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Life is like arriving late for a movie, having to figure out what was going on without bothering everybody with a lot of questions, and then being unexpectedly called away before you find out how it ends.

I think you're the sort of person who finds money on the ground and waves it in the air and asks if anyone has lost it. I think you cry in movies that aren't even sad because you have a soft heart, though you don't let it show. I think you do things that scare you, and that makes you braver than those adrenaline junkies who bungee-jump off bridges.

I know in the spy movies it always looks really cool when the operative goes from a maid's uniform to a slinky, sexy, ballgown in the amount of time it takes an elevator to climb three floors. Well, I don't know how it is for TV spies, but I can tell you that even with Velcro, the art of the quick change is one that must take a lot of practice (not to mention better lighting than one is likely to find in a tunnel that was once part of the underground railroad).

Girls are taught a lot of stuff growing up. If a guy punches you he likes you. Never try to trim your own bangs and someday you will meet a wonderful guy and get your very own happy ending. Every movie we see, Every story we're told implores us to wait for it, the third act twist, the unexpected declaration of love, the exception to the rule. But sometimes we're so focused on finding our happy ending we don't learn how to read the signs. How to tell from the ones who want us and the ones who don't, the ones who will stay and the ones who will leave. And maybe a happy ending doesn't include a guy, maybe... it's you, on your own, picking up the pieces and starting over, freeing yourself up for something better in the future. Maybe the happy ending is... just... moving on. Or maybe the happy ending is this, knowing after all the unreturned phone calls, broken-hearts, through the blunders and misread signals, through all the pain and embarrassment you never gave up hope.

Hey—don’t ditch me until I find Michael, okay?” “Call me ‘Wessy,’ and I totally won’t.” I snorted. “Fine. If you ditch me, Wessy, I will stab you with the keg tap.” “My little Libby is such a savage.

Personally, I like to think my brother is having a college experience like they do in the movies. I don't mean the big fraternity party kind of movie. More like the movie where the guy meets a smart girl who wears a lot of sweaters and drinks cocoa. They talk about books and issues and kiss in the rain. I think something like that would be very good for him, especially if the girl were unconventionally beautiful. They are the best kind of girls, I think. I personally find 'super models' strange. I don't know why this is.

Your level of neuroses will only find love in a made-for-TV movie.

Relationships never provide you with everything. They provide you with some things. You take all the things you want from a person -- sexual chemistry, let's say, or good conversation, or financial support, or intellectual compatibility, or niceness, or loyalty -- and you get to pick three of those things. The rest you have to look for elsewhere. It's only in the movies that you find someone who gives you all those things. But this isn't the movies. In the real world, you have to identify which three qualities you want to spend the rest of your life with, and then you look for those qualities in another person. That's real life. Don't you see it's a trap? If you keep trying to find everything, you'll wind up with nothing.

An honest bookstore would post the following sign above its 'self-help' section: 'For true self-help, please visit our philosophy, literature, history and science sections, find yourself a good book, read it, and think about it.

You need mountains, long staircases don't make good hikers.

I have always, essentially, been waiting. Waiting to become something else, waiting to be that person I always thought I was on the verge of becoming, waiting for that life I thought I would have. In my head, I was always one step away. In high school, I was biding my time until I could become the college version of myself, the one my mind could see so clearly. In college, the post-college “adult” person was always looming in front of me, smarter, stronger, more organized. Then the married person, then the person I’d become when we have kids. For twenty years, literally, I have waited to become the thin version of myself, because that’s when life will really begin. And through all that waiting, here I am. My life is passing, day by day, and I am waiting for it to start. I am waiting for that time, that person, that event when my life will finally begin. I love movies about “The Big Moment” – the game or the performance or the wedding day or the record deal, the stories that split time with that key event, and everything is reframed, before it and after it, because it has changed everything. I have always wanted this movie-worthy event, something that will change everything and grab me out of this waiting game into the whirlwind in front of me. I cry and cry at these movies, because I am still waiting for my own big moment. I had visions of life as an adventure, a thing to be celebrated and experienced, but all I was doing was going to work and coming home, and that wasn’t what it looked like in the movies. John Lennon once said, “Life is what happens when you’re busy making other plans.” For me, life is what was happening while I was busy waiting for my big moment. I was ready for it and believed that the rest of my life would fade into the background, and that my big moment would carry me through life like a lifeboat. The Big Moment, unfortunately, is an urban myth. Some people have them, in a sense, when they win the Heisman or become the next American Idol. But even that football player or that singer is living a life made up of more than that one moment. Life is a collection of a million, billion moments, tiny little moments and choices, like a handful of luminous, glowing pearl. It takes so much time, and so much work, and those beads and moments are so small, and so much less fabulous and dramatic than the movies. But this is what I’m finding, in glimpses and flashes: this is it. This is it, in the best possible way. That thing I’m waiting for, that adventure, that move-score-worthy experience unfolding gracefully. This is it. Normal, daily life ticking by on our streets and sidewalks, in our houses and apartments, in our beds and at our dinner tables, in our dreams and prayers and fights and secrets – this pedestrian life is the most precious thing any of use will ever experience.

