Fiddle Sayings And Quotes

It was a hurting tune, resigned, a cry of heartache for all in the world that fell apart. As ash rose black against the brilliant sky, Fire's fiddle cried out for the dead, and for the living who stay behind to say goodbye.

When God Created Mothers" When the Good Lord was creating mothers, He was into His sixth day of "overtime" when the angel appeared and said. "You're doing a lot of fiddling around on this one." And God said, "Have you read the specs on this order?" She has to be completely washable, but not plastic. Have 180 moveable parts...all replaceable. Run on black coffee and leftovers. Have a lap that disappears when she stands up. A kiss that can cure anything from a broken leg to a disappointed love affair. And six pairs of hands." The angel shook her head slowly and said. "Six pairs of hands.... no way." It's not the hands that are causing me problems," God remarked, "it's the three pairs of eyes that mothers have to have." That's on the standard model?" asked the angel. God nodded. One pair that sees through closed doors when she asks, 'What are you kids doing in there?' when she already knows. Another here in the back of her head that sees what she shouldn't but what she has to know, and of course the ones here in front that can look at a child when he goofs up and say. 'I understand and I love you' without so much as uttering a word." God," said the angel touching his sleeve gently, "Get some rest tomorrow...." I can't," said God, "I'm so close to creating something so close to myself. Already I have one who heals herself when she is sick...can feed a family of six on one pound of hamburger...and can get a nine year old to stand under a shower." The angel circled the model of a mother very slowly. "It's too soft," she sighed. But tough!" said God excitedly. "You can imagine what this mother can do or endure." Can it think?" Not only can it think, but it can reason and compromise," said the Creator. Finally, the angel bent over and ran her finger across the cheek. There's a leak," she pronounced. "I told You that You were trying to put too much into this model." It's not a leak," said the Lord, "It's a tear." What's it for?" It's for joy, sadness, disappointment, pain, loneliness, and pride." You are a genius, " said the angel. Somberly, God said, "I didn't put it there.

By late afternoon I lie with my head in Peeta’s lap making a crown of flowers while he fiddles with my hair claiming he is practicing knots. After awhile his hands go still. “What?” I ask. “I wish I could freeze this moment, right here, right now, and live in it forever,” he says. Usually this sort of comment, the kind that hints his undying love for me, makes me feel guilty and awful. But I’m so relaxed and beyond worrying about a future I’ll never have, I just let the word slip out. “Okay,” I say. I can hear the smile in his voice. “Then you’ll allow it?” “I’ll allow it.

Bet you can't even name one romantic movie you like," she teased. She felt smug when a few minutes went by and Oliver was still unable to name one romantic movie he could profess to enjoy. The Empire Strikes Back," Oliver finally declared, tapping his horn at a Prius that wandered over the line. The Empire Strikes Back? The Star Wars movie? That's not romantic!" Schuyler huffed, fiddling with the air conditioner controls. Au contraire, my dear, it's very romantic. The last scene, you know, when they're about to put Han in that freezing cryogenic chamber or whatever? Remember?" Schuyler mmm-hmmmed. And Leia leans over the ledge and says, 'I love you.'" That's cheesy, not romatic," Schuyler argued, although she did like that part. Let me explain. What's romantic is what Han says back. Remember what he says to her? After she says 'I love you'?" Schuyler grinned. Maybe Oliver had a point. "Han says, 'I know.'" Exactly," Oliver tapped the wheel. "He doesn't have to say anything so trite as 'I love you." Because that's already understood. And that's romantic.

Anyway, since when are you shy? Just talk to him already!' ' 'And say what? Nice fiddling, handsome man?' 'Absolutely.

I usually am right. It’s just good sense to go through life assuming that I am. It’s the law of averages. Better to assume I’m always right and occasionally be wrong than to fiddle about doubting myself all the time, saying to everyone, “Yes, but what do you think?

Well, I’ve been a musician my whole life. When I was two, I would sing the theme from Star Wars in my crib; my mom taped it for proof. Then, when I was five, I asked for a violin. No one knew why I would want one, but my wish was granted and I ended up a classically trained fiddler by age 12. The only problem with that was, when you’re a classical violinist, everybody expects you to be satisfied with playing Tchaikovsky for the rest of your life, and saying you want to play jazz, rock, write songs, sing your songs, hook up your fiddle to a guitar amp, sleep with your 4-track recorder, mess around with synths, dress like Tinkerbell in combat boots, AND play Tchaikovsky is equivalent to spitting on the Pope.

Riden is up in the rigging, fiddling with the sails. He’s barefoot, shirtless, and he’s gone a few days without shaving. Holy hell. I’m staring. I know it, but I can’t seem to stop. “I could get used to warm weather,” Niridia says from next to me. “Won’t exactly make everyone smell nice, but the view is vastly improved.” I should have a clever response, but all I can manage is “Aye.

Rome is burning, Jesus says. Drop your fiddle, change your life and come to Me. Let go of the good days that never were - a regimented church you never attended, traditional virtues you never practiced, legalistic obedience you never honored, and a sterile orthodoxy you never accepted. The old era is done. The decisive inbreak of God has happened.

Today," she told it, "death comes to all your circuits. Will it be slow and systematic or fast and brutal?" Considering, she circled it, "Tough decision. I've waited so long for this moment. Dreamed of it." Showing her teeth, she began to roll up her sleeves. "What," Roarke asked from the doorway that connected their work areas, "is that?" "The former bane of my existence. The Antichrist of technology. Do we have a hammer?" Studying the pile on the floor, he walked in. "Several, I imagine, of various types." "I want all of them. Tiny little hammers, big, wallbangers, and everything in between." "Might one ask why?" "I'm going to beat this thing apart, byte by byte, until there's nothing left but dust from the last trembling chip." "Hmmm." Roarke crouched down, examined the pitifully out-of-date system. "When did you haul this mess in here?" "Just now. I had it in the car. Maybe I should use acid, just stand here and watch it hiss and dissolve. That could be good." Saying nothing, Roarke took a small case out of his pocket, opened it, and chose a slim tool. With a few deft moves, he had the housing open. "Hey! Hey! What're you doing?" "I haven't seen anything like this in a decade. Fascinating. Look at this corrosion. Christ, this is a SOC chip system. And it's cross-wired." When he began to fiddle, she rushed over and slapped at his hands. "Mine. I get to kill it." "Get a grip on yourself," he said absently and delved deeper into the guts. "I'll take this into research." "No. Uh-uh. I have to bust it apart. What if it breeds?

He says softly, "I don't just want you in my dreams, baby. Been wanting you a long while." fiddle sticks I whisper, "Niki." He puts his lips close to mine and breathes deep, "You're all I think about." I feel the tingles start in my in my nose. A sure sign I'm going to bawl. "Stop." But he just keeps coming with the sweet, "I thought I needed a woman like you. Turns out I just needed you." My breath hitches. "Stop." What he says next melts my frozen heart. "You're it, Tina." I no longer have doubts My heart skips a beat and I whisper fiercely, "I want to kiss you. Real bad.

He calls you occasionally at the office to ask how you are. You doodle numbers and curlicues on the corners of Rolodex cards. Fiddle with your Phi Beta Kappa key. Stare out the window. You always, always, say: "Fine.

So what did Conroy say to you this arvo, after I left?' He said, Rachel Watts is hot stuff, and I'd like to ask her out. Got any tips?' 'Mycroft, don't be juvenile.' 'I am a juvenile.' 'Then don't be grotesque. Are you going to tell me or not?' Mycroft fiddles with the cigarette pack, loose in his long fingers. 'Nothing to tell,' he says. 'Conroy uses the same material in every speech. The we can't put up with this behaviour forever line, and the one more stunt like this line. I can't figure out why he keeps recycling.' 'Maybe he thinks constant repetition will make it sink in.' 'See, that's Einstein's definition of insanity right there - doing the same thing over and over again, and expecting a different result.

It was a haunting tune, unresigned, a cry of heartache for all in the world that fell apart. As ash rose black against the brilliant sky, Fire's fiddle cried out for the dead, and for the living who stay behind and say goodbye.

You got to think a musical instrument is human or, anyway, alive....You take a fiddle now, we say it has a neck, and in the human neck what do you find? Vocal cords like strings, where the sound comes from.

The last time you came to see me there were anchors in your eyes, hardback books in your posture. You were the five star general of sureness, a crisp white tuxedo of a man. I was fiddling with my worn coat pockets, puffing false confidence ghosts in the cold January air. My hands were shitty champagne flutes brimming with cheap merlot. I couldn’t touch you without ruining you, so I didn’t touch you at all. It’s when you’re on the brink of something that you lose your balance. You told me that once. When I can’t bring myself to say what I need to, my heart plays Russian Roulette with my throat. I swear I fired that night, but, nothing. Someday, I’ll show you the bullet I had for you, after time has done the wash. I’ll take it out of the jar of missed opportunities. We’ll hold it up to the light. You’ll roll it around your mouth like a fallen tooth. You won’t forgive me exactly, but we’ll laugh about how small it is. We’ll wonder how such a little thing could ever have meant so much.

Only a great fool would call the new political science diabolic: it has no attributes peculiar to fallen angels. It is not even Machiavellian, for Machiavelli's teaching was graceful, subtle, and colorful. Nor is it Neronian. Nevertheless one may say of it that it fiddles while Rome burns. It is excused by two facts: it does not know that it fiddles, and it does not know that Rome burns.

I kept fiddling with my phone through dinner because I was fascinated that every time I tried to type love, I missed the o and hit i instead. I live you is a mistake I make so often, I wonder if it’s not what I’ve been really meaning to say.

I even have a welcoming speech prepared for fear, which I deliver right before embarking upon any new project or big adventure. It goes something like this: “Dearest Fear: Creativity and I are about to go on a road trip together. I understand you’ll be joining us, because you always do. I acknowledge that you believe you have an important job to do in my life, and that you take your job seriously. Apparently your job is to induce complete panic whenever I’m about to do anything interesting—and, may I say, you are superb at your job. So by all means, keep doing your job, if you feel you must. But I will also be doing my job on this road trip, which is to work hard and stay focused. And Creativity will be doing its job, which is to remain stimulating and inspiring. There’s plenty of room in this vehicle for all of us, so make yourself at home, but understand this: Creativity and I are the only ones who will be making any decisions along the way. I recognize and respect that you are part of this family, and so I will never exclude you from our activities, but still—your suggestions will never be followed. You’re allowed to have a seat, and you’re allowed to have a voice, but you are not allowed to have a vote. You’re not allowed to touch the road maps; you’re not allowed to suggest detours; you’re not allowed to fiddle with the temperature. Dude, you’re not even allowed to touch the radio. But above all else, my dear old familiar friend, you are absolutely forbidden to drive.

And they are dancing, the board floor slamming under the jackboots and the fiddlers grinning hideously over their canted pieces. Towering over them all is the judge and he is naked dancing, his small feet lively and quick and now in doubletime and bowing to the ladies, huge and pale and hairless, like an enormous infant. He never sleeps, he says. He says he’ll never die. He bows to the fiddlers and sashays backwards and throws back his head and laughs deep in his throat and he is a great favorite, the judge. He wafts his hat and the lunar dome of his skull passes palely under the lamps and he swings about and takes possession of one of the fiddles and he pirouettes and makes a pass, two passes, dancing and fiddling at once. His feet are light and nimble. He never sleeps. He says that he will never die. He dances in light and in shadow and he is a great favorite. He never sleeps, the judge. He is dancing, dancing. He says that he will never die.

