most fascinating of all serials, The Story of My Life.

she seemed not to worry very much about ghings, but rather to accept the world as a fascinating and unusual place where anything might happen memory keepers daugher

There is, it must be confessed, a curious fascination in hearing deep things talked about, even tho neither we nor the disputants understand them. We get the problematic thrill, we feel the presence of the vastness. Let a controversy begin in a smoking-room anywhere, about free-will or God's omniscience, or good and evil, and see how everyone in the place pricks up his ears. Philosophy's results concern us all most vitally, and philosophy's queerest arguments tickle agreeably our sense of subtlety and ingenuity.

[Y]ou’re someone who took up birds in the first place because they fired your imagination; they fascinated you because ‘they seemed of all created beings the nearest to pure spirit- those little creatures with a normal temperature of 125°.

Whenever I travel through crowded places, I'm struck by how human beings en masse are so incredibly hideous, while individual humans can be so heartbreakingly beautiful. Congregated: ugly, ubiquitous, and repellent. Individually: nuanced, intricate, beautiful, and unknowable. Fragile, separate, singular...fascinating. This just kills me.

Feebleness of will brings about weakness of head, and the abyss, in spite of its horror, comes to fascinate us, as though it were a place of refuge. Terrible danger! For this abyss is within us; this gulf, open like the vast jaws of an infernal serpent bent on devouring us, is in the depth of our own being, and our liberty floats over this void, which is always seeking to swallow it up.

She watched as it grew before her eyes. Then it hit her, he hadn't been erect in the first place. Well exactly how big did that thing get anyway? Was that normal, even by shifter standards? And why did she suddenly care? "Uh...doc?" Horrified but not willing to show it, Irene looked into Van Holtz's face. And yes, the smirk was decidedly worse now. "Looking for anything in particular there?" "No," she answered honestly, "just fascinated by the size. It seems inordinately large.

Perhaps you’re fascinated by the contours of my cheeks with skin like bed sheets that hide all of the complexities of what’s underneath, and present an image of simplicity (that is easier to digest than skipping heart beats for hairy legs). I wonder if these next six nights of not having to feel so alone will make you wondrous in keeping me as a bedside table: to place your hard times on before you get the forty winks your eyes need to glisten in the midday light of my bedroom. And it’s hard to fall back into sleep when I’ve fallen in love with studying the one that lies next to me. I wonder if you’ve found landscapes in my elbows like I’ve found ebbing tides in your forehead. Perhaps your love for me is fleeting, and you’ll have moments where you consider tearing yourself even further apart, but as soon as it’s possible you close your eyes again, fall out of the thought and back into sleep. But, perhaps you’ll keep me as a bedside table: to place your brain things in my cupboards, to place your step dad in my cupboards, to place your sad eyes in my drawers, to put your heart ache in my mouth, your desire for love in bite marks on my neck, and your misty breath in my ears whispering ‘you are so important to me’. -Bedside Table

Moreover, knowledge and investigation help promote wonder they do not destroy it. Whatever our tastes, we can generally appreciate such things as music, art or wine better when we understand a bit about them. We read up on our favourite singers or artists because we feel we can appreciate their work better when we know how they think and what they bring to their work. The giddy delight and curiosity that comes from marvelling at the beauty of this universe is deepened, not cheapened, by the laws and facts science gives us to aid our understanding. In a similar way, the psychological tricks at work behind many seemingly paranormal events are truly more fascinating than the explanation of other-worldiness precisely because they are of this world, and say something about how rich and complex and mysterious we are as human beings to be convinced by such trickery, indeed to want to perpetuate it in the first place.

There was a peculiar fascination for Dorothea in this division of property intended for herself, and always regarded by her as excessive. She was blind, you see, to many things obvious to others - likely to tread in the wrong places, as Celia had warned her; yet her blindness to whatever did not lie in her own pure purpose carried her safely by the side of precipices where vision would have been perilous with fear.

We worked well together because I was quiet, fascinated by her stories of Wisconsin, which, as she told it, was not only the center of the universe but the place where all life began.

The Restaurant at the End of the Universe is one of the most extraordinary ventures in the entire history of catering. It is built on the fragmented remains of an eventually ruined planet which is (wioll haven be) enclosed in a vast time bubble and projected forward in time to the precise moment of the End of the Universe. This is, many would say, impossible. In it, guests take (willan on-take) their places at table and eat (willan on eat) sumptuous meals while watching (willing watchen) the whole of creation explode around them. This, many would say, is equally impossible. You can arrive (mayan arrivan on-when) for any sitting you like without prior (late fore-when) reservation because you can book retrospectively, as it were, when you return to your own time (you can have on-book haventa forewhen presooning returningwenta retrohome). This is, many would now insist, absolutely impossible. At the Restaurant you can meet and dine with (mayan meetan con with dinan on when) a fascinating cross-section of the entire population of space and time. This, it can be explained patiently, is also impossible. You can visit it as many times as you like (mayan on-visit re onvisiting ... and so on – for further tense correction consult Dr. Streetmentioner's book) and be sure of never meeting yourself, because of the embarrassment this usually causes.

We all accepted that this land was a gate to that other world, the realm of spirits and dreams and the Fair Folk, without any question. The place we grew up in was so full of magic that it was almost a part of everyday life - not to say you'd meet one of them every time you went out to pick berries, or draw water from your well, but everyone we knew had a friend of a friend who'd strayed too far into the forest, and disappeared; or ventured inside a ring of mushrooms, and gone away for a while, and come back subtly changed. Strange things could happen in those places. Gone for maybe fifty years you could be, and come back still a young girl; or away for no more than an instant by moral reckoning, and return wrinkled and bent with age. These tales fascinated us, but failed to make us careful. If it was going to happen to you, it would happen, whether you liked it or not.

something which had taken place had not taken place for me; the fascination of my book, a magic as potent as the deepest slumber, had stopped my enchanted ears and had obliterated the sound of that golden bell from the azure surface of the enveloping silence.

I shook my head. "it's not about living in a city." It wasn't. Back then, it wasn't just getting away. It was about not coming back. It wasn't just the size and sensibility of this place that made in unbearable, but its pull - the weird magnetism that could sap your ambition, clip your wings, leave you inert and fascinated and sinking ever deeper into the choking quicksand of small-town life.

Planning a career should be like traveling in a foreign country. Even if you prepare carefully, have an itinerary and a place to stay at night, the most interesting experiences usually aren’t planned. You might end up meeting a fascinating person who shows you places that aren’t in the guidebook, or you might miss your train and end up spending the day exploring a small town you hadn’t planned to visit.

I could not possibly have been placed in circumstances more highly favorable for study and exploration than those which I now enjoy. I am free from the distractions constantly arising in civilized life from social claims. Nature offers unceasingly the most novel and fascinating objects for learning. The only drawbacks to this solitude are the want of information on the progress of scientific discovery in Europe and the lack of all the advantages arising from an interchange of ideas.

Silence is banished from our screens; it has no place in communication. Media images (and media texts resemble media images in every way) never fall silent: images and messages must follow one upon the other without interruption. But silence is exactly that - a blip in the circuitry, that minor catastrophe, that slip which, on television for instance, becomes highly meaningful - a break laden now with anxiety, now with jubilation, which confirms the fact that all this communication is basically nothing but a rigid script, an uninterrupted fiction designed to free us not only from the void of the television screen but equally from the void of our own mental screen, whose images we wait on with the same fascination.