Eyes Tell Stories But do they know how to craft fiction? Do they know how to spin lies? His eyes swear forever, flatter with vows of only me. But are they empty promises? I stare into his eyes, as into a crystal ball, but I cannot find forever, only movies of yesterday, a sketchbook of today, dreams of a shared tomorrow. His eyes whisper secrets. But are they truths or fairy tales? I wonder if even he knows.

I’ve read hundreds of novels in my life, most of them claiming that love was the center of the universe. That it could heal any damage inside of us. That it was what we needed to survive. From Darcy to Heathcliff, I thought they were fools. That love was something fictional, only found in worn pages of a book. That it was just made up to keep humans full of hope, that it was a lie. But all that changed since I met my Elizabeth Bennett. I never thought I would find myself completely and utterly consumed by another until her. She took my hand and led me out of the darkness and showed me that, whatever our souls are made of, hers and mine are the same. I’m sorry, please forgive me. You once asked me who I loved most in this world. It’s you. — Hardin ( Movie- "After" - Hardin's letter to Tessa )

In every creepy movie ever made, the barn is the prime nesting ground for the things you don't know you're looking for and always regret finding.

But I don't know, maybe it's just as well I never got there. I dreamed about it for so many years. I used to go to English movies just to look at the streets. I remember years ago a guy I knew told me that people going to England find exactly what they go looking for. I said I'd go looking for the England of English Literature, and he nodded and said: "It's there.

Just before I look under my bed, I always get a little cold feeling, as if part of me expects to find something staring back at me. I've probably seen too many Hollywood movies to have any hopes of ever cultivating a healthy relationship with the underside of my bed.

I’ll be there someday, I can go the distance. I will find my way, if I can be strong. I know every mile, will be worth my while, When I go the distance, I’ll be right where I belong. - Hercules

If you don't want them to find you, changing your last name seems a fairly elementary first step. Trust me, I'm an expert. I've watched a lot of spy movies.

So I’m thinking this is the part of my movie where things appear as if nothing is going to work out. I have to remind myself that all movie characters go through this sort of dark period before they find their happy ending.

I've seen a lot of movies where a kid my age finds out he's got magical powers and then gets invited to go away to some special school. Well, if I've got an invitation coming, now would be the perfect time to get it

It's far easier to write why something is terrible than why it's good. If you're reviewing a film and you decide "This is a movie I don't like," basically you can take every element of the film and find the obvious flaw, or argue that it seems ridiculous, or like a parody of itself, or that it's not as good as something similar that was done in a previous film. What's hard to do is describe why you like something. Because ultimately, the reason things move people is very amorphous. You can be cerebral about things you hate, but most of the things you like tend to be very emotive.

Love is a temporary madness, it erupts like volcanoes and then subsides. And when it subsides you have to make a decision. You have to work out whether your roots have so entwined together that it is inconceivable that you should ever part. Because this is what love is. Love is not breathlessness, it is not excitement, it is not the promulgation of promises of eternal passion. That is just being in love, which any fool can do. Love itself is what is left over when being in love has burned away, and this is both an art and a fortunate accident. Those that truly love have roots that grow towards each other underground, and, when all the pretty blossoms have fallen from their branches, they find that they are one tree and not two.

Do you know when they say soul-mates? Everybody uses it in personal ads. "Soul-mate wanted". It doesn't mean too much now. But soul mates- think about it. When your soul-whatever that is anyway-something so alive when you make music or love and so mysteriously hidden most of the rest of the time, so colorful and big but without color or shape-when your soul finds another soul it can recognize even before the rest of you knows about it. The rest of you just feels sweaty and jumpy at first. And your souls get married without even meaning to-even if you can't be together for some reason in real life, your souls just go ahead and make the wedding plans. A soul's wedding must be too beautiful to even look at. It must be blinding. In must be like all the weddings in the world-gondolas with canopies of doves, champagne glasses shattering, wings of veils, drums beating, flutes and trumpets,showers of roses. And after that happens-that's it, this is it. But sometimes you have to let that person go. When you are little, people , movie and fairy tales all tell you that one day you're going to meet this person. So you keep waiting and it's a lot harder than they make it sound. Then you meet and you think, okay, now we can just get on with it but you find out that sometimes your sould brother partner lover has other ideas about that.