Between the onion and the parsley, therefore, I shall give the summation of my case for paying attention. Man's real work is to look at the things of the world and to love them for what they are. That is, after all, what God does, and man was not made in God's image for nothing. The fruits of his attention can be seen in all the arts, crafts, and sciences. It can cost him time and effort, but it pays handsomely. If an hour can be spent on one onion, think how much regarding it took on the part of that old Russian who looked at onions and church spires long enough to come up with St. Basil's Cathedral. Or how much curious and loving attention was expended by the first man who looked hard enough at the inside of trees, the entrails of cats, the hind ends of horses and the juice of pine trees to realize he could turn them all into the first fiddle. No doubt his wife urged him to get up and do something useful. I am sure that he was a stalwart enough lover of things to pay no attention at all to her nagging; but how wonderful it would have been if he had known what we know now about his dawdling. He could have silenced her with the greatest riposte of all time: Don't bother me; I am creating the possibility of the Bach unaccompanied sonatas. But if man's attention is repaid so handsomely, his inattention costs him dearly. Every time he diagrams something instead of looking at it, every time he regards not what a thing is but what it can be made to mean to him - every time he substitutes a conceit for a fact - he gets grease all over the kitchen of the world. Reality slips away from him; and he is left with nothing but the oldest monstrosity in the world: an idol. Things must be met for themselves. To take them only for their meaning is to convert them into gods - to make them too important, and therefore to make them unimportant altogether. Idolatry has two faults. It is not only a slur on the true God; it is also an insult to true things. They made a calf in Horeb; thus they turned their Glory into the similitude of a calf that eateth hay. Bad enough, you say. Ah, but it was worse than that. Whatever good may have resided in the Golden Calf - whatever loveliness of gold or beauty of line - went begging the minute the Israelites got the idea that it was their savior out of the bondage of Egypt. In making the statue a matter of the greatest point, they missed the point of its matter altogether.

He doesn’t say what he thinks of my paintings, but I know anyway. He thinks they are irrelevant. In his mind, what I paint is lumped in with the women who paint flowers. Lumped is the word. The present tense is moving forward, discarding concept after concept, and I am off to the side somewhere, fiddling with egg tempera and flat surfaces, as if the twentieth century has never happened. There is freedom in this: because it doesn’t matter what I do, I can do what I like

Hallo, Bertie." "Hallo, old turnip. Where have you been all this while?" "Oh, here and there! Ripping weather we're having, Bertie." "Not bad." "I see the Bank Rate is down again." "No, really?" "Disturbing news from Lower Silesia, what?" "Oh, dashed!" He pottered about the room for a bit, babbling at intervals. The boy seemed cuckoo. "Oh, I say, Bertie!" he said suddenly, dropping a vase which he had picked off the mantelpiece and was fiddling with. "I know what it was I wanted to tell you. I'm married.

Wow, ” Ben said. He thought Eddie’s mother must be really weird. He was unconscious of the fact that now both of his hands were fiddling in the remains of his sweatshirt. “Why don’t you just say no? Say something like ‘Hey Ma, I feel all right, I just want to stay home and watch Sea Hunt.

There has arisen in our time a most singular fancy: the fancy that when things go very wrong we need a practical man. It would be far truer to say, that when things go very wrong we need an unpractical man. Certainly, at least, we need a theorist. A practical man means a man accustomed to mere daily practice, to the way things commonly work. When things will not work, you must have the thinker, the man who has some doctrine about why they work at all. It is wrong to fiddle while Rome is burning; but it is quite right to study the theory of hydraulics while Rome is burning.

For everyone else, talking just seems to come naturally. When someone says something, they automatically know what to say back. But for me it's as if the pathway between brain and mouth is damaged, like a rare form of paralysis. I can't speak, so instead I fiddle with the plastic tip of my shoelace.

She fiddled with the flower some more, then blurted out, “You shouldn’t have picked this.” “You should have a tulip,” he said matter-of-factly. “It isn’t right that Edwina receives all the flowers.” Kate’s stomach, already tense and prickly, did a little flip. “Nonetheless,” she managed to say, “your gardener will surely not appreciate the mutilation of his work.” He smiled devilishly. “He’ll blame one of my younger siblings.” She couldn’t help but smile. “I should think less of you for such a ploy,” she said. “But you don’t?” She shook her head. “But then again, it’s not as if my opinion of you could sink very much lower.” “Ouch.” He shook a finger at her. “I thought you were supposed to be on your best behavior.” Kate looked around. “It doesn’t count if there is no one nearby to hear me, right?” “I can hear you.” “You certainly don’t count.” His head dipped a little closer in her direction. “I should think I was the only one who did.” -Kate & Anthony

What is the use of beauty in woman? Provided a woman is physically well made and capable of bearing children, she will always be good enough in the opinion of economists. What is the use of music? -- of painting? Who would be fool enough nowadays to prefer Mozart to Carrel, Michael Angelo to the inventor of white mustard? There is nothing really beautiful save what is of no possible use. Everything useful is ugly, for it expresses a need, and man's needs are low and disgusting, like his own poor, wretched nature. The most useful place in a house is the water-closet. For my part, saving these gentry's presence, I am of those to whom superfluities are necessaries, and I am fond of things and people in inverse ratio to the service they render me. I prefer a Chinese vase with its mandarins and dragons, which is perfectly useless to me, to a utensil which I do use, and the particular talent of mine which I set most store by is that which enables me not to guess logogriphs and charades. I would very willingly renounce my rights as a Frenchman and a citizen for the sight of an undoubted painting by Raphael, or of a beautiful nude woman, -- Princess Borghese, for instance, when she posed for Canova, or Julia Grisi when she is entering her bath. I would most willingly consent to the return of that cannibal, Charles X., if he brought me, from his residence in Bohemia, a case of Tokai or Johannisberg; and the electoral laws would be quite liberal enough, to my mind, were some of our streets broader and some other things less broad. Though I am not a dilettante, I prefer the sound of a poor fiddle and tambourines to that of the Speaker's bell. I would sell my breeches for a ring, and my bread for jam. The occupation which best befits civilized man seems to me to be idleness or analytically smoking a pipe or cigar. I think highly of those who play skittles, and also of those who write verse. You may perceive that my principles are not utilitarian, and that I shall never be the editor of a virtuous paper, unless I am converted, which would be very comical. Instead of founding a Monthyon prize for the reward of virtue, I would rather bestow -- like Sardanapalus, that great, misunderstood philosopher -- a large reward to him who should invent a new pleasure; for to me enjoyment seems to be the end of life and the only useful thing on this earth. God willed it to be so, for he created women, perfumes, light, lovely flowers, good wine, spirited horses, lapdogs, and Angora cats; for He did not say to his angels, 'Be virtuous,' but, 'Love,' and gave us lips more sensitive than the rest of the skin that we might kiss women, eyes looking upward that we might behold the light, a subtile sense of smell that we might breathe in the soul of the flowers, muscular limbs that we might press the flanks of stallions and fly swift as thought without railway or steam-kettle, delicate hands that we might stroke the long heads of greyhounds, the velvety fur of cats, and the polished shoulder of not very virtuous creatures, and, finally, granted to us alone the triple and glorious privilege of drinking without being thirsty, striking fire, and making love in all seasons, whereby we are very much more distinguished from brutes than by the custom of reading newspapers and framing constitutions.

My God. Johannes, are you saying that you’re accepting this task because I asked you?’ Cabal did not reply. Instead he found a loose thread on the eiderdown and fiddled distractedly with it. Horst sat on the side of the bed, embraced his brother around the shoulders with one arm, and rubbed the top of his head with the knuckles of the other. ‘Horst!’ snapped Cabal. ‘I am no longer eight years old!’ Horst kissed him on the top of the head. ‘You’ll always be my little brother, Johannes, even if you look older than me now.

know what I am. I’m lace and daisies and a fiddle on my grandparents’ back porch. Dirt roads and dandelions, like Papa says. Vinyl records in a world of digital downloads.

Didn’t say,” Mr. Sullivan said, pretending the deep-fryer knobs needed fiddling with. “I’m really sorry about what happened to your friends.

She was one of those people who could not say if one note was lower or higher than another. This was no less a disability and misfortune than a clubfoot or a harelip...

They had to pretend because our high-ranking politician knew not a word of English (well, when he said goodbye he did risk a “Good luck”) and the high-ranking British politician knew not a word of Spanish (although she did say “Buen dίa” to me as she gave me an iron handshake). So while the former was mumbling gibberish in Spanish, inaudible to cameras and photographers, all the time keeping a broad smile trained on his guest, as if he were regaling her with interesting banter (what he said was not, however, inaudible to me: I seem to remember that he kept repeating “One, two, three, four, five, what a lovely time we’re going to have”). The latter was muttering nonsense in her own language, and smiling even more broadly than him (“Cheese,” she kept saying, which is what all English people being photographed are told to say, and then various untranslatable onomatopoeic words such as “Tweedle tweedle, biddle diddle, twit and fiddle, tweedle twang”).

What are you doing?” I finally ask. “I'm serenading you.” I slowly nod, fiddling with the strap of my tank top as I say, “You know those people that naturally sing really well and you could listen to them for hours and hours?” “Yeah.” I look up. “You're not one of them.” His lips twitch. “Isn't it about effort?” “Not with singing, no. It's about talent. You don't have it.” “I love you.” “That's not going to make you sound any better.” Laughing, he reaches for me and pulls me to his lap. Zart, Lindy (2014-11-20). Roomies (p. 218). . Kindle Edition.

He asked, "What is the problem, Isa?" And tired of being coy all the time, I wanted to say, "I like when you are tender with me. I wish you were tender all the time." It was the feeling that his tenderness was selective, and I wanted to be the object of all of it. I fiddled with my straw. The pulp of the lime trembled in the glass. I said, "You know," and he said, "No, I don't." I have tried to stick together tenderness from each person. It's a natural urge to want to be important in someone's life. The soft underbelly of a coarse man. A preview is never enough because I am insatiable. (150)

When I was younger, my mom loved to garden. But the flowers would never grow. She just kept trying.' 'I don't understand.' 'Because you can't.' 'What does this have to do with anything?' I don't fiddle with my fingers and there's no apology on the tip of my tongue when I say, 'I am my mother's son.

No one bothers us. By late afternoon, I lie with my head on Peeta’s lap, making a crown of flowers while he fiddles with my hair, claiming he’s practicing his knots. After a while, his hands go still. “What?” I ask. “I wish I could freeze this moment, right here, right now, and live in it forever,” he says.

Mrs. Porter was from Virginia and had a smooth-as-cat-fur way of speaking. She taught me how to say, “Fiddle-Dee-Dee,” just like Scarlett O’Hara and she made her split-pea soup with bacon and even let me try on her lipstick sometimes as she teased up my hair in the same sixties style she wore, “Ala Pricilla Presley,” whoever that was.

When I was younger, my mom loved to garden. But the flowers would never grow. She kept planting seeds even thought nothing would grow. She just kept trying.' 'I don't understand.' 'Because you can't.' 'What does this have to do with anything?' I don't fiddle with my fingers and there's no apology on the tip of my tongue when I say, 'I am my mother's son.

Moments of pride commemorate people’s achievements. We feel our chest puff out and our chin lift. 2. There are three practical principles we can use to create more moments of pride: (1) Recognize others; (2) Multiply meaningful milestones; (3) Practice courage. The first principle creates defining moments for others; the latter two allow us to create defining moments for ourselves. 3. We dramatically underinvest in recognition. • Researcher Wiley: 80% of supervisors say they frequently express appreciation, while less than 20% of employees agree. 4. Effective recognition is personal, not programmatic. (“ Employee of the Month” doesn’t cut it.) • Risinger at Eli Lilly used “tailored rewards” (e.g., Bose headphones) to show his team: I saw what you did and I appreciate it. 5. Recognition is characterized by a disjunction: A small investment of effort yields a huge reward for the recipient. • Kira Sloop, the middle school student, had her life changed by a music teacher who told her that her voice was beautiful. 6. To create moments of pride for ourselves, we should multiply meaningful milestones—reframing a long journey so that it features many “finish lines.” • The author Kamb planned ways to “level up”—for instance “Learn how to play ‘Concerning Hobbits’ from The Fellowship of the Ring”—toward his long-term goal of mastering the fiddle.

We are Volunteers Fighting Disease, And we’re cheerful all day long. If someone said that we were sad, That person would be wrong. We visit people who are sick, And try to make them smile, Even if their noses bleed, Or if they cough up bile. Tra la la, Fiddle dee dee, Hope you get well soon. Ho ho ho, hee hee hee, Have a heart-shaped balloon. We visit people who are ill, And try to make them laugh, Even when the doctor says He must saw them in half. We sing and sing all night and day, And then we sing some more. We sing to boys with broken bones And girls whose throats are sore. Tra la la, Fiddle dee dee, Hope you get well soon. Ho ho ho, hee hee hee, Have a heart-shaped balloon. We sing to men with measles, And to women with the flu, And if you breathe in deadly germs, We’ll probably sing to you. Tra la la, Fiddle dee dee, Hope you get well soon. Ho ho ho, hee hee hee, Have a heart-shaped balloon.