Four brothers,” Daphne said, shoving the wicket into the ground, “provide quite a marvelous education.” “The things you must have learned,” Kate said, quite impressed. “Can you give a man a black eye? Knock him to the ground?” Daphne grinned wickedly. “Ask my husband.” “Ask me what?” the duke called out from where he and Colin were placing a wicket on a tree root on the opposite side of the tree. “Nothing,” the duchess called out innocently. “I’ve also learned,” she whispered to Kate, “when it’s best just to keep one’s mouth shut. Men are much easier to manage once you understand a few basic facts about their nature.” “Which are?” Kate prompted. Daphne leaned forward and whispered behind her cupped hand, “They’re not as smart as we are, they’re not as intuitive as we are, and they certainly don’t need to know about fifty percent of what we do.” She looked around. “He didn’t hear that, did he?” Simon stepped out from behind the tree. “Every word.” Kate choked on a laugh as Daphne jumped a foot. “But it’s true,” Daphne said archly. Simon crossed his arms. “I’ll let you think so.” He turned to Kate. “I’ve learned a thing or two about women over the years.” “Really?” Kate asked, fascinated. He nodded and leaned in, as if imparting a grave state secret. “They’re much easier to manage if one allows them to believe that they are smarter and more intuitive than men. And,” he added with a superior glance at his wife, “our lives are much more peaceful if we pretend that we’re only aware of about fifty percent of what they do.” Colin approached, swinging a mallet in a low arc. “Are they having a spat?” he asked Kate. “A discussion,” Daphne corrected. “God save me from such discussions,” Colin muttered.

It fascinated me that Europeans could at once be so alike – that they could be so universally bookish and cerebral, and drive small cars, and live in little houses in ancient towns, and love soccer, and be relatively unmaterialistic and law-abiding, and have chilly hotel rooms and cosy and inviting places to eat and drink – and yet be so endlessly, unpredictably different from each other as well. I loved the idea that you could never be sure of anything in Europe.

Fascinating ... The whole thing [the school dance] seems to work on a similar principle to a supercollider. You know, two streams of opposingly charged particles accelerated till they're just under the speed of light, and then crashed into each other? Only here alcohol, accentuated secondary sexual characteristics and primitive "rock and roll" beats take the place of velocity.

Perhaps, she thought, in some parallel dimension, infinitely close and infinitely far away, another house existed alongside theirs, and in that other house lived fascinating people who did fascinating things and held fascinating talks over their dinner table—and though there was no doorway between the two places, one could occasionally stumble upon glimpses and echos of that other, brighter place, and for one single moment of miraculous serendipity, one could feel almost complete.

Thomas took a slow breath. His silver eyes grew even brighter. It was creepy as hell and fascinating. "I was hoping you knew a good spot. I sure as hell can't take him to my place." Molly's voice sharpened. "I don't even have a place," she said. "I still live at my parents' house." "Less whining," Thomas said, his voice cool. "More telling me a place to take him where he won't be killed.

I can become happy with the simplest things the most insignificant.. even the every day ones of every day. It is sufficient for me that weeks have Sundays and I am satisfied that years keep their Christmas for the very end that winters have stone houses dipped in snow that I know how to discover the hidden bitter herbs in their hiding places. It is enough for me that four people love me a lot.. It is enough for me that I love four people a lot.. that I spend my breath on them alone; that I am not afraid to remember; that I do not care if they remember me; that I can still cry and that I even sing..sometimes... that there is music which fascinates me and fragrances that enchant me..

People adore nothing more than to speak of themselves, and if you ever find yourself in a circumstance in which you fear your place or standing then all you must do is ask the other person something about him or herself, and they will forever after be convinced that you are the most fascinating individual they have ever encountered.

I know of no other place that is so fascinating yet so frustrating, so aware of the world and its own place within it but at the same time utterly insular. A country touched by nostalgia, with a past so great - so marked by brilliance and achievement - that French people today seem both enriched and burdened by it. France is like a maddening, moody lover who inspires emotional highs and lows. One minute it fills you with a rush of passion, the next you're full of fury, itching to smack the mouth of some sneering shopkeeper or smug civil servant. Yes, it's a love-hate relationship.

And if someone were to ask, Noah, what’s the most important aspect of story? I would most likely answer, character, but I’m not sure that’s true, because my favorite books contain my favorite places. I do not say, I love Harry Potter, or I love Frodo Baggins; I say, I love Hogwarts, and I love Middle-earth. Thoreau’s Walden is less about the book, more about the pond. The woods. And so setting, I think, is the secret weapon of storytelling. I always want to meet new people until I’ve met them. I think if I spend enough time with a person so we get woven together like an old basket, eventually we’ll think in similar patterns until our various histories are apples and oranges spilling over the edge of the basket, and I think this kind of shared history is dangerous. I think it’s okay to recognize a thing’s faults and still like that thing. Because apples and oranges spilling from a basket can be beautiful too. I think I’m whatever personality hates personality tests. I think nostalgia is just a soul’s way of missing a thing, and like long-distance love, nostalgia grows deeper with time until the reality of what a thing actually was gets blurred to the point you miss the idea of the thing more than the thing itself. I like the idea of hot cocoa more than drinking

Early in the novel that Tereza clutched under her arm when she went to visit Tomas, Anna meets Vronsky in curious circumstances: they are at the railway station when someone is run over by a train. At the end of the novel, Anna throws herself under a train. This symmetrical composition - the same motif appears at the beginning and at the end - may seem quite "novelistic" to you, and I am willing to agree, but only on condition that you refrain from reading such notions as "fictive," "fabricated," and "untrue to life" into the word "novelistic." Because human lives are composed in precisely such a fashion. They are composed like music. Guided by his sense of beauty, an individual transforms a fortuitous occurrence (Beethoven's music, death under a train) into a motif, which then assumes a permanent place in the composition of the individual's life. Anna could have chosen another way to take her life. But the motif of death and the railway station, unforgettably bound to the birth of love, enticed her in her hour of despair with its dark beauty. Without realizing it, the individual composes his life according to the laws of beauty even in times of greatest distress. It is wrong, then, to chide the novel for being fascinated by mysterious coincidences (like the meeting of Anna, Vronsky, the railway station, and death or the meeting of Beethoven, Tomas, Tereza, and the cognac), but it is right to chide man for being blind to such coincidences in his daily life. For he thereby deprives his life of a dimension of beauty.

Freud was fascinated with depression and focused on the issue that we began with—why is it that most of us can have occasional terrible experiences, feel depressed, and then recover, while a few of us collapse into major depression (melancholia)? In his classic essay “Mourning and Melancholia” (1917), Freud began with what the two have in common. In both cases, he felt, there is the loss of a love object. (In Freudian terms, such an “object” is usually a person, but can also be a goal or an ideal.) In Freud’s formulation, in every loving relationship there is ambivalence, mixed feelings—elements of hatred as well as love. In the case of a small, reactive depression—mourning—you are able to deal with those mixed feelings in a healthy manner: you lose, you grieve, and then you recover. In the case of a major melancholic depression, you have become obsessed with the ambivalence—the simultaneity, the irreconcilable nature of the intense love alongside the intense hatred. Melancholia—a major depression—Freud theorized, is the internal conflict generated by this ambivalence. This can begin to explain the intensity of grief experienced in a major depression. If you are obsessed with the intensely mixed feelings, you grieve doubly after a loss—for your loss of the loved individual and for the loss of any chance now to ever resolve the difficulties. “If only I had said the things I needed to, if only we could have worked things out”—for all of time, you have lost the chance to purge yourself of the ambivalence. For the rest of your life, you will be reaching for the door to let you into a place of pure, unsullied love, and you can never reach that door. It also explains the intensity of the guilt often experienced in major depression. If you truly harbored intense anger toward the person along with love, in the aftermath of your loss there must be some facet of you that is celebrating, alongside the grieving. “He’s gone; that’s terrible but…thank god, I can finally live, I can finally grow up, no more of this or that.” Inevitably, a metaphorical instant later, there must come a paralyzing belief that you have become a horrible monster to feel any sense of relief or pleasure at a time like this. Incapacitating guilt. This theory also explains the tendency of major depressives in such circumstances to, oddly, begin to take on some of the traits of the lost loved/hated one—and not just any traits, but invariably the ones that the survivor found most irritating. Psychodynamically, this is wonderfully logical. By taking on a trait, you are being loyal to your lost, beloved opponent. By picking an irritating trait, you are still trying to convince the world you were right to be irritated—you see how you hate it when I do it; can you imagine what it was like to have to put up with that for years? And by picking a trait that, most of all, you find irritating, you are not only still trying to score points in your argument with the departed, but you are punishing yourself for arguing as well. Out of the Freudian school of thought has come one of the more apt descriptions of depression—“aggression turned inward.” Suddenly the loss of pleasure, the psychomotor retardation, the impulse to suicide all make sense. As do the elevated glucocorticoid levels. This does not describe someone too lethargic to function; it is more like the actual state of a patient in depression, exhausted from the most draining emotional conflict of his or her life—one going on entirely within. If that doesn’t count as psychologically stressful, I don’t know what does.