Frodo: 'It's a pity Bilbo didn't kill Gollum when he had the chance.' Gandalf: 'Pity? It's a pity that stayed Bilbo's hand. Many that live deserve death. Some that die deserve life. Can you give it to them, Frodo? Do not be too eager to deal out death in judgment. Even the very wise cannot see all ends. My heart tells me that Gollum has some part to play in it, for good or evil, before this is over. The pity of Bilbo may rule the fate of many.' Frodo: 'I wish the Ring had never come to me. I wish none of this had happened.' Gandalf: 'So do all who live to see such times, but that is not for them to decide. All we have to decide is what to do with the time that is given to us. There are other forces at work in this world, Frodo, besides that of evil. Bilbo was meant to find the Ring, in which case you were also meant to have it. And that is an encouraging thought.

Have you ever seen The Last of the Mohicans?" "I love it." "Really?" I'm over the moon. We share a movie. Finally, we're on the same planet. "Don't you love the part where he says, 'Stay alive. I will find you'?" I ask. "I love that massacre scene," he says, like an excited little boy, "where they're walking down that path in the middle of nowhere and they're surrounded by the woods and you know the Indians are going to attack and it's so tense." Things that make you go hmmm.

And your life,' Katie said to Christy, 'is turning into a rather predictable romance. Girl meets boy. Boy is a dork for four years. Girl blossoms into a gorgeous woman. Boy finds his brain. Girl turns into starry-eyed mush head.

Let's run away to Venice, and hide out in an old movie theater. We can dye our hair blonde, so no one will ever find us!

But this is what I'm finding, in glimpses and flashes: this is it. This is it, in the best possible way. That thing I'm waiting for, for that adventure, that movie-score-worthy experience unfolding gracefully. This is it. Normal, daily life ticking by on our streets and sidewalks, in our houses and apartments, in our beds and at our dinner tables, in our dreams and prayers and fights and secrets - this pedestrian life is the most precious thing any of us will ever experience.

If you want the motivation back, you must feed it Feed it everything. Books, television, movies, paintings, stage plays, real-life experience. Sometimes feeding simply means working, working through nonmotivation, working even when you hate it. We create art for many reasons - wealth, fame, love, admiration - but I find the one thing that produces the best results is desire. When you want the thing you're creating, the beauty of it will shine through, even if the details aren't all in order. Desire is the fuel of creators, and when we have that, motivation will come in its wake.

If you are a woman, if you're a person of colour, if you are gay, lesbian, bisexual, transgender, if you are a person of size, if you are a person od intelligence, if you are a person of integrity, then you are considered a minority in this world. And it's going to be really hard to find messages of self-love and support anywhere. Especially women's and gay men's culture. It's all about how you have to look a certain way or else you're worthless. You know when you look in the mirror and you think 'oh, I'm so fat, I'm so old, I'm so ugly', don't you know, that's not your authentic self? But that is billions upon billions of dollars of advertising, magazines, movies, billboards, all geared to make you feel shitty about yourself so that you will take your hard earned money and spend it at the mall on some turn-around creme that doesn't turn around shit. When you don't have self-esteem you will hesitate before you do anything in your life. You will hesitate to go for the job you really wanna go for, you will hesitate to ask for a raise, you will hesitate to call yourself an American, you will hesitate to report a rape, you will hesitate to defend yourself when you are discriminated against because of your race, your sexuality, your size, your gender. You will hesitate to vote, you will hesitate to dream. For us to have self-esteem is truly an act of revolution and our revolution is long overdue.

That pissed me the hell off. I took in a deep breath and blurted out everything without thinking twice. “Fuck you! You want to know who I am, Marcus. Well here it goes! I am temperamental, over-sensitive, and outspoken. I’m honest! I cry at stupid love movies, and I'm a sucker for a romantic novel. I don’t allow people to walk all over me, I have trust issues, and I have insecurities. I’ve slept with four men in my entire life! And the one thing I don’t do is take shit from men who try to act like they’re better than me as if they don’t have any hidden skeletons! I’m not keeping shit hidden, how ‘bout you? You can fuck off. I'll find my own way home. Have a nice fucking life!” - Mia