His condescending chuckle drop-kicked something deep inside of me. How many times had I been minimized because of my sex? How many times had a man reduced me to some clichéd version of an indecisive female, or a bad driver, or a hysterical woman, because I didn’t have a penis to swing around and constantly fiddle with? They had always done it as if to say, “Aren’t they all the same? As men, we just have to humor them. It’s our lot in life, sadly. Can’t live with them, can’t kill them, am I right?

I thought it very likely I might have this sort of untestable power myself. It was kind of logical--no good at sport, alrightish at my studies, there must have been some field in which I excelled. Magic had to be it. It's difficult for adults to picture just what a grip these fantasies can take on a child. There's occasionally a reminder as a kid throws himself off a roof pretending to be Batman, but mostly the interior life of children goes unnoticed. When I say I thought I could be a wizard, that's exactly true. I really did believe I had latent magical powers, and, with enough concentration and fiddling my fingers into strange patterns, I might suddenly find how to unlock the magic inside me. I wouldn't call this a delusion, more a very strong suspicion. I'd weighed all the evidence, and that was the likely conclusion--so much so that I had to stop myself trying to turn Matt Bradon into a fly when he was jumping up and down on the desk in French saying, "Miss, what are mammary glands?" to the big-breasted Miss Mundsley. I feared that, if I succeeded, I might not be able to turn him back. It was important, I knew, to use my powers wisely. There's nothing that you'd have to call a psychoanalyst in for here. At the bottom line my growing interest in fantasy was just an expression of a very common feeling--"there's got to be something better than this," an easy one to have in the drab Midlands of the 1970s. I couldn't see it, though. My world was very small, and I couldn't imagine making things better incrementally, only a total escape.

Poet, do you think a melody would compliment one of you poems? I was fixing to compose one, fiddling with ideas in my head, but...would that make it a song and not a poem anymore? And I'm not saying I'll jot the tune down, but if I did, if you wanted it...that is to say, if you agreed, would that mean the poem has died? I don't want my lute to kill it, you see. Only when does a poem stop being a poem? Can it be a song, too?" He dropped his head and spoke to my boots. "Can they blend together?" If only he were truly referring to artistry.

Look at them down there,” Thomas said. “Who knows what they were doing a few months ago. Living in a high-rise, maybe, working at some office. Now they’re chasing people like wild animals.” “I’ll tell you what they were doing a few months ago,” Brenda answered. “They were miserable, scared to death of catching the Flare, knowing it’s inevitable.” Minho threw his hands up. “How can you worry about them ? Was I alone just now? With my friend ? His name is Newt.” “Nothing we could’ve done,” Jorge called from the cockpit. Thomas winced at the lack of compassion. Minho turned to face him. “Just shut up and fly, shuck-face.” “I’ll do my best,” Jorge said with a sigh. He fiddled with some instruments and got the Berg moving. Minho slumped to the floor, almost like he’d melted. “What happens when he runs out of Launcher grenades?” he asked no one in particular, looking at an empty spot on the wall. Thomas had no idea how to respond, no way to express the sorrow that filled his chest. He sank down next to Minho on the ground and sat there without saying a word as the Berg rose higher and flew away from the Crank Palace. Newt was gone.

The fiddle game was a con. The way they’d explained it to Ben, a guy goes into a restaurant carrying a fiddle, orders food, eats, and then claims he can’t pay because he left his wallet somewhere else. So he offers to leave his fiddle behind as collateral while he goes to get his money. The restaurant owner agrees, and the guy leaves. After that, a second guy, who’s in on the game, comes up and tells the restaurant owner that the fiddle is special, it’s worth a lot of money, and he wants to buy it. Then, all of a sudden, the second guy has to go to an appointment or something, but he leaves his business card behind. So now the restaurant owner starts thinking he’s got something really valuable on his hands, this fiddle, and when the owner of the instrument comes back, the restaurant owner offers to buy it. The guy says he couldn’t possibly part with it, it’s his livelihood, so the restaurant owner offers more money, knowing he can make it back when he sells it. They haggle, and finally agree on a price, and the fiddle owner leaves with the money. Trouble is, when the restaurant owner goes to call the fake buyer, he can’t find him. The two guys split the money, and the restaurant owner is left with a piece-of-crap fiddle.

O Tell Me The Truth About Love - Poem by WH Auden Some say love's a little boy, And some say it's a bird, Some say it makes the world go round, Some say that's absurd, And when I asked the man next door, Who looked as if he knew, His wife got very cross indeed, And said it wouldn't do. Does it look like a pair of pyjamas, Or the ham in a temperance hotel? Does its odour remind one of llamas, Or has it a comforting smell? Is it prickly to touch as a hedge is, Or soft as eiderdown fluff? Is it sharp or quite smooth at the edges? O tell me the truth about love. Our history books refer to it In cryptic little notes, It's quite a common topic on The Transatlantic boats; I've found the subject mentioned in Accounts of suicides, And even seen it scribbled on The backs of railway guides. Does it howl like a hungry Alsatian, Or boom like a military band? Could one give a first-rate imitation On a saw or a Steinway Grand? Is its singing at parties a riot? Does it only like Classical stuff? Will it stop when one wants to be quiet? O tell me the truth about love. I looked inside the summer-house; It wasn't even there; I tried the Thames at Maidenhead, And Brighton's bracing air. I don't know what the blackbird sang, Or what the tulip said; But it wasn't in the chicken-run, Or underneath the bed. Can it pull extraordinary faces? Is it usually sick on a swing? Does it spend all its time at the races, or fiddling with pieces of string? Has it views of its own about money? Does it think Patriotism enough? Are its stories vulgar but funny? O tell me the truth about love. When it comes, will it come without warning Just as I'm picking my nose? Will it knock on my door in the morning, Or tread in the bus on my toes? Will it come like a change in the weather? Will its greeting be courteous or rough? Will it alter my life altogether? O tell me the truth about love.

Walking down the street was like being tossed bombs. I fiddled with the wires, frantically defusing each one. Each time I was not sure which wire would cause it to detonate, tinkering while sweat ran down my forehead. Women are raised to work with dexterity, to keep their nimble fingers ready, their minds alert. It is her job to know how to handle the stream of bombs, how to kindly decline giving her number, how to move a hand from the button of her jeans, to turn down a drink. When a woman is assaulted, one of the first questions people ask is, Did you say no? This question assumes that the answer was always yes, and that it is her job to revoke the agreement. To defuse the bomb she was given.

And at the risk of sounding like Andy Rooney on Sixty Minutes, have you ever wondered why we say fiddle-faddle and not faddle- fiddle? Why is it ping-pong and pitter-patter rather than pong-ping and patter-pitter? Why dribs and drabs, rather than vice versa? Why can't a kitchen be span and spic? Whence riff-raff, mish-mash, flim-flam, chit-chat, tit for tat, knick-knack, zig-zag, sing-song, ding-dong, King Kong, criss-cross, shilly-shally, see-saw, hee-haw, flip-flop, hippity-hop, tick-tock, tic-tac-toe, eeny-meeny-miney-moe, bric-a-brac, clickety-clack, hickory-dickory-dock, kit and kaboodle, and bibbity-bobbity-boo? The answer is that the vowels for which the tongue is high and in the front always come before the vowels for which the tongue is low and in the back.

You’ve said, “You can lie or distort the story of the French Revolution as long as you like and nothing will happen. Propose a false theory in chemistry and it will be refuted tomorrow.” How does your approach to the world as a scientist affect and influence the way you approach politics? Nature is tough. You can’t fiddle with Mother Nature, she’s a hard taskmistress. So you’re forced to be honest in the natural sciences. In the soft fields, you’re not forced to be honest. There are standards, of course; on the other hand, they’re very weak. If what you propose is ideologically acceptable, that is, supportive of power systems, you can get away with a huge amount. In fact, the difference between the conditions that are imposed on dissident opinion and on mainstream opinion is radically different. For example, I’ve written about terrorism, and I think you can show without much difficulty that terrorism pretty much corresponds to power. I don’t think that’s very surprising. The more powerful states are involved in more terrorism, by and large. The United States is the most powerful, so it’s involved in massive terrorism, by its own definition of terrorism. Well, if I want to establish that, I’m required to give a huge amount of evidence. I think that’s a good thing. I don’t object to that. I think anyone who makes that claim should be held to very high standards. So, I do extensive documentation, from the internal secret records and historical record and so on. And if you ever find a comma misplaced, somebody ought to criticize you for it. So I think those standards are fine. All right, now, let’s suppose that you play the mainstream game. You can say anything you want because you support power, and nobody expects you to justify anything. For example, in the unimaginable circumstance that I was on, say, Nightline, and I was asked, “Do you think Kadhafi is a terrorist?” I could say, “Yeah, Kadhafi is a terrorist.” I don’t need any evidence. Suppose I said, “George Bush is a terrorist.” Well, then I would be expected to provide evidence—“Why would you say that?” In fact, the structure of the news production system is, you can’t produce evidence. There’s even a name for it—I learned it from the producer of Nightline, Jeff Greenfield. It’s called “concision.” He was asked in an interview somewhere why they didn’t have me on Nightline. First of all, he says, “Well, he talks Turkish, and nobody understands it.” But the other answer was, “He lacks concision.” Which is correct, I agree with him. The kinds of things that I would say on Nightline, you can’t say in one sentence because they depart from standard religion. If you want to repeat the religion, you can get away with it between two commercials. If you want to say something that questions the religion, you’re expected to give evidence, and that you can’t do between two commercials. So therefore you lack concision, so therefore you can’t talk. I think that’s a terrific technique of propaganda. To impose concision is a way of virtually guaranteeing that the party line gets repeated over and over again, and that nothing else is heard.

Turner let the work speak for itself. Harper wanted to be certain about Elwood's comfort with his new detail. 'You don't look surprised,' the young white man said. 'It has to end up somewhere,' Elwood responded. 'How things are done. Spencer tells me where to go, and he kicks it up to Director Hardee.' Harper fiddled the dial after more rock and roll: Elvis popped up again. He was everywhere. 'It used to be worse in the old days,' Harper said, 'from what my aunt says. But the state cracked down and now we lay off the south-campus stuff.' Meaning, they old sold the black students' supplies. 'We had this god old boy who used to run Nickel, Roberts, who would've sold the air you breathe if he could've. Now that was a crook!' 'Beats cleaning the toilets,' Turner said. 'Beats cutting grass, if you ask me.' It was nice to be out, and Elwood said so.

The roof. We order a bunch of food, grab some blankets, and head up to the roof for a picnic. A daylong picnic in the flower garden that tinkles with wind chimes. We eat. We lie in the sun. I snap off hanging vines and use my newfound knowledge from training to practice knots and weave nets. Peeta sketches me. We make up a game with the force field that surrounds the roof — one of us throws an apple into it and the other person has to catch it. No one bothers us. By late afternoon, I lie with my head on Peeta’s lap, making a crown of flowers while he fiddles with my hair, claiming he’s practicing his knots. After a while, his hands go still. “What?” I ask. “I wish I could freeze this moment, right here, right now, and live in it forever,” he says. Usually this sort of comment, the kind that hints of his undying love for me, makes me feel guilty and awful. But I feel so warm and relaxed and beyond worrying about a future I’ll never have, I just let the word slip out. “Okay.” I can hear the smile in his voice. “Then you’ll allow it?

What about sleeping arrangements?" Cassandra felt her stomach flip, not unpleasantly, and her face began to warm. "Perhaps we should have our own rooms, and you could visit?" "Certainly." Tom fiddled with a pencil. "I'll want to visit fairly often." She glanced at the empty doorway before turning her attention back to him. "How often?" Tom set down the pencil and drummed his fingers on the tabletop. "In the past, I've gone for long periods of time without... hang it, what's the polite word for it?" "I don't think there is a polite one." "During a drought, so to speak, I've always focused my energy on work. But when it's available... that is... when I've found the right woman... I tend to be..." Tom paused, mentally riffling through various words. "... demanding. Do you understand?" "No." That provoked a wry grin. Tom lowered his head briefly, then slanted a look up at her. A flicker of firelight caught in his green eye and made it gleam like a cat's. "What I'm trying to say is, I expect I'll be keeping you busy every night, for a while.