[…] I began to see Algiers as one of the most fascinating and dramatic places on earth. In the small space of this beautiful but congested city intersected two great conflicts of the contemporary world. The first was the one between Christianity and Islam (expressed here in the clash between colonizing France and colonized Algeria). The second, which acquired a sharpness of focus immediately after the independence and departure of the French, was a conflict at the very heart of Islam, between its open, dialectical — I would even say “Mediterranean” — current and its other, inward-looking one, born of a sense of uncertainty and confusion vis-à-vis the contemporary world, guided by fundamentalists who take advantage of modern technology and organizational principles yet at the same time deem the defense of faith and custom against modernity as the condition of their own existence, their sole identity. […] In Algiers one speaks simply of the existence of two varieties of Islam — one, which is called the Islam of the desert, and a second, which is defined as the Islam of the river (or of the sea). The first is the religion practiced by warlike nomadic tribes struggling to survive in one of the world's most hostile environments, the Sahara. The second Islam is the faith of merchants, itinerant peddlers, people of the road and of the bazaar, for whom openness, compromise, and exchange are not only beneficial to trade, but necessary to life itself.

You're a handsome one, aren't you?" she cooed. "So strong and sturdy. What a good hasp you must have; what a firm sense of your purpose. But you've been holding your place for so long. You can't be expecting to stay closed forever. Why, that isn't fair! The people who put you here don't appreciate you the way I do. They don't understand how difficult it is to be a lock, and do the things you do. I would appreciate you always. I would never leave you alone in the rain to rust." "Are we watching a woman try to seduce a lock?" asked Andrew. "I'm not objecting if we are -- your kink is okay and all -- but I just want to confirm that everyone else is seeing what I'm seeing, here." The lock clicked as it released, popping open. "No, we're watch a woman successfully seduce a lock, said Jeffery. "Fascinating." "Her love life must involve a lot of handcuffs," I said, earning myself a snort from Ciara as she reached out and removed the padlock from its place on the door. "Don't ask about mine and I won't ask about yours," she said, making the lock disappear into her pocket.

There is nothing in this world that is more fascinating than human connection. There is something so mysterious about why the people that enter and exit your life are placed the way that they are. There is something so eerie about why your eyes will lock with someone and for some reason your heart unlocks. It could be a complete stranger, the cashier or even your best friend. A lot of times when this happens, you notice it. It’s not a passing thought, or a casual encounter; it takes you aback. It makes you uncomfortable and you don’t know why. The weirdest part is that you know that it’s mutual. You both recognize something in each other and you’re not quite sure what it is. That thing, that entity, it’s called humaneness. Connection can be a strange experience, but more often than not it is an insightful experience. Every person that enters your life is there to leave a mark, and teach a lesson. Every connection in its own association is patient, kind, truthful, protective, trusting and hopeful. Every connection essentially is a connection of love. And every encounter should be handled as an encounter of bless.

Sometimes it would even happen that this precocious hour would sound two strokes more than the last; there must then have been an hour which I had not heard strike; something which had taken place had not taken place for me; the fascination of my book, a magic as potent as the deepest slumber, had stopped my enchanted ears and had obliterated the sound of that golden bell from the azure surface of the enveloping silence.

This is one aspect of a reporter's job that never ceases to fascinate and disturb me: facts that go unreported do not exist. How many massacres, how many earthquakes happen in the world, how many ships sink, how many volcanoes erupt, and how many people are persecuted, tortured and killed. Yet if no one is there to see, to write, to take a photograph, it is as if these facts had never occurred, this suffering has no importance, no place in history. Because history exists only if someone relates it. Every little description of a thing observed one can leave a seed in the soil of memory - that keeps me tied to my profession.

Is it possible, I wonder, to study a bird so closely, to observe and catalogue its peculiarities in such minute detail, that it becomes invisible? Is it possible that while fastidiously calibrating the span of its wings or the length of its tarsus, we somehow lose sight of its poetry? That in our pedestrian descriptions of a marbled or vermiculated plumage we forfeit a glimpse of living canvases, cascades of carefully toned browns and golds that would shame Kandinsky, misty explosions of color to rival Monet? I believe that we do. I believe that in approaching our subject with the sensibilities of statisticians and dissectionists, we distance ourselves increasingly from the marvelous and spell binding planet of imagination whose gravity drew us to our studies in the first place. That is not to say that we should cease to establish facts and verify our information, but merely to suggest that unless those facts can be imbued with the flash of poetic insight then they remain dull gems; semi-precious stones scarcely worth the collecting.

For years afterward when Amory thought of Eleanor he seemed still to hear the wind sobbing around him and sending little chills into the places beside his heart. The night when they rode up the cold slope and watched the cold moon float through the clouds, he lost a further part of him that nothing could restore; and when he lost it he lost also the power of regretting it. Eleanor was, say, the last time that evil crept close to Amory under the mask of beauty, the last weird mystery that held him with wild fascination and pounded his soul to flakes.

Any historian of warfare knows that it is in good part a comedy of errors and a museum of incompetence; but if for every error and every act of incompetence one can substitute an act of treason, we can see how many points of fascinating interpretation are open to the paranoid imagination: treason in high places can be found at almost every turning -- and in the end the real mystery, for one who reads the primary works of paranoid scholarship, is not how the United States has been brought to its present dangerous position, but how it has managed to survive at all.

And yet, and yet. This place exerts an elemental pull on me. There is no end of fascinations. People talk all the time, calling on a sense of reality that is not identical to mine. They have wonderful solutions to some nasty problems; in this I see a nobility of spirit that is rare in the world. But also, there is much sorrow, not only of the dramatic kind but also in the way that difficult economic circumstances wear people down, eroding them, preying on their weaknesses, until they do things that they themselves find hateful, until they are shadows of their best selves.

Dear Producers, Something is radiating deep within me and it must be transmitted or I will implode and the world will suffer a great loss, unawares. Epic are the proportions of my soul, yet without a scope who cares am I? This is why I must but must be one of the inhabitants of MTV's "Real World." Only there, burning brightly into a million dazzled eyes, will my as yet uncontoured self assume the beauteous forms that are not just its own, but an entire market niche's, due. I am a Kirk Cameron-Kurt Cobain figure, roguishly quirky, dandified but down to earth, kooky but comprehensible; denizen of the growing penumbra between alternative and mainstream culture; angsty prophet of the already bygone apocalypse, yet upbeat, stylish and sexy! Oscar Wilde wrote, "Good artists exist in what they make, and consequently are perfectly uninteresting in what they are. A great poet, a really great poet, is the most unpoetical of all creatures. But inferior poets are absolutely fascinating... [they] live the poetry [they] cannot write." As with Dorian Gray, life is my art! Oh MTV, take me, make me, wake me from my formless slumbers and place me in the dreamy Real World of target marketing.