believe that this way of living, this focus on the present, the daily, the tangible, this intense concentration not on the news headlines but on the flowers growing in your own garden, the children growing in your own home, this way of living has the potential to open up the heavens, to yield a glittering handful of diamonds where a second ago there was coal. This way of living and noticing and building and crafting can crack through the movie sets and soundtracks that keep us waiting for our own life stories to begin, and set us free to observe the lives we have been creating all along without ever realizing it. I don’t want to wait anymore. I choose to believe that there is nothing more sacred or profound than this day. I choose to believe that there may be a thousand big moments embedded in this day, waiting to be discovered like tiny shards of gold. The big moments are the daily, tiny moments of courage and forgiveness and hope that we grab on to and extend to one another. That’s the drama of life, swirling all around us, and generally I don’t even see it, because I’m too busy waiting to become whatever it is I think I am about to become. The big moments are in every hour, every conversation, every meal, every meeting. The Heisman Trophy winner knows this. He knows that his big moment was not when they gave him the trophy. It was the thousand times he went to practice instead of going back to bed. It was the miles run on rainy days, the healthy meals when a burger sounded like heaven. That big moment represented and rested on a foundation of moments that had come before it. I believe that if we cultivate a true attention, a deep ability to see what has been there all along, we will find worlds within us and between us, dreams and stories and memories spilling over. The nuances and shades and secrets and intimations of love and friendship and marriage an parenting are action-packed and multicolored, if you know where to look. Today is your big moment. Moments, really. The life you’ve been waiting for is happening all around you. The scene unfolding right outside your window is worth more than the most beautiful painting, and the crackers and peanut butter that you’re having for lunch on the coffee table are as profound, in their own way, as the Last Supper. This is it. This is life in all its glory, swirling and unfolding around us, disguised as pedantic, pedestrian non-events. But pull of the mask and you will find your life, waiting to be made, chosen, woven, crafted. Your life, right now, today, is exploding with energy and power and detail and dimension, better than the best movie you have ever seen. You and your family and your friends and your house and your dinner table and your garage have all the makings of a life of epic proportions, a story for the ages. Because they all are. Every life is. You have stories worth telling, memories worth remembering, dreams worth working toward, a body worth feeding, a soul worth tending, and beyond that, the God of the universe dwells within you, the true culmination of super and natural. You are more than dust and bones. You are spirit and power and image of God. And you have been given Today.

In films, we are voyeurs, but in novels, we have the experience of being someone else: knowing another person’s soul from the inside. No other art form does that. And this is why sometimes, when we put down a book, we find ourselves slightly altered as human beings. Novels change us from within.

Suspense is like a woman. The more left to the imagination, the more the excitement. ... The conventional big-bosomed blonde is not mysterious. And what could be more obvious than the old black velvet and pearls type? The perfect ‘woman of mystery’ is one who is blonde, subtle and Nordic. ... Although I do not profess to be an authority on women, I fear that the perfect title [for a movie], like the perfect woman is difficult to find.

If I wasn't an actress I'd want to be a writer or else find a job where I got to read books and watch movies all day, everyday, for the rest of my life.

Do you know anything about silent films?” “Sure,” I said. “The first ones were developed in the late nineteenth century and sometimes had live musical accompaniment, though it wasn’t until the 1920s that sound become truly incorporated into films, eventually making silent ones obsolete in cinema.” Bryan gaped, as though that was more than he’d been expecting. “Oh. Okay. Well, um, there’s a silent film festival downtown next week. Do you think you’d want to go?” I shook my head. “No, I don’t think so. I respect it as an art form but really don’t get much out of watching them.” “Huh. Okay.” He smoothed his hair back again, and I could almost see him groping for thoughts. Why on earth was he asking me about silent films? “What about Starship 30? It opens Friday. Do you want to see that?” “I don’t really like sci-fi either,” I said. It was true, I found it completely implausible. Bryan looked ready to rip that shaggy hair out. “Is there any movie out there you want to see?” I ran through a mental list of current entertainment. “No. Not really.” The bell rang, and with a shake of his head, Bryan slunk back to his desk. “That was weird,” I muttered. “He has bad taste in movies.” Glancing beside me, I was startled to see Julia with her head down on her desk while she shook with silent laughter. “What?” “That,” she gasped. “That was hilarious.” “What?” I said again. “Why?” “Sydney, he was asking you out!” I replayed the conversation. “No, he wasn’t. He was asking me about cinema.” She was laughing so hard that she had to wipe away a tear. “So he could find out what you wanted to see and take you out!” “Well, why didn’t he just say that?” “You are so adorably oblivious,” she said. “I hope I’m around the day you actually notice someone is interested in you.” I continued to be mystified, and she spent the rest of class bursting out with spontaneous giggles.