In the abstract you know that music exists and is beautiful. But don’t therefore pretend, when you hear Mozart, to go into raptures which you don’t feel. If you do, you become one of those idiotic music-snobs … unable to distinguish Bach from Wagner, but mooing with ecstasy as soon as the fiddles strike up. It’s exactly the same with God. The world’s full of ridiculous God-snobs. People who aren’t really alive, who’ve never done any vital act, who aren’t in any living relation with anything; people who haven’t the slightest personal or practical knowledge of what God is. But they moo away in churches, they coo over their prayers, they pervert and destroy their whole dismal existences by acting in accordance with the will of an arbitrarily imagined abstraction which they choose to call God. Just a pack of God-snobs. They’re as grotesque and contemptible as the music-snobs … but nobody has the sense to say so. The God-snobs are admired for being so good and pious and Christian. When they’re merely dead and ought to be having their bottoms kicked and their noses tweaked to make them sit up and come to life.

I’m surprised by her offer, and confused. Do I really want to meet with her? I don’t know. “Are you there?” she asks. “Yes,” I say. “Um, can I text you in a little while? And let you know?” “Of course.” “Okay.” “Okay.” Another pause. “Well, bye,” she says. “Bye.” I click off and stare at the phone. “Who was that?” Brandon asks. “My mom.” “Oh.” He’s surprised. Brandon knows I haven’t seen my mom since I was little, but I haven’t told him about the recent developments. “I went to see her a couple of weeks ago,” I say. His eyes widen in surprise. “Wow,” he says, and squeezes my hand. “How was that?” I shrug. “It was okay.” We’re at my house now, but we stand on the porch, talking. I would invite Brandon inside, but my dad’s truck is in the driveway, and I kind of want to talk to Brandon about this in private. “But now she wants to meet me for dinner tonight.” “And you don’t want to go?” I fiddle with the key chain on my backpack. “It’s not that I don’t want to go. It’s that I don’t know if I want to go.” He nods. “It’s just . . . I don’t understand why she’s suddenly so interested in seeing me. I mean, she didn’t have any interest in getting in touch with me until I went and saw her.” “Maybe she was afraid.

He was fiddling with the harness on the lead horse when she approached him, and asked, "Do you have proof that our aunt sent you to escort us?" He glanced sideways at her,but then put his attention back on the horse. "I mentioned your aunt,you didn't," he pointed out,his tone indifferent. "Well,yes,you did,but everyone in this town knows that we recently lost our father and are traveling to live with our aunt." That got his eyes on her again with a narrowed frown. "I've never set foot in this town before." "So you say,but-" "Are you accusing me of sneaking into town in the last day or so,hearing your tale that 'everyone' knows about, and cooking up a plan to abscond with you and your sister?" Put that way,it sounded really horrible. He'd have to be the worst sort of person to cook up such a plan. She winced mentally. She should nod in agreement. She couldn't bring herself to do it.She didn't need to.He was already furious with her. He reached inside his vest to pull out a letter he had stuffed in a pocket there. He literally shoved the letter in Marian's face. "This is how I knew where to find you, Miss Laton,and having not found you where you were supposed to be,I've spent every day since tracking you down.

I beg your pardon?" says Howard. Freddie clears his throat, and forces himself to look Howard in the eye. "I said, I'm God." He folds his arms very tightly, and looks away over Howard's shoulder. He is plainly embarrassed. So is Howard. He is embarrassed to have embarrassed Freddie. "I'm terribly sorry," says Howard. "Can't be helped," says Freddie. "Just one of those things." "I mean, I'm sorry not to have known." "Not at all. I'm sorry I had to spring it on you like that." There is an awkward silence. Freddie fiddles with his biscuit, breaking it into small pieces, and dropping crumbs which catch in the hairy surface of his trousers. "Well," says Howard. "Congratulations." "Oh," says Freddie. "Thanks." ---------- The more Howard thinks about it, the less he knows where to look or what to do with his hands. He tries putting them behind his back and looking at the floor, smiling reflectively. Freddie is having difficulties, too. He puts his dry biscuit down, and with his left hand seizes his right elbow. With his right hand he takes hold of his chin. Then he, too, examines the floor. "On second thoughts," he says, "I don't know about congratulations. Not like being elected to a fellowship, or whatever. Wasn't open to other candidates, you see.

Dearest Fear: Creativity anI are about to go on a road trip together. I understand you'll be joining us, because you always do. I acknowledge that you believe you have an important job to do in my life, and that you take your job seriously. Apparently your job is to inducecomplete panic whenever I'm about to do anything interesting – and, may I say, you are superb at your job. So by all means, keep doing your job, if you feel you must. But I will also be doing my job on this road trip, which is to work hard and stay focused. And Creativity will be doing its job, which is to remain stimulating and inspiring. There's plenty of room in this vehicle for all of us, so make yourself at home, but understand this: Creativity and I are the only two who will be making any decisions along this way. I recognize and respect that you are part of this family, and so I will never exclude you from activities, but still – your suggestions will never be followed. You're allowed to have a seat, and you're allowed to have a voice, but you're not allowed to have a vote. You're not allowed to touch the road maps; you're not allowed to fiddle with temperature. Dude, you're not even allowed to touch the radio. But above all else, my dear old familiar friend, you're absolutely forbidden to drive.

The first day Ma made cheese, Laura tasted the whey. She tasted it without saying anything to Ma, and when Ma turned around and saw her face, Ma laughed. That night while she was washing the supper dishes and Mary and Laura were wiping them, Ma told Pa that Laura had tasted the whey and didn’t like it. “You wouldn’t starve to death on Ma’s whey, like old Grimes did on his wife’s,” Pa said. Laura begged him to tell her about Old Grimes. So, though Pa was tired, he took his fiddle out of its box and played and sang for Laura: “Old Grimes is dead, that good old man, We ne’er shall see him more, He used to wear an old gray coat, All buttoned down before. “Old Grimes’s wife made skim-milk cheese, Old Grimes, he drank the whey, There came an east wind from the west, And blew Old Grimes away.” “There you have it!” said Pa. “She was a mean, tight-fisted woman. If she hadn’t skimmed all the milk, a little cream would have run off in the whey, and Old Grimes might have staggered along. “But she skimmed off every bit of cream, and poor Old Grimes got so thin the wind blew him away. Plumb starved to death.” Then Pa looked at Ma and said, “Nobody’d starve to death when you were around, Caroline.” “Well, no,” Ma said. “No, Charles, not if you were there to provide for us.” Pa was pleased.

As children we got so we could tell time by the sun pretty well, and would know by the light in the room when we opened our eyes that it was seven o'clock and time to get  up for school, and later that it was almost ten and then almost noon and almost three o'clock and time to be dismissed. School ran strictly by clocks, the old Regulators that Mr. Hamburger was always fiddling with, adding and subtracting paper clips on the pendulum to achieve perfect time, but we were sensitive to light, knowing how little was available to us as winter came on, and always knew what time it was - as anyone will who leads a regular life in a familiar place. My poor great-grandpa,when his house burned down when Grandma left the bread baking in the summer kitchen oven to go visit the Berges and they built the new one facing west instead of south: they say he was confused the rest of his life and never got straightened out even when he set up his bed in the parlor ( which faced north as his former bedroom had): he lived in a twilight world for some time and then moved in his mind to the house he'd grown up in, and in the end didn't know one day from another until he died." Yea, though I walk through the valley of the shadow of death, I will fear no evil," but there's more than one kind of of shadow, and when a man loses track, it can kill him. Not even the siren could have saved my great-grandpa. He died of misdirection.

remember the evening as a wonderful blur of warm emotion, tinged in bitter. Fiddles, lutes, and drums, everyone played and danced and sang as they wished. I dare say we rivaled any faerie revel you can bring to mind. I got presents. Trip gave me a belt knife with a leather grip, claiming that all boys should have something they can hurt themselves with. Shandi gave me a lovely cloak she had made, scattered with little pockets for a boy’s treasures. My parents gave me a lute, a beautiful thing of smooth dark wood. I had to play a song of course, and Ben sang with me. I slipped a little on the strings of the unfamiliar instrument, and Ben wandered off looking for notes once or twice, but it was nice. Ben opened up a small keg of mead he had been saving for “just such an occasion.” I remember it tasting the way I felt, sweet and bitter and sullen. Several people had collaborated to write “The Ballad of Ben, Brewer Supreme.” My father recited it as gravely as if it were the Modegan royal lineage while accompanying himself on a half harp. Everyone laughed until they hurt, and Ben twice as much as everyone else. At some point in the night, my mother swept me up and danced around in a great spinning circle. Her laughter sang out like music trailing in the wind. Her hair and skirt spun around me as she twirled. She smelled comforting, the way only mothers do. That smell, and the quick laughing kiss she gave me did more to ease the dull ache of Ben’s leaving than all the entertainments combined.

In an internal panic, I picked up the phone and hurriedly pushed redial. I had to catch Rhonda the Realtor, had to tell her wait, hold off, don’t let it go, I’m not sure, hang on, give me another day…or two…or three. But when the numbers finished dialing, I heard no ringing; instead, in a perfect moment of irony, coincidence, and serendipity, I heard Marlboro Man’s voice on the other end. “Hello?” he asked. “Oh,” I replied. “Hello?” “Hey, you,” he replied. So much for calling Rhonda the Realtor. Three seconds into the phone call, Marlboro Man’s voice had already taken hold. His voice. It weakened my knees, destroyed my focus, ruined my resolve. When I heard his voice, I could think of nothing but wanting to see him again, to be in his presence, to drink him in, to melt like butter in his impossibly strong arms. When I heard his voice, Chicago became nothing but a distant memory. “What’re you up to?” he continued. I could hear cattle in the background. “Oh, just getting a few things done,” I said. “Just tying up a few loose ends.” “You’re not moving to Chicago today, are you?” he said with a chuckle. He was only halfway joking. I laughed, rolling over in my bed and fiddling with the eyelet ruffle on my comforter. “Nope, not today,” I answered. “What are you doing?” “Coming to pick you up in a little bit,” he said. I loved it when he took charge. It made my heart skip a beat, made me feel flushed and excited and thrilled. After four years with J, I was sick and tired of the surfer mentality. Laid-back, I’d discovered, was no longer something I wanted in a man. And when it came to his affection for me, Marlboro Man was anything but that. “I’ll be there at five.” Yes, sir. Anything you say, sir. I’ll be ready. With bells on.

You’re too goddamned fat,” he said. I took a defiant drag on my cigarette and willed myself not to cry. The remark made me dizzy. For the past four years, Ma and Grandma had played by the rule: never to mention my weight. Now my jeans and sweatshirt were folded in a helpless pile beside me and there was only a thin sheet of paper between my rolls of dimply flesh and this detestable old man. My heart raced with fear and nicotine and Pepsi. My whole body shook, dripped sweat. “Any trouble with your period?” he asked. “No.” “What?” “No trouble,” I managed, louder. He nodded in the direction of his stand-up scale. The backs of my legs made little sucking sounds as they unglued themselves from the plastic upholstery. He brought the sliding metal bar down tight against my scalp and fiddled with the cylinder in front of my face. “Five-five and a half,” he said. “Two hundred . . . fifty-seven.” The tears leaking from my eyes made stains on the paper gown. I nodded or shook my head abruptly at each of his questions, coughed on command for his stethoscope, and took his pamphlets on diet, smoking, heart murmur. He signed the form. At the door, his hand on the knob, he turned back and waited until I met his eye. “Let me tell you something,” he said. “My wife died four Tuesdays ago. Cancer of the colon. We were married forty-one years. Now you stop feeling sorry for yourself and lose some of that pork of yours. Pretty girl like you—you don’t want to do this to yourself.” “Eat shit,” I said. He paused for a moment, as if considering my comment. Then he opened the door to the waiting room and announced to my mother and someone else who’d arrived that at the rate I was going, I could expect to die before I was forty years old. “She’s too fat and she smokes,” I heard him say just before the hall rang out with the sound of my slamming his office door. I was wheezing wildly by the time I reached the final landing. On the turnpike on the way home, Ma said, “I could stand to cut down, too, you know. It wouldn’t hurt me one bit. We could go on a diet together? Do they still sell that Metrecal stuff?” “I’ve been humiliated enough for one fucking decade,” I said. “You say one more thing to me and I’ll jump out of this car and smash my head under someone’s wheels.