My parents placed a high value on reading, starting with the King James Bible, and one whole wall of our living room was filled, floor to ceiling, with books. But I was an outside kid and didn’t have the patience to be a reader. That changed, briefly, when I discovered Tom Sawyer in the fourth grade. That was the one book I truly loved. I read it several times, then read Huckleberry Finn. I was fascinated by the way Twain played with language and used regional dialects. But what amazed me most was that Twain allowed the reader to laugh. Reading didn’t have to be drudgery. Twain didn’t allow it.

Prison is the only place where power is manifested in its naked state, in its most excessive form, and where it is justified as moral force. "I am within my rights to punish you because you know that it is criminal to rob and kill . . . ... What is fascinating about prisons is that, for once, power doesn't hide or mask itself; it reveals itself as tyranny pursued into the tiniest details; it is cynical and at the same time pure and entirely "justified," because its practice can be totally formulated within the framework of morality. Its brutal tyranny consequently appears as the serene domination of Good over Evil, of order over disorder.

...his consuming interest remains in the world of men, their institutions, their history, their passions. And because he is interested in men, nothing that men do can be altogether tedious...He will naturally be interested in the events that engage men’s ultimate beliefs, their moments of tragedy and grandeur and ecstasy. But he will also be fascinated by the commonplace, the everyday. He will know reverence, but this reverence will not prevent him from wanting to see and to understand. He may sometimes feel revulsion or contempt , but this will also not deter him from wanting to have his questions answered. ...in his quest for understanding, moves through the world of men without respect for the usual lines of demarcation. Nobility ad degradation, power and obscurity, intelligence and folly -- these are equally interesting to him, however unequal they may be in his personal values or tastes. This his questions may lead him to all possible levels of society, the best and least known places, the most respected and the most despised. ...he will find himself in all these places because his own questions have so taken possession of him that he has little choice but to seek for answers.

The character of the Indian's emotion left little room in his heart for antagonism toward his fellow creatures .... For the Lakota (one of the three branches of the Sioux Nation), mountains, lakes, rivers, springs, valleys, and the woods were all in finished beauty. Winds, rain, snow, sunshine, day, night, and change of seasons were endlessly fascinating. Birds, insects, and animals filled the world with knowledge that defied the comprehension of man. The Lakota was a true naturalist - a lover of Nature. He loved the earth and all things of the earth, and the attachment grew with age. The old people came literally to love the soil and they sat or reclined on the ground with a feeling of being close to a mothering power. It was good for the skin to touch the earth, and the old people liked to remove their moccasins and walk with bare feet on the sacred earth. Their tipis were built upon the earth and their alters were made of earth. The birds that flew in the air came to rest upon the earth, and it was the final abiding place of all things that lived and grew. The soil was soothing, strengthening, cleansing, and healing. This is why the old Indian still sits upon the earth instead of propping himself up and away from its live giving forces. For him, to sit or lie upon the ground is to be able to think more deeply and to feel more keenly; he can see more clearly into the mysteries of life and come closer in kinship to other lives about him.

Most of what's known about religious practices in pre-Hispanic Mexico has come to us through a Catholic parish priest named Hernando Ruiz de Alarcón, one of the few who ever became fluent in the Nahuatl language. He spent the 1620s writing his "Treatise on the Superstitions and Heathen Customs that Today Live Among the Indians Native to This New Spain". He'd originally meant it to be something of a "field guide to the heathens" to help priests recognize and exterminate indigenous religious rites and their practitioners. In the process of his documentation, though, it's clear from his writings that Father Ruiz de Alarcón grew sympathetic. He was particularly fascinated with how Nahuatl people celebrated the sacred in ordinary objects, and encouraged living and spirit realities to meet up in the here and now. He noted that the concept of "death" as an ending did not exactly exist for them. When Aztec people left their bodies, they were presumed to be on an exciting trip through the ether. It wasn't something to cry about, except that the living still wanted to visit with them. People's sadness was not for the departed, but for themselves, and could be addressed through ritual visiting called Xantolo, an ordinary communion between the dead and the living. Mexican tradition still holds that Xantolo is always present in certain places and activities, including marigold fields, the cultivation of corn, the preparation of tamales and pan de muerto. Interestingly, farmers' markets are said to be loaded with Xantolo.

I tried to imagine what it would be like if Constantin were my husband. It would mean getting up at seven and cooking him eggs and bacon and toast and coffee and dawdling about in my nightgown and curlers after he’d left for work to wash up the dirty plates and make the bed, and then when he came home after a lively, fascinating day he’d expect a big dinner, and I’d spend the evening washing up even more dirty plates till I fell into bed, utterly exhausted. This seemed a dreary and wasted life for a girl with fifteen years of straight A’s, but I knew that’s what marriage was like, because cook and clean and wash was just what Buddy Willard’s mother did from morning till night, and she was the wife of a university professor and had been a private school teacher herself. Once when I visited Buddy I found Mrs Willard braiding a rug out of strips of wool from Mr Willard’s old suits. She’d spent weeks on that rug, and I had admired the tweedy browns and greens and blues patterning the braid, but after Mrs Willard was through, instead of hanging the rug on the wall the way I would have done, she put it down in place of her kitchen mat, and in a few days it was soiled and dull and indistinguishable from any mat you could buy for under a dollar in the Five and Ten. And I knew that in spite of all the roses and kisses and restaurant dinners a man showered on a woman before he married her, what he secretly wanted when the wedding service ended was for her to flatten out underneath his feet like Mrs Willard’s kitchen mat.

I loved Cinderella, Snow White, and James Bond movies. But when I was seven or eight years old, the film that changed my life was Titanic. It amazed me that it was a story that took place a hundred years ago. Those people living in 1912 had better technology than most North Koreans! But mostly I couldn’t believe how someone could make a movie out of such a shameful love story. In North Korea, the filmmakers would have been executed. No real human stories were allowed, nothing but propaganda about the Leader. But in Titanic, the characters talked about love and humanity. I was amazed that Leonardo DiCaprio and Kate Winslet were willing to die for love, not just for the regime, as we were. The idea that people could choose their own destinies fascinated me. This pirated Hollywood movie gave me my first small taste of freedom.

A definite pessimist believes the future can be known, but since it will be bleak, he must prepare for it. Perhaps surprisingly, China is probably the most definitely pessimistic place in the world today. When Americans see the Chinese economy grow ferociously fast (10% per year since 2000), we imagine a confident country mastering its future. But that’s because Americans are still optimists, and we project our optimism onto China. From China’s viewpoint, economic growth cannot come fast enough. Every other country is afraid that China is going to take over the world; China is the only country afraid that it won’t. China can grow so fast only because its starting base is so low. The easiest way for China to grow is to relentlessly copy what has already worked in the West. And that’s exactly what it’s doing: executing definite plans by burning ever more coal to build ever more factories and skyscrapers. But with a huge population pushing resource prices higher, there’s no way Chinese living standards can ever actually catch up to those of the richest countries, and the Chinese know it. This is why the Chinese leadership is obsessed with the way in which things threaten to get worse. Every senior Chinese leader experienced famine as a child, so when the Politburo looks to the future, disaster is not an abstraction. The Chinese public, too, knows that winter is coming. Outsiders are fascinated by the great fortunes being made inside China, but they pay less attention to the wealthy Chinese trying hard to get their money out of the country. Poorer Chinese just save everything they can and hope it will be enough. Every class of people in China takes the future deadly seriously.