Nothing happens in the world? Are you out of your fucking mind? People are murdered every day. There's genocide, war, corruption. Every fucking day, somewhere in the world, somebody sacrifices his life to save someone else. Every fucking day, someone, somewhere makes a conscious decision to destroy someone else. People find love, people lose it. For Christ's sake, a child watches her mother beaten to death on the steps of a church. Someone goes hungry. Somebody else betrays his best friend for a woman. If you can't find that stuff in life, then you, my friend, don't know crap about life. And why the FUCK are you wasting my two precious hours with your movie? I don't have any use for it. I don't have any bloody use for it.

Jennifer to Beth: Ech. I don't like Tom Cruise. Beth to Jennifer: Me neither. But I usually like Tom Cruise movies. Jennifer to Beth: Me too... Huh, maybe I do like Tom Cruise. But I hate feeling pressured to find him attractive. I don't. Beth to Jennifer: Nobody does. It's a lie perpetuated by the American media. Tom Cruise and Julia Roberts. Jennifer to Beth: Men don't like Julia Roberts? Beth to Jennifer: Nope. Her teeth scare them. Jennifer to Beth: Good to know.

We shouldn’t assume that women and girls don’t know the difference between reality and fantasy. We don’t fear that men who read murder mysteries and thrillers are going to have a hard time not becoming serial killers, so why should we assume that a girl won’t know that she doesn’t have to change from a mermaid to human in order to find love just because of a movie?

I do not like postmodernism, postapocalyptic settings, postmortem narrators, or magic realism. I rarely respond to supposedly clever formal devices, multiple fonts, pictures where they shouldn't be—basically, gimmicks of any kind. I find literary fiction about the Holocaust or any other major world tragedy to be distasteful—nonfiction only, please. I do not like genre mash-ups à la the literary detective novel or the literary fantasy. Literary should be literary, and genre should be genre, and crossbreeding rarely results in anything satisfying. I do not like children's books, especially ones with orphans, and I prefer not to clutter my shelves with young adult. I do not like anything over four hundred pages or under one hundred fifty pages. I am repulsed by ghostwritten novels by reality television stars, celebrity picture books, sports memoirs, movie tie-in editions, novelty items, and—I imagine this goes without saying—vampires.

Now, before you make a movie, you have to have a script, and before you have a script, you have to have a story; though some avant-garde directors have tried to dispense with the latter item, you'll find their work only at art theaters.

I always find that if I sit down, a solution presents itself!

I remembered what Morrie said during our visit: “The culture we have does not make people feel good about themselves. And you have to be strong enough to say if the culture doesn’t work, don’t buy it.” "Morrie true to these words, had developed his own culture – long before he got sick. Discussion groups, walks with friends, dancing to his music in the Harvard Square church. He started a project called Greenhouse, where poor people could receive mental health services. He read books to find new ideas for his classes, visited with colleagues, kept up with old students, wrote letters to distant friends. He took more time eating and looking at nature and wasted not time in front of TV sitcoms or “Movies of the Week.” He had created a cocoon of human activities– conversations, interaction, affection–and it filled his life like an overflowing soup bowl.

You looked at them and wondered why the were so ugly; you looked closely and could not find the source. Then you realized that it came from conviction, their conviction. It was as though some mysterious all-knowing master had given each one a cloak of ugliness to wear, and they had each accepted it without question. The mast had said, "You are ugly people." They had looked about themselves and saw nothing to contradict the statement; saw, in fact, support for it leaning at them from every billboard, every movie, every glance. "Yes," they had said. "You are right.

When King Lear dies in Act V, do you know what Shakespeare has written? He's written "He dies." That's all, nothing more. No fanfare, no metaphor, no brilliant final words. The culmination of the most influential work of dramatic literature is "He dies." It takes Shakespeare, a genius, to come up with "He dies." And yet every time I read those two words, I find myself overwhelmed with dysphoria. And I know it's only natural to be sad, but not because of the words "He dies." but because of the life we saw prior to the words.

This is one of those moments that I want to bottle up and keep with me forever. Not because it's extraordinary, or because it's the kind of thing you would find in a Bollywood movie. But because it's the kind of moment I could never have dreamed of having in a million years.

I, a woman, find wearing high heels agreeable only on the very rare occasion that (1) I will be ferried between destinations upon a palanquin or (2) I am going to a cocktail party and, at five feet two, don't want to spend the evening discussing the latest movies with somebody's nipples.