Mr. Hazlit!” She kept her voice down with effort, but when a man sneaked up behind a lady and slid his arms around her waist, some exclamation was in order. “Hush.” He turned her in his arms, though part of Maggie was strongly admonishing herself to wrestle free. He’d let her go. She trusted him that far, when a servant was likely to appear any moment with a tea tray. “Something has you in a dither. Tell me.” His embrace was the most beguiling, irresistible mockery of a kindness. Gayle had offered her a hug a few days ago, a brusque, brotherly gesture as careful as it was brief. This was different. This was… Benjamin Hazlit’s warm, strong male body, available for her comfort. No conditions, no awkwardness, no dissembling for the benefit of an audience. She sighed and tucked her face against his throat, unwilling—or unable—to deny herself what he offered. For a few moments, she was going to pretend she wasn’t alone in a sea of trouble. She was going to pretend they were friends—cousins, maybe—and stealing this from him was permitted. She was going to hold on to the fiction that she was as entitled to dream of children and a husband to dote upon as the next woman. “You are wound as tight as a fiddle string, Maggie Windham.” Hazlit’s hand settled on her neck, kneading gently. “Are the domestics feuding, or has Her Grace been hounding you?” “She never hounds or scolds.” Maggie rested her forehead on his shoulder, her bones turning to butter at his touch. “She looks at us, disappointment in the prettiest green eyes you’ve ever seen, and you want to disappear into the ground, never to emerge until you can make her smile again. His Grace says it’s the same for him.” When she was held like this, Maggie could detect a unique scent about Hazlit’s person: honeysuckle and spice, like an exotic incense. It clung to his clothing, and when she turned her head to rest her cheek on the wool of his coat, she caught the same fragrance rising from the exposed flesh of his neck. That hand of his went wandering, over her shoulder blades, down her spine. “You are tired,” he said, his voice resonating through her physically. “What is disturbing your sleep, Maggie? And don’t think I’ll be distracted by more hissing and arching your back.” “I’m not a cat.” “You’ve cat eyes.” He turned her so his arm was around her waist. “Let’s sit by the fire, and you can tell me your troubles.” Such

He wanted somebody to give him a chance of asserting himself. He wanted it so urgently that he fidgeted in his chair, looked at this person, then at that person, tried to break into their talk, opened his mouth and shut it again. They were talking about the fishing industry. Why did no one ask him his opinion? What did they know about the fishing industry? Lily Briscoe knew all that. Sitting opposite him, could she not see, as in an X-ray photograph, the ribs and thigh bones of the young man's desire to impress himself, lying dark in the mist of his flesh--that thin mist which convention had laid over his burning desire to break into the conversation? But, she thought, screwing up her Chinese eyes, and remembering how he sneered at women, "can't paint, can't write," why should I help him to relieve himself? There is a code of behaviour, she knew, whose seventh article (it may be) says that on occasions of this sort it behoves the woman, whatever her own occupation might be, to go to the help of the young man opposite so that he may expose and relieve the thigh bones, the ribs, of his vanity, of his urgent desire to assert himself; as indeed it is their duty, she reflected, in her old maidenly fairness, to help us, suppose the Tube97 were to burst into flames. Then, she thought, I should certainly expect Mr. Tansley to get me out. But how would it be, she thought, if neither of us did either of these things? So she sat there 96 Cheated or frustrated himself. 97 The London subway. 64 smiling. "You're not planning to go to the Lighthouse, are you, Lily," said Mrs. Ramsay. "Remember poor Mr. Langley; he had been round the world dozens of times, but he told me he never suffered as he did when my husband took him there. Are you a good sailor, Mr. Tansley?" she asked. Mr. Tansley raised a hammer: swung it high in air; but realising, as it descended, that he could not smite that butterfly with such an instrument as this, said only that he had never been sick in his life. But in that one sentence lay compact, like gunpowder, that his grandfather was a fisherman; his father a chemist; that he had worked his way up entirely himself; that he was proud of it; that he was Charles Tansley--a fact that nobody there seemed to realise; but one of these days every single person would know it. He scowled ahead of him. He could almost pity these mild cultivated people, who would be blown sky high, like bales of wool and barrels of apples, one of these days by the gunpowder that was in him. "Will you take me, Mr. Tansley?" said Lily, quickly, kindly, for, of course, if Mrs. Ramsay said to her, as in effect she did, "I am drowning, my dear, in seas of fire. Unless you apply some balm to the anguish of this hour and say something nice to that young man there, life will run upon the rocks--indeed I hear the grating and the growling at this minute. My nerves are taut as fiddle strings. Another touch and they will snap"--when Mrs. Ramsay said all this, as the glance in her eyes said it, of course for the hundred and fiftieth time Lily Briscoe had to renounce the experiment--what happens if one is not nice to that young man there--and be nice.

During the season, they saw each other and played together almost every day. At the aunt's request, seconded by Professor Valérius, Daaé consented to give the young viscount some violin lessons. In this way, Raoul learned to love the same airs that had charmed Christine's childhood. They also both had the same calm and dreamy little cast of mind. They delighted in stories, in old Breton legends; and their favorite sport was to go and ask for them at the cottage-doors, like beggars: "Ma'am..." or, "Kind gentleman... have you a little story to tell us, please?" And it seldom happened that they did not have one "given" them; for nearly every old Breton grandame has, at least once in her life, seen the "korrigans" dance by moonlight on the heather. But their great treat was, in the twilight, in the great silence of the evening, after the sun had set in the sea, when Daaé came and sat down by them on the roadside and in a low voice, as though fearing lest he should frighten the ghosts whom he loved, told them the legends of the land of the North. And, the moment he stopped, the children would ask for more. There was one story that began: "A king sat in a little boat on one of those deep still lakes that open like a bright eye in the midst of the Norwegian mountains..." And another: "Little Lotte thought of everything and nothing. Her hair was golden as the sun's rays and her soul as clear and blue as her eyes. She wheedled her mother, was kind to her doll, took great care of her frock and her little red shoes and her fiddle, but most of all loved, when she went to sleep, to hear the Angel of Music." While the old man told this story, Raoul looked at Christine's blue eyes and golden hair; and Christine thought that Lotte was very lucky to hear the Angel of Music when she went to sleep. The Angel of Music played a part in all Daddy Daaé's tales; and he maintained that every great musician, every great artist received a visit from the Angel at least once in his life. Sometimes the Angel leans over their cradle, as happened to Lotte, and that is how their are little prodigies who play the fiddle at six better than fifty, which, you must admit, is very wonderful. Sometimes, the Angel comes much later, because the children are naughty and won't learn their lessons or practice their scales. And, sometimes, he does not come at all, because the children have a bad heart or a bad conscience. No one ever sees the Angel; but he is heard by those who are meant to hear him. He often comes when they least expect him, when they are sad or disheartened. Then their ears suddenly perceive celestial harmonies, a divine voice, which they remember all their lives. Persons who are visited by the Angel quiver with a thrill unknown to the rest of mankind. And they can not touch an instrument, or open their mouths to sing, without producing sounds that put all other human sounds to shame. Then people who do not know that the Angel has visited those persons say that they have genius. Little Christine asked her father if he had heard the Angel of Music. But Daddy Daaé shook his head sadly; and then his eyes lit up, as he said: "You will hear him one day, my child! When I am in Heaven, I will send him to you!" Daddy was beginning to cough at that time.

We kissed again, and I shivered in the cold night air. Wanting to get me out of the cold, he led me to his pickup and opened the door so we could both climb in. The pickup was still warm and toasty, like a campfire was burning in the backseat. I looked at him, giggled like a schoolgirl, and asked, “What have you been doing all this time?” “Oh, I was headed home,” he said, fiddling with my fingers. “But then I just turned around; I couldn’t help it.” His hand found my upper back and pulled me closer. The windows were getting foggy. I felt like I was seventeen. “I’ve got this problem,” he continued, in between kisses. “Yeah?” I asked, playing dumb. My hand rested on his left bicep. My attraction soared to the heavens. He caressed the back of my head, messing up my hair…but I didn’t care; I had other things on my mind. “I’m crazy about you,” he said. By now I was on his lap, right in the front seat of his Diesel Ford F250, making out with him as if I’d just discovered the concept. I had no idea how I’d gotten there--the diesel pickup or his lap. But I was there. And, burying my face in his neck, I quietly repeated his sentiments. “I’m crazy about you, too.” I’d been afflicted with acute boy-craziness for over half my life. But what I was feeling for Marlboro Man was indescribably powerful. It was a primal attraction--the almost uncontrollable urge to wrap my arms and legs around him every time I looked into his eyes. The increased heart rate and respiration every time I heard his voice. The urge to have twelve thousand of his babies…and I wasn’t even sure I wanted children. “So anyway,” he continued. That’s when we heard the loud knocking on the pickup window. I jumped through the roof--it was after 2:00 A.M. Who on earth could it be? The Son of Sam--it had to be! Marlboro Man rolled down the window, and a huge cloud of passion and steam escaped. It wasn’t the Son of Sam. Worse--it was my mother. And she was wearing her heather gray cashmere robe. “Reeee?” she sang. “Is that yoooou?” She leaned closer and peered through the window. I slid off of Marlboro Man’s lap and gave her a halfhearted wave. “Uh…hi, Mom. Yeah. It’s just me.” She laughed. “Oh, okay…whew! I just didn’t know who was out here. I didn’t recognize the car!” She looked at Marlboro Man, whom she’d met only one time before, when he picked me up for a date. “Well, hello again!” she exclaimed, extending her manicured hand. He took her hand and shook it gently. “Hello, ma’am,” he replied, his voice still thick with lust and emotion. I sank in my seat. I was an adult, and had just been caught parking at 2:00 A.M. in the driveway of my parents’ house by my robe-wearing mother. She’d seen the foggy windows. She’d seen me sitting on his lap. I felt like I’d just gotten grounded. “Well, okay, then,” my mom said, turning around. “Good night, you two!” And with that, she flitted back into the house. Marlboro Man and I looked at each other. I hid my face in my hands and shook my head. He chuckled, opened the door, and said, “C’mon…I’d better get you home before curfew.” My sweaty hands still hid my face. He walked me to the door, and we stood on the top step. Wrapping his arms around my waist, he kissed me on the nose and said, “I’m glad I came back.” God, he was sweet. “I’m glad you did, too,” I replied. “But…” I paused for a moment, gathering courage. “Did you have something you wanted to say?” It was forward, yes--gutsy. But I wasn’t going to let this moment pass. I didn’t have many more moments with him, after all; soon I’d be gone to Chicago. Sitting in coffee shops at eleven at night, if I wanted. Working. Eventually going back to school. I’d be danged if I was going to miss what he’d started to say a few minutes earlier, before my mom and her cashmere robe showed up and spoiled everything.

Question, Dave. At what age is it appropriate to stop dreaming of the year I sweep the Nobels, and really hunker down and specialize on the talent that’s gonna win me international acclaim and sex? Fourteen? Eighteen? Six? I got to tell you, nothing discourages the ambitious twelve-year-old like a bilingual Japanese fifth grader who gets onstage at skits, all humble and nervous, and busts fiery concertos out her violin like it’s nothing, or like a linguist mom who tells me that if I were to make it my life’s pursuit to learn the little fiddle prodigy’s primary language, it’s already too late for my brain to pick up on the nuances necessary for fitting in. I’m too late to dominate at something, aren’t I? If I’m too late, it’s fine, I just need to hear you say it so I can transition out of having goals and start nudging whoever’s beside me at skits and going, “Yeah, but at least I’ve got a life.” Or, wait, “Yeah, but at least I’ve got a life.” Well. Not there yet. I’ll work on it.