We are not called to embody Jesus ourselves; He has already been incarnated and is still even now! No, we are not called to be Jesus; we are called to fall at His feet and worship Him. We are called to affirm that "the Word became flesh and dwelt among us, and we have seen his glory, glory as of the only Son from the Father, full of grace and truth." [John 1:14] And it is through this worship, through recognizing His rightful place, that we are finally humbled. When we are consumed with God's glory, we forget to worry about our own. When our eyes are fixed on Him as the source of all goodness and truth and beauty, we accept that we are not. When we are enamored by His worth and majesty, we can stop being so enamored with ourselves. And fascinatingly, when we seek God's glory, we'll be able to appreciate it in the people around us. Instead of seeing them as threats to our own glory, we will see them as beautiful reflections of His.

People always talk about the health benefits of Japanese food,’ he said, ‘but I’m fascinated by other aspects of the Japanese dining experience. Like the whole system of serving food at a counter like this, with the customers all facing the same direction, instead of each other. It’s strange when you think about it. At a sushi bar, for example, everyone’s facing the itamae-san, and you discuss the things you’re eating – what type of squid this is, and where they’re caught, and how this is the season for them but they’ll only be at their best for another couple of weeks, and so on. Discussing the food with the chef even as you eat it – that’s a peculiar system.’ ‘I suppose it is, isn’t it? I don’t go to sushi restaurants very often – they’re so expensive – and I could probably count the number of times I’ve sat at the counter, but I know what you mean. There’s something about that atmosphere.’ ‘At its worst, it’s almost an atmosphere of collusion.’ ‘Collusion?’ ‘Everyone at the counter becomes a member of the group. In some sushi bars, all the customers are regulars and they all know each other. As an outsider, you need courage to walk into a place like that and take a seat. It’s a tight-knit little community, and harmony is of the utmost importance. Nobody’s confronting anyone else individually. The conversation all proceeds through the chef, who’s like a moderator or a master of ceremonies. You couldn’t spend some quiet time with a lover, for example, in a place like that, because you’d be isolating yourselves from the others and spoiling the atmosphere for everyone.

Virtuality is the cultural perception that material objects are interpenetrated by information patterns. The definition plays off the duality at the heart of the condition of virtuality—materiality on the one hand, information on the other. Normally virtuality is associated with computer simulations that put the body into a feedback loop with a computer-generated image. For example, in virtual Ping-Pong, one swings a paddle wired into a computer, which calculates from the paddle’s momentum and position where the ball would go. Instead of hitting a real ball, the player makes the appropriate motions with the paddle and watches the image of the ball on a computer monitor. Thus the game takes place partly in real life (RL) and partly in virtual reality (VR). Virtual reality technologies are fascinating because they make visually immediate the perception that a world of information exists parallel to the “real” world, the former intersecting the latter at many points and in many ways. Hence the definition’s strategic quality, strategic because it seeks to connect virtual technologies with the sense, pervasive in the late twentieth century, that all material objects are interpenetrated by flows of information, from DNA code to the global reach of the World Wide Web.

Snapping shut his mobile, Dalgliesh reflected that murder, a unique crime for which no reparation is ever possible, imposes it own compulsions as well as it's conventions. He doubted whether Macklefield [the murder victim's Will attorney] would have interrupted his country weekend for a less sensational crime. As a young officer he, too, had been touched, if unwillingly and temporarily, by the power of murder to attract even while it appalled and repelled. He had watched how people involved as innocent bystanders, provided they were unburdened by grief or suspicion, were engrossed by homicide, drawn inexorably to the place where the crime had occurred in fascinated disbelief. The crowd and the media who served them had not yet congregated outside the wrought-iron gates of the Manor. But they would come, and he doubted whether Chandler-Powell's [owner of the Manor where the murder was committed] private security team would be able to do more than inconvenience them.

The truth is,” she said shakily, “that I am scared to death of being here.” “I know you are,” he said, sobering, “but I am the last person in the world you’ll ever have to fear.” His words and his tone made the quaking in her limbs, the hammering of her heart, begin again, and Elizabeth hastily drank a liberal amount of her wine, praying it would calm her rioting nerves. As if he saw her distress, he smoothly changed the topic. “Have you given any more thought to the injustice done Galileo?” She shook her head. “I must have sounded very silly last night, going on about how wrong it was to bring him up before the Inquisition. It was an absurd thing to discuss with anyone, especially a gentleman.” “I thought it was a refreshing alternative to the usual insipid trivialities.” “Did you really?” Elizabeth asked, her eyes searching his with a mixture of disbelief and hope, unaware that she was being neatly distracted from her woes and drawn into a discussion she’d find easier. “I did.” “I wish society felt that way.” He grinned sympathetically. “How long have you been required to hide the fact that you have a mind?” “Four weeks,” she admitted, chuckling at his phrasing. “You cannot imagine how awful it is to mouth platitudes to people when you’re longing to ask them about things they’ve seen and things they know. If they’re male, they wouldn’t tell you, of course, even if you did ask.” “What would they say?” he teased. “They would say,” she said wryly, “that the answer would be beyond a female’s comprehension-or that they fear offending my tender sensibilities.” “What sorts of questions have you been asking?” Her eyes lit up with a mixture of laughter and frustration. “I asked Sir Elston Greeley, who had just returned from extensive travels, if he had happened to journey to the colonies, and he said that he had. But when I asked him to describe to me how the natives looked and how they lived, he coughed and sputtered and told me it wasn’t at all ‘the thing’ to discuss ‘savages’ with a female, and that I’d swoon if he did.” “Their appearance and living habits depend upon their tribe,” Ian told her, beginning to answer her questions. “Some of the tribes are ‘savage’ by our standards, not theirs, and some of the tribes are peaceful by any standards…” Two hours flew by as Elizabeth asked him questions and listened in fascination to stories of places he had seen, and not once in all that time did he refuse to answer or treat her comments lightly. He spoke to her like an equal and seemed to enjoy it whenever she debated an opinion with him. They’d eaten lunch and returned to the sofa; she knew it was past time for her to leave, and yet she was loath to end their stolen afternoon.

He loved her. It was dead simple, the way he loved her. Seamless. His love was like a wall that he'd built around her, and there wasn't a chink or flaw in it. Or so he thought. But then she started to float out of the real world, his world, and he was like a little boy trying to dam a stream with stones and mud, knowing that the water would always break through at a place he wasn't looking at. There was nothing desperate about the way he did it, though. He was always calm, it seemed. Expecting the worst and determined not to crack. She started to get up in the night and turn on all the taps, and he would get up too and stand quietly beside her watching the endless flow of water as if he found it as fascinating as she did. Then he'd guide her back to bed before turning the taps off. One night I heard something and went into the living room and saw the two of them standing out on the balcony. He'd wrapped his dressing gown around her, and I heard him say, "Yes, you are right, Marijke. The traffic is like a river of stars. Would you like to watch is some more, or go back to bed?

She was a mimicry of a façade fashioned from the half-truths of her life. She was a beautiful abomination, patched together from the most pristine and terrible parts she could find. She was a black crystal of many cuts and facets whose dark glow suffocated and entranced those it washed over. There was a pointlessness in her eyes and apathy in her stature, and further in, past the symphonies of nightmarish screams was a blinding light. All the capability she could ever ask for kept in a place she would never reach. She chose the ice rather than the fire, shivering and hard with heat sparse, for while a flicker can exist in freeze's cold, it's heat will not radiate, no matter how bold. She took my face in hands that would make ice seem warm and whispered a blizzard into my ear, a cascading song of fear after fear. The lies she spilled, mixed with regrets and appeal, were cloaked in the inferno of her rage, the anger, the only thing that really made her real. This was her one semblance of life, a bottomless and endless void of proportions vast with a calamity of fusion and fission streaking through, a mindless hue, an emotion with a face, a darling of her race. The cracks spew darkness from within her ever so pale skin. They congregated on her curves and flesh in black and churning rivers and streams. They flooded every dip with blackness. They filled every hollow with unstable curiosity, this is her release, this is when she is free. The faces of deceit always laugh, they never wallow for their lies are a pleasure tool, her insides are contorted in laughter the same way, just as slick, just as cruel. A crude combination of fascination, of animation, of the darkest demons of them all. She was poetry written in pen, scratched and scribbled again and again. Ink splattered across the page, and within those scrawled words, those small, sharp incisions, an image can be seen, and you're left to wonder what, in the end, this all could mean...