I know I should be able to find a story in anything. Good screenwriters can pull interesting films out of the asinine and mundane. But everything I've read about writing always begins with ‘write what you know.’ What I know is: quiet streets, topiary, moronic high school arsehats, and homework. Has anyone ever made a movie about homework? Probably. I bet it was in French.

Some people may opt out. Their child turns out to be whatever it is that they find impossible to face—for some, the wrong religion; for some, the wrong sexuality; for some, a drug addict. They close the door. Click. Like in mafia movies: “I have no son. He is dead to me.” I have a son and he will never be dead to me.

It seems kind of light for a dozen books. I think it's probably that unnatural number of Jason Statham DVDs you ordered." He has to have filmed a nude scene at some point in his career. I don't care how many shoot-'em-up action movies I have to watch, I will find it," I said solemnly. "Oh, yes, I will find it.

It's like I'm reading a book, and it's a book I deeply love, but I'm reading it slowly now so the words are really far apart and the spaces between the words are almost infinite. I can still feel you and the words of our story, but it's in this endless space between the words that I'm finding myself now. It’s a place that’s not of the physical world - it's where everything else is that I didn't even know existed. I love you so much, but this is where I am now. This is who I am now. And I need you to let me go. As much as I want to I can't live in your book anymore.

Anything can be good. Even Last Action Hero could’ve been good. There’s an idea somewhere in almost any movie : if you can find something that you love, then you can do it. If you can’t, it doesn’t matter how skilful you are...

I said it before and I’ll say it again: books are dead, plays are dead, poems are dead: there’s only movies. Music is still okay, because music is sound track. Ten, fifteen years ago, every arts student wanted to be a novelist or a playwright. I’d be amazed if you could find a single one now with such a dead-end ambition. They all want to make movies. Not write movies. You don’t write movies. You make movies.

In regard to propaganda the early advocates of universal literacy and a free press envisaged only two possibilities: the propaganda might be true, or the propaganda might be false. They did not foresee what in fact has happened, above all in our Western capitalist democracies - the development of a vast mass communications industry, concerned in the main neither with the true nor the false, but with the unreal, the more or less totally irrelevant. In a word, they failed to take into account man's almost infinite appetite for distractions. In the past most people never got a chance of fully satisfying this appetite. They might long for distractions, but the distractions were not provided. Christmas came but once a year, feasts were "solemn and rare," there were few readers and very little to read, and the nearest approach to a neighborhood movie theater was the parish church, where the performances though frequent, were somewhat monotonous. For conditions even remotely comparable to those now prevailing we must return to imperial Rome, where the populace was kept in good humor by frequent, gratuitous doses of many kinds of entertainment - from poetical dramas to gladiatorial fights, from recitations of Virgil to all-out boxing, from concerts to military reviews and public executions. But even in Rome there was nothing like the non-stop distractions now provided by newspapers and magazines, by radio, television and the cinema. In "Brave New World" non-stop distractions of the most fascinating nature are deliberately used as instruments of policy, for the purpose of preventing people from paying too much attention to the realities of the social and political situation. The other world of religion is different from the other world of entertainment; but they resemble one another in being most decidedly "not of this world." Both are distractions and, if lived in too continuously, both can become, in Marx's phrase "the opium of the people" and so a threat to freedom. Only the vigilant can maintain their liberties, and only those who are constantly and intelligently on the spot can hope to govern themselves effectively by democratic procedures. A society, most of whose members spend a great part of their time, not on the spot, not here and now and in their calculable future, but somewhere else, in the irrelevant other worlds of sport and soap opera, of mythology and metaphysical fantasy, will find it hard to resist the encroachments of those would manipulate and control it.

When they ask why we stayed together for so long I say, I don’t know. I just know that we cried at the exact same time in every movie. I know we blushed everyday for the first two years. I know I always stole the covers and she never woke me up. I know the exact look on her face, the first night she used my toothbrush. The next day, I brushed my teeth like thirtysome times, ‘cause I didn’t want to let her go. You have to understand when it hurt to love her, it hurt the way the light hurts your eyes in the middle of the night, but I had to see, even through the ruin, if what we were burying were seeds. There were so many plants in our house, you could rake the leaves even through that winter when I was trying to make angels in the snow of her cold shoulder. She was still leaving love notes in my suitcase; I’d always find them.

Now, here's what we do. You and I will find a back way out of this place. If we come across someone else, we make like a couple of lovesick teenagers. People generally hurry past heavy breathers. I get you to the parking lot, you vanish. Got it?" He nodded. "There's just one thing I've got to do before we go," he said. Before I could inquire, he grabbed me and planted a kiss square on my mouth. It was short but fiery, despite the grape flavoring, and when he let me go I wan panting. Holy crap!" He smiled, not at all apologetically, and said, "I've wanted to do that ever since I saw my first Bond movie.