On the drive over, Richards kept marveling at the transforming power of having a felony to commit. His brother looked more like his "normal" self now than at any time in the previous weeks, that is, like a calm, basically reasonable individual, a manly sort of fellow with a certain presence. They talked about Richards' daughter and along other noncontroversial lines. At the airport Richards stood by quietly, if nervously, while Joel transacted his business at the ticket counter, then passed a blue daypack, containing the kilo of cocaine among other things, through the security x-ray. Richards had planned to stop right here--just say good-bye, go outside and start to breathe again--but for some reason he followed his brother through the checkpoint. In silence they proceeded down a broad, sparsely peopled corridor; Joel, with his daypack slung casually over one shoulder, a cigarette occupying his other hand, had given Richards his fiddle case to carry. Soon they became aware of a disturbance up ahead: a murmurous roar, a sound like water surging around the piles of a pier. The corridor forked and they found themselves in a broad lobby, which was jammed now with Hawaiian travelers, prospective vacationers numbering in the hundreds. Just as they arrived, a flight attendant, dressed like a renter of cabanas on the beach at Waikiki, picked up a mike and made the final announcement to board. In response to which, those travelers not already on their feet, not already formed in long, snaky line three or four people abreast, arose. The level of hopeful chatter, of sweetly anticipatory human excitement, increased palpably, and Richards, whose response to crowds was generally nervous, self-defensively ironic, instinctively held back. But his brother plunged right in--took up a place at the front of the line, and from this position, with an eager, good-natured expression on his face, surveyed his companions. Now the line started to move forward quickly. Richards, inching along on a roughly parallel course, two or three feet behind his brother, sought vainly for something comical to say, some reference to sunburns to come, Bermuda shorts, Holiday Inn luaus, and the like. Joel, beckoning him closer, seemed to want the fiddle case back. But it was Richards himself whom he suddenly clasped, held to his chest with clumsy force. Wordlessly embracing, gasping like a couple of wrestlers, they stumbled together over a short distance full of strangers, and only as the door of the gate approached, the flight attendant holding out a hand for boarding passes, did Richards' brother turn without a word and let him go.

On the drive over, Richards kept marveling at the transforming power of having a felony to commit. His brother looked more like his "normal" self now than at any time in the previous weeks, that is, like a calm, basically reasonable individual, a manly sort of fellow with a certain presence. They talked about Richards' daughter and along other noncontroversial lines. At the airport Richards stood by quietly, if nervously, while Joel transacted his business at the ticket counter, then passed a blue daypack, containing the kilo of cocaine among other things, through the security x-ray. Richards had planned to stop right here--just say good-bye, go outside and start to breathe again--but for some reason he followed his brother through the checkpoint. In silence they proceeded down a broad, sparsely peopled corridor; Joel, with his daypack slung casually over one shoulder, a cigarette occupying his other hand, had given Richards his fiddle case to carry. Soon they became aware of a disturbance up ahead: a murmurous roar, a sound like water surging around the piles of a pier. The corridor forked and they found themselves in a broad lobby, which was jammed now with Hawaiian travelers, prospective vacationers numbering in the hundreds.
 Just as they arrived, a flight attendant, dressed like a renter of cabanas on the beach at Waikiki, picked up a mike and made the final announcement to board. In response to which, those travelers not already on their feet, not already formed in long, snaky line three or four people abreast, arose. The level of hopeful chatter, of sweetly anticipatory human excitement, increased palpably, and Richards, whose response to crowds was generally nervous, self-defensively ironic, instinctively held back. But his brother plunged right in--took up a place at the front of the line, and from this position, with an eager, good-natured expression on his face, surveyed his companions.
 Now the line started to move forward quickly. Richards, inching along on a roughly parallel course, two or three feet behind his brother, sought vainly for something comical to say, some reference to sunburns to come, Bermuda shorts, Holiday Inn luaus, and the like.
 Joel, beckoning him closer, seemed to want the fiddle case back. But it was Richards himself whom he suddenly clasped, held to his chest with clumsy force. Wordlessly embracing, gasping like a couple of wrestlers, they stumbled together over a short distance full of strangers, and only as the door of the gate approached, the flight attendant holding out a hand for boarding passes, did Richards' brother turn without a word and let him go.

Then Dougie elbowed his way to the fireside. “You risked your own fool neck to save mine, Morgan. If no’ for you, I’d be dead or rottin’ on a prison barge. I owe you my life, and I’ll ne’er forget it. When I heard you might be alive, I . . .” The big man’s voice quavered, and his words died away. Morgan felt an answering tightness in his chest. “’Tis glad I am to see you wi’ two strong legs, Dougie.” “Sing it for him, Dougie!” “Aye, sing it!” “Sing him ‘The Ballad of Morgan MacKinnon’!” Morgan looked at Connor, then up at Dougie again. “’The Ballad of Morgan MacKinnon’? You wrote a song about me?” Dougie looked chagrined. “Aye.” “A passin’ fair tune it is.” Connor grinned. “He sang it and played his fiddle at your wake.” Then Dougie started to sing, his words telling of the night strike on the pier at Ticonderoga and how Morgan had braved a hail of lead balls to carry a wounded friend to safety before dying a hero’s death. “ ‘Tis far tae Ticonderoga, ‘tis far through forest and fen, but ‘tis there you’ll find Morgan MacKinnon, bidin’ untae the end.’ ” His voice cracking with emotion, Dougie sang the last notes, then cleared his throat. “It sounds better wi’ my fiddle.” Morgan found it hard to speak. “I am honored more than I can say. Thank you, Dougie. But I recall it a bit differently. I told you that you stank, and you called me daft and told me I ran like a lass.” Dougie kicked at the dirt, regret on his face. “I didna mean it.” Morgan grinned. “I did.

... Personally, I treasure my ignorance of how machinery works, although I am well aware that this is something of great interest to some people," he added, in a tone of voice that suggested he meant strange and secret people... busy people, excitable people, fiddling people, tinkering and volatile people. A kind, alas, who would say something as innocent as, let's give it a try, it can't hurt, surely? We can always hide under the coffee table.

They have a piano in town," Cade said. He'd stood outside Clark's barn any number of times, listening to the intertwining of notes, contemplating making such a joyful noise. The player hadn't been expert, but he'd never heard anything like it before. Apparently this was news to Lily. She looked up at Cade with something akin to excitement burning in the pale blue of her eyes. "Really? Why didn't anyone tell me?" Then she shut up and her gaze drifted to the pasture beyond the trees. Her husband had known. He could see that suspicion forming on her face. "I suppose that's what they do in town on Saturday nights," she murmured. "Jim told me it was too rowdy to stay after dark." "The other women stay," Cade said without inflection. Lily had never been close to her sisters, but she had grown up in a household of females and missed the feminine discussions and laughter and shared secrets. Juanita couldn't fill that need entirely; she had been too damaged by her past. Lily didn't know much about the town ladies, but there was no reason she couldn't meet them somehow, if she put her mind to it. "I wish I could hear the piano," Lily said. Actually, she wished she had a right to play the piano, but that was beyond her ability to speak. "I'll take you in if you wish to go." Lily surprised herself by saying, "I would like that, thank you. I don't think Juanita would mind watching Serena, and my father can look after Roy. Do they have other instruments besides the piano?" Cade stroked the flute as he gazed on the woman sitting boldly in the grass before him. He had never met anyone quite like her before. She was white and female, which should put her completely out of bounds for any conversation at all. But she was his boss, and as such, there had to be a certain amount of communication. She wore trousers like a man, and to a certain extent she spoke like a man, but he couldn't treat her with the same deference as Ralph Langton or with the scorn he felt for the ignorant farmhands he worked with. If she had been a whore, he could have had certain expectations, but she was a lady. How the hell should he treat a lady who wore pants? "Fiddles, sometimes," he responded while he struggled with the problem. "Is there dancing?" she asked anxiously. It was then that Cade realized that this woman didn't see categories as other people did. She saw people through the eyes of a child, as they related to her. It was rather amusing to realize that he had been avoiding her to keep from offending her ladylike sensibilities, when she was more likely offended by his avoidance than his presence. That's what he got for assuming all white women were alike. "They dance," he agreed. Cade

Regaining her composure, Maisie stood away from the wall, keeping one hand outstretched, touching the bricks. As confidence in her stability returned, she walked slowly into Charlotte Street. Maisie brushed off the interlude, telling herself that it served her right for skipping breakfast. Frankie Dobbs would have had something to say about that! “Breakfast, my girl, is the most important meal of the day. You know what they say, Maisie: ‘Breakfast like a king, lunch like a lord, and dinner like a pauper.’ Key to bein’ as fit as a fiddle, is that.

The bathroom door opened. He turned as Lisa stepped out. Leaving the light on, she pulled the door almost closed so a little light would illuminate the room for them. Taelon turned off the overhead light and crossed to the bed. Lisa faced him on the other side of it and fiddled with the edge of her towel. “My clothes are still wet.” “Mine are, too.” “I’m thinking there’s no way this towel is going to stay around me while I sleep.” “Do you wish to sleep without it?” he asked, willing his body not to respond to just the idea of it. “Um . . .” “I can sleep on the floor.” “Hell no. Not with those wounds. You’ll sleep in the bed with me. I’m just . . . not exactly an exhibitionist.” He hesitated. “I don’t think my translator is giving me an accurate definition of that word.” Her eyebrows rose. “You have a translator?” “Yes. All members of the Aldebarian Alliance do.” She studied him curiously. “Where is it?” He pointed to his head, just behind his ear. “Embedded in my brain.” “I’m surprised the doctors at the base didn’t remove it.” “Their scans failed to detect it because it isn’t metal and appears to be part of my skull when viewed with your more primitive scanning devices.” “That’s trippy.” “That word isn’t translating at all.” She tilted her head to one side. “What did it tell you an exhibitionist is?” “A street performer.” She laughed. “When I said I’m not an exhibitionist, I meant I’m not comfortable flaunting my naked body.” She glanced down and wrinkled her nose. “Especially when it looks like this.” “You’re shy?” “More self-conscious than shy,” she admitted. “I don’t know. I guess, despite my actions earlier, I just don’t want you to see me naked.” Surprise coursed through him. “You don’t want ME to see YOU naked?” Her brow furrowed. “Yeah.” Taelon shook his head. “Lisa, you’re beautiful.” When she started to speak, he held up a hand. “I’m not saying that to put you at ease. I think you’re lovely. So much so that I’ve honestly been having a hard time keeping myself from staring at you too long.” Her lips parted in surprise. “Really?” “Yes.” He motioned to the towel at his hips. “This doesn’t exactly hide my body’s response to you, so I’ve been trying to keep my focus from drifting lower than your pretty face. You’re beautiful, Lisa. If anyone should wish to hide his body, it’s me. I’m quite a bit thinner than I used to be.” Her eyes widened. “Seriously?” She motioned to his form. “You have all that muscle.” “I used to have more. And I’m covered with all these ghastly wounds and scars because I’m too weak to regenerate. I don’t know how you can stand to look at me or manage not to grimace when you touch me. So again, I will offer to sleep on the floor.” She stared at him, unspeaking. “I won’t be offended if you don’t wish to sleep with me,” he assured her. Assuming an exaggeratedly somber expression, he rested a hand over his heart and spoke in dejected tones. “I will just be deeply, deeply hurt.” Her lips twitched, then she laughed. “You are so freaking likable.” He smiled. “I feel the same about you.” “Okay then. We’re both adults. And neither one of us is physically up to engaging in anything amorous anyway, so—” “Well,” he said with a grin, “that isn’t precisely true.” Her cheeks pinkened. “Stop making me blush!” He laughed.