Introductory paragraph incorporating the thesis: After a challenging childhood marked by adversity, Adam Parrish has become a successful freshman at Harvard University. In the past, he had spent his time doubting himself, fearing he would become like his father, obsessing that others could see his trailer-park roots, and idealizing wealth, but now he has built a new future where no one has to know where he's come from. Before becoming a self-actualized young man at Harvard, Adam had been deeply fascinated by the concept of the ley lines and also supernaturally entangled with one of the uncanny forests located along one, but he has now focused on the real world, using only the ghost of magic to fleece other students with parlor trick tarot card readings. He hasn't felt like himself for months, but he is going to be just fine. Followed by three paragraphs with information that supports the thesis. First: Adam understands that suffering is often transient, even when it feels permanent. This too shall pass, etc. Although college seems like a lifetime, it is only four years. Four years is only a lifetime if one is a guinea pig. Second paragraph, building on the first point: Magic has not always been good for Adam. During high school, he frequently immersed himself in it as a form of avoidance. Deep down, he fears that he is prone to it as his father is prone to abuse, and that it will eventually make him unsuitable for society. By depriving himself of magic, he forces himself to become someone valuable to the unmagic world, i.e. the Crying Club. Third paragraph, with the most persuasive point: Harvard is a place Ronan Lynch cannot be, because he cannot survive there, either physically or socially. Without such hard barriers, Adam will surely continue to return to Ronan Lynch again and again, and thus fall back in with bad habits. He will never achieve the life of financial security and recognition he planned. Thesis restated, bringing together all the information to prove it: Although life is unbearable now, and Adam Parrish seems to have lost everything important to him in the present by pursuing the things important to him in the past, he will be fine. Concluding paragraph describing what the reader just learned and why it is important for them to have learned it: He will be fine. He will be fine. He will be fine. He will be fine.

Recently, as I was teaching this concept, a CFO—who deals with numbers all the time—came up to me and said, “This is fascinating! I’ve always seen trust as a nice thing to have, but I never, ever, thought of it in terms of its impact on economics and speed. Now that you’ve pointed it out, I can see it everywhere I turn. “For example, we have one supplier in whom we have complete trust. Everything happens fast with this group, and the relationship hardly costs us anything to maintain. But with another supplier, we have very little trust. It takes forever to get anything done, and it costs us a lot of time and effort to support the relationship. And that’s costing us money—too much money!” This CFO was amazed when everything suddenly fell into place in his mind. Even though he was a “numbers” guy, he had not connected the dots with regard to trust. Once he saw it, everything suddenly made sense. He could immediately see how trust was affecting everything in the organization, and how robust and powerful the idea of the relationship between trust, speed, and cost was for analyzing what was happening in his business and for taking steps to significantly increase profitable growth.

Psychodynamic theorists and psychologists of various traditions theorise that the sense of having fallen originates in our experience of birth. We are created in the body of woman and grow in the womb where all our needs are automatically met. Then we fall, in birth, into the human world, separated from our maternal Eden, but always remembering a heavenly place where all our needs were met. It should not be a surprise, but we now know that the baby in the womb can see and hear and remember. Any parent who has seen a placenta will know that it is made in the image of a tree, a wondrous tree of life that fed us until we were ready for birth. Is it any surprise that in so many traditions the symbolism of trees is so important? The tree of life is the first thing we see in the womb, we never forget this and psychodynamic theorists argue we yearn for this, all our lives, hoping to escape life’s frustrations by returning to a blissful womb like state. If this is true, is it any wonder that legends of fallen angels so fascinate and entice us? In these legends perhaps we see echoes of our own fall. Psychologically we identify with those with whom we share similar experiences; and the fallen angels can easily become mirrors in which to see ourselves.

For several months they'd been drifting toward political involvement, but the picture was hazy and one of the most confusing elements was their geographical proximity to Berkeley, the citadel of West Coast radicalism. Berkeley is right next door to Oakland, with nothing between them but a line on the map and a few street signs, but in many ways they are as different as Manhattan and the Bronx. Berkeley is a college town and, like Manhattan, a magnet for intellectual transients. Oakland is a magnet for people who want hour-wage jobs and cheap housing, who can't afford to live in Berkeley, San Francisco or any of the middle-class Bay Area suburbs. [10] It is a noisy, ugly, mean-spirited place, with the sort of charm that Chicago had for Sandburg. It is also a natural environment for hoodlums, brawlers, teenage gangs and racial tensions. The Hell's Angels' massive publicity -- coming hard on the heels of the widely publicized student rebellion in Berkeley -- was interpreted in liberal-radical-intellectual circles as the signal for a natural alliance. Beyond that, the Angels' aggressive, antisocial stance -- their alienation, as it were -- had a tremendous appeal for the more aesthetic Berkeley temperament. Students who could barely get up the nerve to sign a petition or to shoplift a candy bar were fascinated by tales of the Hell's Angels ripping up towns and taking whatever they wanted. Most important, the Angels had a reputation for defying police, for successfully bucking authority, and to the frustrated student radical this was a powerful image indeed. The Angels didn't masturbate, they raped. They didn't come on with theories and songs and quotations, but with noise and muscle and sheer balls.

I knew it was my duty to my own legend to survive this trial. But I was still crippled by my own devices. Imagine me as a great fully-rigged man-of-war. Four masts, great bulwarks of oak and five score cannon. All my life I have sailed smooth seas and waters that parted for me by virtue of my own splendor. Never tested. Never riled. A tragic existence, if ever there was one. “But at long last: a storm! And when I met it I found my hull . . . rotten. My planks leaking brine, my cannon brittle, powder wet. I foundered upon the storm. Upon you, Darrow of Lykos.” He sighs. “And it was my own fault.” I war between wanting to punch him in the mouth and surrendering into my curiosity by letting him continue. He’s a strange man with a seductive presence. Even as an enemy, his flamboyance fascinated me. Purple capes in battle. A horned Minotaur helmet. Trumpets blaring to signal his advance, as if welcoming all challengers. He even broadcast opera as his men bombarded cities. After so much isolation, he’s delighting in imposing his narrative upon us. “My peril is thus: I am, and always have been, a man of great tastes. In a world replete with temptation, I found my spirit wayward and easy to distract. The idea of prison, that naked, metal world, crushed me. The first year, I was tormented. But then I remembered the voice of a fallen angel. ‘The mind is its own place, and in itself can make a heaven of hell, or a hell of heaven.’ I sought to make the deep not just my heaven, but my womb of rebirth. “I dissected the underlying mistakes which led to my incarceration and set upon an internal odyssey to remake myself. But—and you would know this, Reaper—long is the road up out of hell! I made arrangements for supplies. I toiled twenty hours a day. I reread the books of youth with the gravity of age. I perfected my body. My mind. Planks were replaced; new banks of cannon wrought in the fires of solitude. All for the next storm. “Now I see it is upon me and I sail before you the paragon of Apollonius au Valii-Rath. And I ask one question: for what purpose have you pulled me from the deep?” “Bloodyhell, did you memorize that?” Sevro mutters.