After all, we're currently living in a Bizarro society where teenagers are technology-obsessed, where the biggest sellers in every bookstores are fantasy novels about a boy wizard, and the blockbuster hit movies are all full of hobbits and elves or 1960s spandex superheroes. You don't have to go to a Star Trek convention to find geeks anymore. Today, almost everyone is an obsessive, well-informed aficionado of something. Pick your cult: there are food geeks and fashion geeks and Desperate Housewives geeks and David Mamet geeks and fantasy sports geeks. The list is endless. And since everyone today is some kind of trivia geek or other, there's not even a stigma anymore. Trivia is mainstream. "Nerd" is the new "cool.

From Jess: FANG. I've commented your blog with my questions for THREE YEARS. You answer other people's STUPID questions but not MINE. YOU REALLY ASKED FOR IT, BUDDY. I'm just gonna comment with this until you answer at least one of my questions. DO YOU HAVE A JAMAICAN ACCENT? No, Mon DO YOU MOLT? Gross. WHAT'S YOUR STAR SIGN? Dont know. "Angel what's my star sign?" She says Scorpio. HAVE YOU TOLD JEB I LOVE HIM YET? No. DOES NOT HAVING A POWER MAKE YOU ANGRY? Well, that's not really true... DO YOU KNOW HOW TO DO THE SOULJA BOY? Can you see me doing the Soulja Boy? DOES IGGY KNOW HOW TO DO THE SOULJA BOY? Gazzy does. DO YOU USE HAIR PRODUCTS? No. Again,no. DO YOU USE PRODUCTS ON YOUR FEATHERS? I don't know that they make bird kid feather products yet. WHAT'S YOU FAVORITE MOVIE? There are a bunch WHAT'S YOUR FAVORITE SONG? I don't have favorites. They're too polarizing. WHAT'S YOUR FAVORITE SMELL? Max, when she showers. DO THESE QUESTIONS MAKE YOU ANGRY? Not really. IF I CAME UP TO YOU IN A STREET AND HUGGED YOU, WOULD YOU KILL ME? You might get kicked. But I'm used to people wanting me dead, so. DO YOU SECRETLY WANT TO BE HUGGED? Doesn't everybody? ARE YOU GOING EMO 'CAUSE ANGEL IS STEALING EVERYONE'S POWERS (INCLUDING YOURS)? Not the emo thing again. WHAT'S YOUR FAVORITE FOOD? Anything hot and delicious and brought to me by Iggy. WHAT DID YOU HAVE FOR BREAKFAST THIS MORNING? Three eggs, over easy. Bacon. More Bacon. Toast. DID YOU EVEN HAVE BREAKFAST THIS MORNING? See above. DID YOU DIE INSIDE WHEN MAX CHOSE ARI OVER YOU? Dudes don't die inside. DO YOU LIKE MAX? Duh. DO YOU LIKE ME? I think you're funny. DOES IGGY LIKE ME? Sure DO YOU WRITE DEPRESSING POETRY? No. IS IT ABOUT MAX? Ahh. No. IS IT ABOUT ARI? Why do you assume I write depressing poetry? IS IT ABOUT JEB? Ahh. ARE YOU GOING TO BLOCK THIS COMMENT? Clearly, no. WHAT ARE YOU WEARING? A Dirty Projectors T-shirt. Jeans. DO YOU WEAR BOXERS OR BRIEFS? No freaking comment. DO YOU FIND THIS COMMENT PERSONAL? Could I not find that comment personal? DO YOU WEAR SUNGLASSES? Yes, cheap ones. DO YOU WEAR YOUR SUNGLASSES AT NIGHT? That would make it hard to see. DO YOU SMOKE APPLES, LIKE US? Huh? DO YOU PREFER BLONDES OR BRUNETTES? Whatever. DO YOU LIKE VAMPIRES OR WEREWOLVES? Fanged creatures rock. ARE YOU GAY AND JUST PRETENDING TO BE STRAIGHT BY KISSING LISSA? Uhh... WERE YOU EXPERIMENING WITH YOUR SEXUALITY? Uhh... WOULD YOU TELL US IF YOU WERE GAY? Yes. DO YOU SECRETLY LIKE IT WHEN PEOPLE CALL YOU EMO? No. ARE YOU EMO? Whatever. DO YOU LIKE EGGS? Yes. I had them for breakfast. DO YOU LIKE EATING THINGS? I love eating. I list it as a hobby. DO YOU SECRETLY THINK YOU'RE THE SEXIEST PERSON IN THE WHOLE WORLD? Do you secretly think I'm the sexiest person in the whole world? DO YOU EVER HAVE DIRTY THOUGHTS ABOUT MAX? Eeek! HAS ENGEL EVER READ YOUR MIND WHEN YOU WERE HAVING DIRTY THOUGHT ABOUT MAX AND GONE "OMG" AND YOU WERE LIKE "D:"? hahahahahahahahahahah DO YOU LIKE SPONGEBOB? He's okay, I guess. DO YOU EVER HAVE DIRTY THOUGHT ABOUT SPONGEBOB? Definitely CAN YOU COOK? Iggy cooks. DO YOU LIKE TO COOK? I like to eat. ARE YOU, LIKE, A HOUSEWIFE? How on earth could I be like a housewife? DO YOU SECRETLY HAVE INNER TURMOIL? Isn't it obvious? DO YOU WANT TO BE UNDA DA SEA? I'm unda da stars. DO YOU THINK IT'S NOT TOO LATE, IT'S NEVER TOO LATE? Sure. WHERE DID YOU LEARN TO PLAY POKER? TV. DO YOU HAVE A GOOD POKER FACE? Totally. OF COURSE YOU HAVE A GOOD POKER FACE. DOES IGGY HAVE A GOOD POKER FACE? Yes. CAN HE EVEN PLAY POKER? Iggy beats me sometimes. DO YOU LIKE POKING PEOPLE HARD? Not really. ARE YOU FANGALICIOUS? I could never be as fangalicious as you'd want me to be. Fly on, Fang