Language ​A mangle and an earthly remnant that the poet leans on more heavily than all others, is language.  At times he can rightly hate, accuse, and curse it—or rather himself, that he is born to work with this wretched tool.  With envy he thinks of the painter, whose language—the colors—speaks just as understandably to all mankind, from the North Pole down to Africa, or the musician, whose tones speak every human language as well, and which from the single-voiced melody to the polyphonic orchestra, from the horn to the clarinet, from the fiddle to the harp, must obey like many new, singular, fine, and differing languages.  ​But for one thing especially he envies the musician deeply and daily: that the musician has his language for himself alone, only for making music!  But for his activity the poet must use the same language in which you hold school and do business, in which you telegraph and hold court.  How poor he is, that for his art he owns no private organ, no personal abode, no private garden, no personal window to look out onto the moon—all and all he must partake in everyday life!  He says “heart” and means the pulsing core of life in man, his innermost capability and weakness; but then the word at the same time signifies a muscle.  He says “power”, then he must fight for the sense of his word with engineers and electricians; he says “bliss”, then something from theology gazes onto his imagination’s expression.  He can use no private word that doesn’t leer at once to another side, that doesn’t with a breath recall foreign, disturbed, hostile imaginations, that isn’t deceive by scruples and shortenings, and broken by narrow walls, from which a voice turns back unsounded and smothered. ​If a knave is someone who gives more than he has, then a poet can never be a knave.  There is not a tenth, not a hundredth of what he would like to give; he is satisfied if the hearer understands him from totally above him, then entirely from far, then completely incidentally, most importantly at least not grossly misunderstands.  He seldom reaches more.  And overall, where a poet reaps praise or criticism, where he makes effects or gets mocked, where someone loves him or rejects him, one speaks not from his thoughts and dreams alone, but only a hundredth that could squeeze through the narrow canal of language and through the no wider comprehension of reading.

The more that children are being monitored, the more opportunities they have to build their self-control. Parents can guide them through the kind of willpower-strengthening exercises we’ve discussed earlier, like taking care to sit up straight, to always speak grammatically, to avoid starting sentences with “I,” and to never say “yeah” for “yes.” Anything that forces children to exercise their self-control muscle can be helpful: taking music lessons, memorizing poems, saying prayers, minding their table manners, avoiding the use of profanity, writing thank-you notes. As they strengthen their willpower, children also need to learn when not to rely on it. In Mischel’s marshmallow experiments near Stanford, many children tried to resist temptation by staring right at the marshmallow and willing themselves to be strong. It didn’t work. Staring at the forbidden marshmallow kept reminding them of its allure, and as soon as willpower slackened for a moment, they gave in and ate it. By contrast, the children who managed to hold out—who waited fifteen minutes in order to get two marshmallows—typically succeeded by distracting themselves. They covered their eyes, turned their backs, fiddled with their shoelaces. That marshmallow experiment caused some researchers to conclude that controlling attention is what matters, not building willpower, but we disagree. Yes, controlling attention is important. But you need willpower to control attention.

By the time the Copenhagen conference kicked off in December, it seemed that my worst fears were coming to pass. Domestically, we were still waiting for the Senate to schedule a vote on cap-and-trade legislation, and in Europe, the treaty dialogue had hit an early deadlock. We’d sent Hillary and Todd ahead of me to try to drum up support for our proposed interim agreement, and over the phone, they described a chaotic scene, with the Chinese and other BRICS leaders dug in on their position, the Europeans frustrated with both us and the Chinese, the poorer countries clamoring for more financial assistance, Danish and U.N. organizers feeling overwhelmed, and the environmental groups in attendance despairing over what increasingly looked like a dumpster fire. Given the strong odor of imminent failure, not to mention the fact that I was still busy trying to get other critical legislation through Congress before the Christmas recess, Rahm and Axe questioned whether I should even make the trip. Despite my misgivings, I decided that even a slight possibility of corralling other leaders into an international agreement overrode the fallout from a likely failure. To make the trip more palatable, Alyssa Mastromonaco came up with a skinnied-down schedule that had me flying to Copenhagen after a full day in the Oval and spending about ten hours on the ground—just enough time to deliver a speech and conduct a few bilateral meetings with heads of state—before turning around and heading home. Still, it’s fair to say that as I boarded Air Force One for the red-eye across the Atlantic, I was less than enthusiastic. Settling into one of the plane’s fat leather conference-room chairs, I ordered a tumbler of vodka in the hope that it would help me get a few hours’ sleep and watched Marvin fiddle with the controls of the big-screen TV in search of a basketball game. “Has anyone ever considered,” I said, “the amount of carbon dioxide I’m releasing into the atmosphere as a result of these trips to Europe? I’m pretty sure that between the planes, the helicopters, and the motorcades, I’ve got the biggest carbon footprint of any single person on the whole goddamn planet.” “Huh,” Marvin said. “That’s probably right.” He found the game we were looking for, turned up the sound, then added, “You might not want to mention that in your speech tomorrow.

the boys who spend all their days finger-fiddling with matchsticks line us up & proceed to stick tiny yellow & black truth-telling flowers between our teeth. one by one, they ask us if we know what crime we’re guilty of. after a brief pause to gather our thoughts, we say, “the only thing we’re guilty of is being women.” this is simultaneously the right & wrong answer. to the match-boys, our existence is the darkest form of magic, usually punishable by death. they don’t even know what’s coming. how cute. we shouldn’t be afraid of them. no no no. they should be afraid of us. - the first lesson in fire.

Trevor paused mid-bite. “And?” “And I’ll be good to go day after tomorrow,” Edgard said, fiddling with his napkin. Trevor almost demanded, “Already?” but he cautioned himself to stay cool. “They say how much the repairs’ll run ya?” “Five hundred.” “That ain’t bad.” They talked specifics on the repairs, delving into the minute details neither of them gave a shit about, just to keep the conversation going. Just to avoid discussing what Edgard’s leaving really meant.

And then. Astonishing. Again. As she was skipping up the back stairs on her way to the attic bedroom to fetch something, something innocent - a book, a handkerchief, afterwards she would never remember what - she was almost sent flying by Howie on his way down. 'I was looking for a bathroom,' he said. 'Well, we only have one,' Ursula said, 'and it's not up these-' but before the sentence was finished she found herself pinned awkwardly against the neglected floral wallpaper of the backstairs, a pattern that had been up since the house was built. 'Pretty girl,' he said. His breath smelt of mint. And then again she was again subjected to pushing and shoving from the outsized Howie. But this time it was not his tongue trying to jam its way into her mouth but something inexpressibly more intimate. She tried to say something but before a sound came out his hand clamped over her mouth, over half her face in fact, and he grinned and said 'Ssh,' as if they were conspirators in a game. With his other hand he was fiddling with her clothes and she squealed in protest. Then he was butting up against her, the way the bullocks in the Lower Field did against the gate. She tried to struggle but he was twice, three times her size even and she might as well have been a mouse in Hattie's jaws. She tried to see what he was doing but he was pressed so tightly against her that all she could see was his big square jaw and the slight brush of stubble, unnoticeable from a distance. Ursula had seen her brothers naked, knew what they had between their legs - wrinkled cockles, a little spout - and it seemed to have little to do with this painful piston-driven thing that was now ramming inside her like a weapon of war. Her own body breached. The arch that led to womanhood did not seem so triumphal any more, merely brutal and completely uncaring. And then Howie gave a great bellow, more ox than Oxford man, and was hitching himself back together and grinning at her. 'English girls,' he said, shaking his head and laughing. He wagged his finger at her, almost disapproving, as if she had engineered the disgusting thing that had just happened and said, 'You really are something!' He laughed again and bounded down the stairs, taking them three at a time, as though his descent had been barely interrupted by their strange tryst. Ursula was left to stare at the floral wallpaper. She had never noticed before that the flowers were wisteria, the same flower that grew on the arch over the back porch. This must be what in literature was referred to as 'deflowering', she thought. It had always sounded like a rather pretty word. When she came back downstairs a half-hour later, a half-hour of thoughts and emotions considerably more intense than was usual for a Saturday morning, Sylvie and Hugh were on the doorstep waving a dutiful goodbye to the disappearing rear end of Howie's car. 'Thank goodness they weren't staying,' Sylvie said. 'I don't think I could have been bothered with Maurice's bluster.' 'Imbeciles,' Hugh said cheerfully. 'All right?' he said, catching sight of Ursula in the hallway. 'Yes,' she said. Any other answer would have been too awful.

Harmless and huge, Fire saw when she emerged from her tent. His fiddle was like a toy in his hands; this man’s sword must look like a butter knife when he swung it. But the face that sat above his tree trunk of a body was quiet and thoughtful and mild. He lowered his eyes before her and held the fiddle out to her. Fire shook her head. “You’re very generous,” she said, “but I don’t like to take it from you.” The man’s voice was so deep it sounded like it came from the earth. “We all know the story of what you did at Queen Roen’s fortress months back, Lady. You saved the life of our commander.” “Well,” Fire said, because he seemed to expect her to say something. “Nonetheless.” “The men cannot stop talking about it,” he continued, bowing, then pushing the fiddle into her small hands with his enormous ones. “And besides, you’re the better fiddler.” Fire watched the man lumber away, touched, immensely comforted by his voice, by the huge gentle feeling of him.

Ganges, the Carrier of Corpses Don’t worry, be happy, in one voice speak the corpses O King, in your Ram-Rajya, we see bodies flow in the Ganges O King, the woods are ashes, No spots remain at crematoria, O King, there are no carers, Nor any pall-bearers, No mourners left And we are bereft With our wordless dirges of dysphoria Libitina enters every home where she dances and then prances, O King, in your Ram-Rajya, our bodies flow in the Ganges O King, the melting chimney quivers, the virus has us shaken O King, our bangles shatter, our heaving chest lies broken The city burns as he fiddles, Billa-Ranga thrust their lances, O King, in your Ram-Rajya, I see bodies flow in the Ganges O King, your attire sparkles as you shine and glow and blaze O King, this entire city has at last seen your real face Show your guts, no ifs and buts, Come out and shout and say it loud, “The naked King is lame and weak” Show me you are no longer meek, Flames rise high and reach the sky, the furious city rages; O King, in your Ram-Rajya, do you see bodies flow in the Ganges?.

Dearest Fear: Creativity and I are about to go on a road trip together. I understand you’ll be joining us, because you always do. I acknowledge that you believe you have an important job to do in my life, and that you take your job seriously. Apparently your job is to induce complete panic whenever I’m about to do anything interesting—and, may I say, you are superb at your job. So by all means, keep doing your job, if you feel you must. But I will also be doing my job on this road trip, which is to work hard and stay focused. And Creativity will be doing its job, which is to remain stimulating and inspiring. There’s plenty of room in this vehicle for all of us, so make yourself at home, but understand this: Creativity and I are the only ones who will be making any decisions along the way. I recognize and respect that you are part of this family, and so I will never exclude you from our activities, but still—your suggestions will never be followed. You’re allowed to have a seat, and you’re allowed to have a voice, but you are not allowed to have a vote. You’re not allowed to touch the road maps; you’re not allowed to suggest detours; you’re not allowed to fiddle with the temperature. Dude, you’re not even allowed to touch the radio. But above all else, my dear old familiar friend, you are absolutely forbidden to drive.” Then we head off together—me and creativity and fear—side by side by side forever, advancing once more into the terrifying but marvelous terrain of unknown outcome.

Great,” I say as I realize where I am. “Four hours of work and a grand progress of . . . fifty words?” I pull up my word counter and double-check. “Fifty fucking words? Fiddle-dee-FUCKSTICKS!

As she placed the stack near the other clothing, she glanced over her shoulder to see Brynn fiddling with the end of her braid. "Rhiannon, I don't mean to pry, but would you like some help with your hair?" Rhiannon sent her a wry, half smile. "It's that noticeable, is it?" "Well," Brynn paused, dipping her chin as she shoved her hands in her pockets, "not really... mostly." "I'm hopeless, you can say it," Rhiannon laughed. "Yes, please, I would appreciate any help you can give. My handmaidens always took care of such things and I never had any sense to learn to do it myself.

It was a hurting tune, resigned, a cry of heartache for all in the world that fell apart. As ash rose black against the brilliant sky, Fire's fiddle cried out for the dead, and for the living who stay behind to say goodbye

Snooping?" asks Charles with a soft growl, and I jump in surprise. "No, no, no," I say with embarrassment, pointing to the photos. "Just looking at the pictures on the walls." My throat catches as I survey his wet body, glistening with water droplets, wearing nothing but a towel. I look away and fiddle with his T-shirt that I'm still wearing. "Why? Do you have something to hide?" "I'll tell you all my deepest and darkest secrets.

You were working for Army Artillery." "These were our own aircraft, coming from Ault. Why would I report them?" "What did they look like?" It was Woods who asked that question. I looked directly into those flat, gray eyes. "Mr. Woods." My pretense of a fragile feminine voice evaporated as I spoke with confidence and a touch of temper. "It was a world war. We still have enemies. If I had seen experimental American planes, I certainly wouldn't describe them to two perfect strangers who showed up at my door and asked me a lot of odd questions." Woods blinked but gave no other sign that he had taken in my insult. Harrison cleared his throat and fiddled with his notebook, but he didn't seem to know what to say next.