But if you could just pay her some small attention-or better yet, escort her yourself-it would be ever so helpful, and I would be grateful forever.” “Alex, if you were married to anyone but Jordan Townsende, I might consider asking you how you’d be willing to express your gratitude. However, since I haven’t any real wish to see my life brought to a premature end, I shall refrain from doing so and say instead that your smile is gratitude enough.” “Don’t joke, Roddy, I’m quite desperately in need of your help, and I would be eternally grateful for it.” “You are making me quake with trepidation, my sweet. Whoever she is, she must be in a deal of trouble if you need me.” “She’s lovely and spirited, and you will admire her tremendously.” “In that case, I shall deem it an embarrassing honor to lend my support to her. Who-“ His gaze flicked to a sudden movement in the doorway and riveted there, his eternally bland expression giving way to reverent admiration. “My God,” he whispered. Standing in the doorway like a vision from heaven was an unknown young woman clad in a shimmering silver-blue gown with a low, square neckline that offered a tantalizing view of smooth, voluptuous flesh, and a diagonally wrapped bodice that emphasized a tiny waist. Her glossy golden hair was swept back off her forehead and held in place with a sapphire clip, then left to fall artlessly about her shoulders and midway down her back, where it ended in luxurious waves and curls that gleamed brightly in the dancing candlelight. Beneath gracefully winged brows and long, curly lashes her glowing green eyes were neither jade nor emerald, but a startling color somewhere in between. In that moment of stunned silence Roddy observed her with the impartiality of a true connoisseur, looking for flaws that others would miss and finding only perfection in the delicately sculpted cheekbones, slender white throat, and soft mouth. The vision in the doorway moved imperceptibly. “Excuse me,” she said to Alexandra with a melting smile, her voice like wind chimes, “I didn’t realize you weren’t alone.” In a graceful swirl of silvery blue skirts she turned and vanished, and still Roddy stared at the empty doorway while Alexandra’s hopes soared. Never had she seen Roddy display the slightest genuine fascination for a feminine face and figure. His words sent her spirits even higher: “My God,” he said again in a reverent whisper. “Was she real?” “Very real,” Alex eagerly assured him, “and very desperately in need of your help, though she mustn’t know what I’ve asked of you. You will help, won’t you?” Dragging his gaze from the doorway, he shook his head as if to clear it. “Help?” he uttered dryly. “I’m tempted to offer her my very desirable hand in marriage!

It was a long head. It was a wedge, a sliver, a grotesque slice in which it seemed the features had been forced to stake their claims, and it appeared that they had done so in a great hurry and with no attempt to form any kind of symmetrical pattern for their mutual advantage. The nose had evidently been first upon the scene and had spread itself down the entire length of the wedge, beginning among the grey stubble of the hair and ending among the grey stubble of the beard, and spreading on both sides with a ruthless disregard for the eyes and mouth which found precarious purchase. The mouth was forced by the lie of the terrain left to it, to slant at an angle which gave to its right-hand side an expression of grim amusement and to its left, which dipped downwards across the chin, a remorseless twist. It was forced by not only the unfriendly monopoly of the nose, but also by the tapering character of the head to be a short mouth; but it obvious by its very nature that, under normal conditions, it would have covered twice the area. The eyes in whose expression might be read the unending grudge they bore against the nose were as small as marbles and peered out between the grey grass of the hair. This head, set at a long incline upon a neck as wry as a turtle's cut across the narrow vertical black strip of the window. Steerpike watched it turn upon the neck slowly. It would not have surprised him if it had dropped off, so toylike was its angle. As he watched, fascinated, the mouth opened and a voice as strange and deep as the echo of a lugubrious ocean stole out into the morning. Never was a face so belied by its voice. The accent was of so weird a lilt that at first Steerpike could not recognize more than one sentence in three, but he had quickly attuned himself to the original cadence and as the words fell into place Steerpike realised he was staring at a poet.

I was amused and somewhat astonished at a critic a few years back who wrote an article analyzing Dandelion Wine plus the more realistic works of Sinclair Lewis, wondering how I could have been born and raised in Waukegan, which I renamed Green Town for my novel, and not noticed how ugly the harbor was and how depressing the coal docks and railyards down below the town. But, of course, I had noticed them and, genetic enchanter that I was, was fascinated by their beauty. Trains and boxcars and the smell of coal and fire are not ugly to children. Ugliness is a concept that we happen on later and become selfconscious about. Counting boxcars is a prime activity of boys. Their elders fret and fume and jeer at the train that holds them up, but boys happily count and cry the names of the cars as they pass from far places. And again, that supposedly ugly railyard was where carnivals and circuses arrived with elephants who washed the brick pavements with mighty steaming acid waters at five in the dark morning. As for the coal from the docks, I went down in my basement every autumn to await the arrival of the truck and its metal chute, which clanged down and released a ton of beauteous meteors that fell out of far space into my cellar and threatened to bury me beneath dark treasures. In other words, if your boy is a poet, horse manure can only mean flowers to him; which is, of course, what horse manure has always been about.

He then said something in Arabic to Ali, who made a sign of obedience and withdrew, but not to any distance. As to Franz a strange transformation had taken place in him. All the bodily fatigue of the day, all the preoccupation of mind which the events of the evening had brought on, disappeared as they do at the first approach of sleep, when we are still sufficiently conscious to be aware of the coming of slumber. His body seemed to acquire an airy lightness, his perception brightened in a remarkable manner, his senses seemed to redouble their power, the horizon continued to expand; but it was not the gloomy horizon of vague alarms, and which he had seen before he slept, but a blue, transparent, unbounded horizon, with all the blue of the ocean, all the spangles of the sun, all the perfumes of the summer breeze; then, in the midst of the songs of his sailors, -- songs so clear and sonorous, that they would have made a divine harmony had their notes been taken down, -- he saw the Island of Monte Cristo, no longer as a threatening rock in the midst of the waves, but as an oasis in the desert; then, as his boat drew nearer, the songs became louder, for an enchanting and mysterious harmony rose to heaven, as if some Loreley had decreed to attract a soul thither, or Amphion, the enchanter, intended there to build a city. At length the boat touched the shore, but without effort, without shock, as lips touch lips; and he entered the grotto amidst continued strains of most delicious melody. He descended, or rather seemed to descend, several steps, inhaling the fresh and balmy air, like that which may be supposed to reign around the grotto of Circe, formed from such perfumes as set the mind a dreaming, and such fires as burn the very senses; and he saw again all he had seen before his sleep, from Sinbad, his singular host, to Ali, the mute attendant; then all seemed to fade away and become confused before his eyes, like the last shadows of the magic lantern before it is extinguished, and he was again in the chamber of statues, lighted only by one of those pale and antique lamps which watch in the dead of the night over the sleep of pleasure. They were the same statues, rich in form, in attraction, and poesy, with eyes of fascination, smiles of love, and bright and flowing hair. They were Phryne, Cleopatra, Messalina, those three celebrated courtesans. Then among them glided like a pure ray, like a Christian angel in the midst of Olympus, one of those chaste figures, those calm shadows, those soft visions, which seemed to veil its virgin brow before these marble wantons. Then the three statues advanced towards him with looks of love, and approached the couch on which he was reposing, their feet hidden in their long white tunics, their throats bare, hair flowing like waves, and assuming attitudes which the gods could not resist, but which saints withstood, and looks inflexible and ardent like those with which the serpent charms the bird; and then he gave way before looks that held him in a torturing grasp and delighted his senses as with a voluptuous kiss. It seemed to Franz that he closed his eyes, and in a last look about him saw the vision of modesty completely veiled; and then followed a dream of passion like that promised by the Prophet to the elect. Lips of stone turned to flame, breasts of ice became like heated lava, so that to Franz, yielding for the first time to the sway of the drug, love was a sorrow and voluptuousness a torture, as burning mouths were pressed to his thirsty lips, and he was held in cool serpent-like embraces. The more he strove against this unhallowed passion the more his senses yielded to its thrall, and at length, weary of a struggle that taxed his very soul, he gave way and sank back breathless and exhausted beneath the kisses of these marble goddesses, and the enchantment of his marvellous dream.

Lots of people do not feel and do not care, deeply. They're the sea creatures who were born to swim in the shallows. And I think that they look at those of us who come from the parts of the ocean that's pitch black and deeper than the core of the planet and they feel fascinated. They're fascinated in the way we are fascinated with eagles or with vampires. They think we're unabashedly deep and beautiful and they feel like they want to try being that way, too. It's like a fascination for a mystical creature. But I have watched these kinds of people burn out before they ever reach that depth (not even close). They burn out because they just get so exhausted! You only have the set of lungs designed for the depths of the ocean, if you are the type of creature who was born in those depths. It's not a regimen, it's not a list of rules, it's not a succession of steps to get there. It's about anatomy. There are creatures for the shallows and creatures for the deep. It is nature's designer plan. And when these people burn out, they will have these outbursts wherein they lash out at you, as if they are exasperated at why you're a mermaid in the black of the seas, and if they could, they'd drag you into a glass tank and chain you up because they don't want that kind of beauty around them, outshining them. Feeling and living in the depths of life (caring so much it hurts, feeling so much it becomes painful) is a mystical, beautiful thing but it cannot be copied and it shouldn't be copied. Everyone has their place and you are going to drown if you can't breathe underwater.

His tongue slid down the inner length of her finger, then traced the lines on her palm. “Such lovely hands,” he murmured, nibbling on the fleshy part of her thumb as his fingers entwined with hers. “Strong, and yet so graceful and delicate.” “You’re talking nonsense,” Kate said self-consciously. “My hands—” But he silenced her with a finger to her lips. “Shhh,” he admonished. “Haven’t you learned that you should never ever contradict your husband when he is admiring your form?” Kate shivered with delight. “For example,” he continued, the very devil in his voice, “if I want to spend an hour examining the inside of your wrist”— with lightning-quick movements, his teeth grazed the delicate thin skin on the inside of her wrist—“ it is certainly my prerogative, don’t you think?” Kate had no response, and he chuckled, the sound low and warm in her ears. “And don’t think I won’t,” he warned, using the pad of his finger to trace the blue veins that pulsed under her skin. “I may decide to spend two hours examining your wrist.” Kate watched with fascination as his fingers, touching her so softly that she tingled from the contact, made their way to the inside of her elbow, then stopped to twirl circles on her skin. “I can’t imagine,” he said softly, “that I could spend two hours examining your wrist and not find it lovely.” His hand made the jump to her torso, and he used his palm to lightly graze the tip of her puckered breast. “I should be most aggrieved were you to disagree.” He leaned down and captured her lips in a brief, yet searing kiss. Lifting his head just an inch, he murmured, “It is a wife’s place to agree with her husband in all things, hmmm?” His words were so absurd that Kate finally managed to find her voice. “If,” she said with an amused smile, “his opinions are agreeable, my lord.” One of his brows arched imperiously. “Are you arguing with me, my lady? And on my wedding night, no less.” “It’s my wedding night, too,” she pointed out. He made a clucking noise and shook his head. “I may have to punish you,” he said. “But how? By touching?” His hand skimmed over one breast, then the next. “Or not touching?” He lifted his hands from her skin, but he leaned down, and through pursed lips, blew a soft stream of air over her nipple. “Touching,” Kate gasped, arching off the bed. “Definitely touching.” “You think?” He smiled, slowly like a cat. “I never thought I’d say this, but not touching has its appeal.

Crimson silk sheets. I’m in her and she’s looking at me like I’m her world. The woman undoes me. I flinch. I’m having sex with me, seeing myself from his eyes. I look incredible naked—is that how he sees me? He doesn’t see any of my flaws. I’ve never looked half as good to myself. I want to pull out. It feels perverse. I’m fascinated. But this was not what I was hunting for at all . . . Where are the handcuffs? Ah, grab her fucking head, she’s going down on me again. She’ll make me come. Tie her up. Is she back? How much longer do I have? He senses me there. Get out of my HEAD! I deepen the kiss, bite his tongue, and he is violent with lust. I take advantage, diving deep. There’s a thought he’s shielding. I want it. Nobody home but She for Whom I am the World. Can’t go on like this, can’t keep doing it. Why couldn’t he go on? What couldn’t he keep doing? I’m having sex with him, any way he wants me, while I stare up at him with utter worship. Where was the problem there? Weariness suddenly crashes over me. I’m in his body, and I’m coming beneath him, and I’m checking my eyes warily. What the fuck am I doing here? He knew what he was, what I was. He knew we came from different worlds, didn’t belong together. Yet for a few months there’d been no lines of demarcation between us. We’d existed in a place beyond definitions, where no rules had mattered, and I wasn’t the only one who’d reveled in it. But the entire time I’d been lost in sexual bliss, he’d been aware of time passing, of everything that was happening—that I was mindless, I wasn’t willing, and when I snapped out of it I’d blame him. Keep hoping to see the light in her eyes. Even knowing it’ll mean she’s saying good-bye. I had. Irrational or not, I’d held it against him. He’d seen me naked, body and soul, and I hadn’t seen him at all. I’d been blinded by helpless lust that hadn’t been for him. I had been lust, and he’d been there. Just one time, he’s thinking as we watch my glazed eyes go even emptier. One time, what? Instead of pushing, I try a stealth attack. I pretend to retreat, let him think he’s won, and at the last minute turn around. Instead of lunging for his thoughts, I stay very, very still and listen. He pushes my hair out of my face. I look like an animal. There’s no sentience in my gaze. I’m a cavewoman, with a miniscule, pre-historic brain. When you know who I am. Let me be your man.

There’s a story that comes from the tradition of the Desert Fathers, an order of Christian monks who lived in the wastelands of Egypt about seventeen hundred years ago. In the tale, a couple of monks named Theodore and Lucius shared the acute desire to go out and see the world. Since they’d made vows of contemplation, however, this was not something they were allowed to do. So, to satiate their wanderlust, Theodore and Lucius learned to “mock their temptations” by relegating their travels to the future. When the summertime came, they said to each other, “We will leave in the winter.” When the winter came, they said, “We will leave in the summer.” They went on like this for over fifty years, never once leaving the monastery or breaking their vows. Most of us, of course, have never taken such vows—but we choose to live like monks anyway, rooting ourselves to a home or a career and using the future as a kind of phony ritual that justifies the present. In this way, we end up spending (as Thoreau put it) “the best part of one’s life earning money in order to enjoy a questionable liberty during the least valuable part of it.” We’d love to drop all and explore the world outside, we tell ourselves, but the time never seems right. Thus, given an unlimited amount of choices, we make none. Settling into our lives, we get so obsessed with holding on to our domestic certainties that we forget why we desired them in the first place. Vagabonding is about gaining the courage to loosen your grip on the so-called certainties of this world. Vagabonding is about refusing to exile travel to some other, seemingly more appropriate, time of your life. Vagabonding is about taking control of your circumstances instead of passively waiting for them to decide your fate. Thus, the question of how and when to start vagabonding is not really a question at all. Vagabonding starts now. Even if the practical reality of travel is still months or years away, vagabonding begins the moment you stop making excuses, start saving money, and begin to look at maps with the narcotic tingle of possibility. From here, the reality of vagabonding comes into sharper focus as you adjust your worldview and begin to embrace the exhilarating uncertainty that true travel promises. In this way, vagabonding is not a merely a ritual of getting immunizations and packing suitcases. Rather, it’s the ongoing practice of looking and learning, of facing fears and altering habits, of cultivating a new fascination with people and places. This attitude is not something you can pick up at the airport counter with your boarding pass; it’s a process that starts at home. It’s a process by which you first test the waters that will pull you to wonderful new places.