In a dear little village Remote and obscure A beautiful maiden resided As to whether or not Her intentions were pure Opinions were sharply divided She loved to lie Out 'neath the darkening sky And allow the night breeze To entrance her She whispered her dreams To the birds flying by But seldom received any answer Over the field and along the lane Gentle Alice would love to stray When it came to the end of the day She would wander away Unheeding Dreaming her innocent dreams she strode Quite unaffected by heat or cold Frequently freckled or soaked with rain Alice was out in the lane Who she met there Every day Was a question Answered by none But she'd get there And she'd stay there 'Til whatever she did Was undoubtedly done You might also like Mad Dogs And Englishmen Noël Coward You’re Losing Me (From The Vault) Taylor Swift Cupid (Twin Version) FIFTY FIFTY (피프티피프티) Over the field and along the lane Both her parents would call in vain Sadly, sorrowfully, they'd complain 'Alice is at it again.' Although that dear little village Surrounded by trees Had neither a school, nor a college Gentle Alice acquired From the birds and the bees Some exceedingly practical knowledge The curious secrets that nature revealed She refused to allow to upset her But she thought When observing the beasts of the field That things might have been organised better Over the field and along the lane Gentle Alice would make up And take up Her stand The road was not exactly arterial But it led to a town nearby Where quite a lot of masculine material Caught her rolling eye She was ready to hitchhike Cadillac or motorbike She wasn't proud or choosy All she Was aiming to be Was a pinked-up Minked-up Fly-by-night floozy When old Rogers Gave her pearls as large as Nuts on a chestnut tree All she'd say was 'Fiddle-di-dee! The wages of sin will be the death of me!' Over the field and along the lane Gentle Alice's parents Would wait Hand in hand Her dear old white-headed mother Wistfully sipping champagne Said 'We've spoiled our child Spared the rod Open up the caviar and say "Thank God!" We've got no cause to complain! Alice is at it again!

I'm glad you see that; and I'm glad you did it. You don't believe me, of course. Why do men think life can be only the one thing to women? And if you come to the selfish view, who are the happy women? I'm sure that if work doesn't fail me, health won't, and happiness won't." "But you could work on with me—" "Second fiddle. Do you suppose I shouldn't be woman enough to wish my work always less and lower than yours? At least I've heart enough for that!" "You've heart enough for anything, Alma. I was a fool to say you hadn't." "I think the women who keep their hearts have an even chance, at least, of having heart—" "Ah, there's where you're wrong!" "But mine isn't mine to give you, anyhow. And now I don't want you ever to speak to me about this again." "Oh, there's no danger!" he cried, bitterly. "I shall never willingly see you again." "That's as you like, Mr. Beaton. We've had to be very frank, but I don't see why we shouldn't be friends. Still, we needn't, if you don't like." "And I may come—I may come here—as—as usual?" "Why, if you can consistently," she said, with a smile, and she held out her hand to him.

I usually am right. It’s just good sense to go through life assuming that I am, it’s the law of averages. Better to assume I’m always right and occasionally be wrong than to fiddle about doubting myself all the time saying to everyone, “Yes, but what do you think?

Modern natural science experiences the emerging of seeds as a chemical process that is interpolated in terms of the grinding gears of the mechanistically viewed interaction between seeds, the condition of the soil, and thermal radiation. In this situation, the modern mind sees only mechanistic cause- and-effect relationships within chemical procedures that have particular effects following upon them. Modern natural science—chemistry no less than physics, biology no less than physics and chemistry—are and remain, so long as they exist, ‘mechanistic.’ Additionally, ‘dynamics’ is a mechanics of ‘power.’ How else could modern natural science ‘verify’ itself in ‘technology’ (as one says)? The technical efficaciousness and applicability of modern natural science is not, however, the subsequent proof of the ‘truth’ of science: rather, the practical technology of modern natural science is itself only possible because modern natural science as a whole, in its metaphysical essence, is itself already merely an application of ‘technology,’ where ‘technology’ means here something other than only what engineers bring about. The oft-quoted saying of Goethe’s—namely, that the fruitful alone is the true—is already nihilism. Indeed, when the time comes when we no longer merely fiddle around with artworks and literature in terms of their value for education or intellectual history, we should perhaps examine our so-called ‘classics’ more closely. Moreover, Goethe’s view of nature is in its essence no different from Newton’s; the former depends along with the latter on the ground of modern (and especially Leibnizian) metaphysics, which one finds present in every object and every process available to us living today. The fact that we, however, when considering a seed, still see how something closed emerges and, as emerging, comes forth, may seem insubstantial, outdated, and half-poetic compared to the perspective of the objective determination and explanation belonging to the modern understanding of the germination process. The agricultural chemist, but also the modern physicist, have, as the saying goes, ‘nothing to do’ with φύσις. Indeed, it would be a fool’s errand even to try to persuade them that they could have ‘something to do’ with the Greek experience of φύσις. Now, the Greek essence of φύσις is in no way a generalization of what those today would consider the naïve experience of the emerging of seeds and flowers and the emergence of the sun. Rather, to the contrary, the original experience of emerging and of coming-forth from out of the concealed and veiled is the relation to the ‘light’ in whose luminance the seed and the flower are first grasped in their emerging, and in which is seen the manner by which the seed ‘is’ in the sprouting, and the flower ‘is’ in the blooming.

Modern natural science experiences the emerging of seeds as a chemical process that is interpolated in terms of the grinding gears of the mechanistically viewed interaction between seeds, the condition of the soil, and thermal radiation. In this situation, the modern mind sees only mechanistic cause- and-effect relationships within chemical procedures that have particular effects following upon them. Modern natural science—chemistry no less than physics, biology no less than physics and chemistry—are and remain, so long as they exist, ‘mechanistic.’ Additionally, ‘dynamics’ is a mechanics of ‘power.’ How else could modern [89] natural science ‘verify’ itself in ‘technology’ (as one says)? The technical efficaciousness and applicability of modern natural science is not, however, the subsequent proof of the ‘truth’ of science: rather, the practical technology of modern natural science is itself only possible because modern natural science as a whole, in its metaphysical essence, is itself already merely an application of ‘technology,’ where ‘technology’ means here something other than only what engineers bring about. The oft-quoted saying of Goethe’s—namely, that the fruitful alone is the true—is already nihilism. Indeed, when the time comes when we no longer merely fiddle around with artworks and literature in terms of their value for education or intellectual history, we should perhaps examine our so-called ‘classics’ more closely. Moreover, Goethe’s view of nature is in its essence no different from Newton’s; the former depends along with the latter on the ground of modern (and especially Leibnizian) metaphysics, which one finds present in every object and every process available to us living today. The fact that we, however, when considering a seed, still see how something closed emerges and, as emerging, comes forth, may seem insubstantial, outdated, and half-poetic compared to the perspective of the objective determination and explanation belonging to the modern understanding of the germination process. The agricultural chemist, but also the modern physicist, have, as the saying goes, ‘nothing to do’ with φύσις. Indeed, it would be a fool’s errand even to try to persuade them that they could have ‘something to do’ with the Greek experience of φύσις. Now, the Greek essence of φύσις is in no way a generalization of what those today would consider the naïve experience of the emerging of seeds and flowers and the emergence of the sun. Rather, to the contrary, the original experience of emerging and of coming-forth from out of the concealed and veiled is the relation to the ‘light’ in whose luminance the [90] seed and the flower are first grasped in their emerging, and in which is seen the manner by which the seed ‘is’ in the sprouting, and the flower ‘is’ in the blooming.

I don’t know, Hattie, maybe because it’s fucking lonely out on the road. That I don’t have as many people close to me as I thought I did. You push me away, but still stay close. You don’t take when other people will . . . and that makes me realize you’re not here to use me, especially since you know you could leave any moment you want, and I won’t hold it against you.” She fiddles with her hands in her lap. “You’re making it really hard not to like you.” “Maybe I’m not the kind of guy you should be hating,” I say. “With every day that passes, I’m beginning to think that.

As children we got so we could tell time by the sun pretty well, and would know by the light in the room when we opened our eyes that it was seven o'clock and time to get  up for school, and later that it was almost ten and then almost noon and almost three o'clock and time to be dismissed. School ran strictly by clocks, the old Regulatorsthat Mr. Hamburger was always fiddling with, adding and subtracting paper clips on the pendulum to ahieveperfect time, but we were sensitive to light, knowing how little was available to us as winter came on, and always knew what time it was - as  anyone will who leads a regular life in a familiar place. My poor great-grandpa,when his house burned down when Grandma left the bread baking in the summer kitchen oven to go visit the Berges and they built the new one facing west instead of south: they say he was confused the test of his life and never got straightened out even when he set up his bed in the parlor ( which faced north as his former bedroom had): he lived in a twilight world for some time and 5hen moved in his mind to the house he'd grown up in, and in the end didn't know one day from another until he died." Yea, though I walk through the valley of the shadow of death, I will fear no evil," but there's more than one kind of of shadow, and when a man loses track, it can kill him. Not even the siren could have saved my great- grandpa. He died of misdirection. " /

The Organ verses, I can tell, but the fiddle says the spell.

Walking down the street was like being tossed bombs. I fiddled with the wires, frantically defusing each one. Each time I was not sure which wire would cause it to detonate, tinkering while sweat ran down my forehead. Women are raised to work with dexterity, to keep their nimble fingers ready, their minds alert. It is her job to know how to handle the stream of bombs, how to kindly decline giving her number, how to move a hand from the button of her jeans, to turn down a drink. When a woman is assaulted, one of the first questions people ask is, Did you say no? This question assumes that the answer was always yes, and that it is her job to revoke the agreement. To defuse the bomb she was given. But why are they allowed to touch us until we physically fight them off? Why is the door open until we have to slam it shut?

He say to me but if I free you who will play for me at nite. I say to him I will play for you master Thomas sir. I wont leev you. I will play for you as a free man. He thot about that and he took out some papr and he rote out what he tol me was my freedom paprs and he gav me them with my fiddle. I never let them paprs out o my site. Them papr and my fiddle kept me alive. I beggd him on my hands and nees to let my momma be free too and she wood stay here and hep him. He tol me he coodnt do that. I went to tell momma that I was free. I tol her I was goin to find work after master Thomas past and that I was comin back for her to buy her freedom when I made enuff money from my playing. You no what my momma tol me? She tol me dont Never come back to this place. You go be free and dont you Never look back. Master Thomas died in his Bed. The Missus made me play that song he loved. I lef a few days later. The nex yeer I did come back to find momma but she was Gone. You no why I tol you all this and made you rite it down? Because Master Thomas was a teribl man. He did teribl things to my momma and to my brother and to many other slaves. Even tho he did all that I still lookt him in the eye and treetd him with respekt. No mattr how mad I was. No mattr how bad things got. I was always respektfl. Even when I didnt get no respekt. I dont never want you to forget that girl. I wont

A phrase Max had used bothered me. I was not to be surprised if my work underwent a change. I might find it becoming more creative. What the hell had Max meant by that? What was wrong with my work as it was? Fiddling journalism; nothing sustained about it; conventional, facile, all on the sound old traditional lines? No doubt that was how he saw it: did he suppose I had not seen that too? Why else had I undertaken the book? And what was the book, anyway, but a compilation, a re-hash of old newspaper articles better forgotten – no more ‘creative’ than Pamela’s scrap-books. And even that I hadn’t the capacity to finish. It would never be finished. I saw that now. It would not be finished because I had nothing to say. What I had mistaken for talent had been no more than the afflatus which makes every second swelled-headed adolescent suppose he has a vocation to write. It was a folly which had made me turn my back on the chance of a solid profession, got me as far as a sub-editor’s desk on a London weekly, and led me to walk out from that into the blue. I had imagined that I had something to say, and behold, without the drive of a play to report on, a book to review, or a controversy to join in, I was empty: I dredged into my own mind and found nothing there. My youthful energy was already exhausted. I was finished: finished at thirty. And Max had seen that. I