SETH: But don’t you understand, Amy? You’re wrong. Relationships never provide you with everything. They provide you with some things. You take all the things you want from a person—sexual chemistry, let’s say, or good conversation, or financial support, or intellectual compatibility, or niceness, or loyalty—and you get to pick three of those things. Three—that’s it. Maybe four, if you’re very lucky. The rest you have to look for elsewhere. It’s only in the movies that you find someone who gives you all of those things. But this isn’t the movies. In the real world, you have to identify which three qualities you want to spend the rest of your life with, and then you look for those qualities in another person. That’s real life. Don’t you see it’s a trap? If you keep trying to find everything, you’ll wind up with nothing.

How To Tell If Somebody Loves You: Somebody loves you if they pick an eyelash off of your face or wet a napkin and apply it to your dirty skin. You didn’t ask for these things, but this person went ahead and did it anyway. They don’t want to see you looking like a fool with eyelashes and crumbs on your face. They notice these things. They really look at you and are the first to notice if something is amiss with your beautiful visage! Somebody loves you if they assume the role of caretaker when you’re sick. Unsure if someone really gives a shit about you? Fake a case of food poisoning and text them being like, “Oh, my God, so sick. Need water.” Depending on their response, you’ll know whether or not they REALLY love you. “That’s terrible. Feel better!” earns you a stay in friendship jail; “Do you need anything? I can come over and bring you get well remedies!” gets you a cozy friendship suite. It’s easy to care about someone when they don’t need you. It’s easy to love them when they’re healthy and don’t ask you for anything beyond change for the parking meter. Being sick is different. Being sick means asking someone to hold your hair back when you vomit. Either love me with vomit in my hair or don’t love me at all. Somebody loves you if they call you out on your bullshit. They’re not passive, they don’t just let you get away with murder. They know you well enough and care about you enough to ask you to chill out, to bust your balls, to tell you to stop. They aren’t passive observers in your life, they are in the trenches. They have an opinion about your decisions and the things you say and do. They want to be a part of it; they want to be a part of you. Somebody loves you if they don’t mind the quiet. They don’t mind running errands with you or cleaning your apartment while blasting some annoying music. There’s no pressure, no need to fill the silences. You know how with some of your friends there needs to be some sort of activity for you to hang out? You don’t feel comfortable just shooting the shit and watching bad reality TV with them. You need something that will keep the both of you busy to ensure there won’t be a void. That’s not love. That’s “Hey, babe! I like you okay. Do you wanna grab lunch? I think we have enough to talk about to fill two hours!" It’s a damn dream when you find someone you can do nothing with. Whether you’re skydiving together or sitting at home and doing different things, it’s always comfortable. That is fucking love. Somebody loves you if they want you to be happy, even if that involves something that doesn’t benefit them. They realize the things you need to do in order to be content and come to terms with the fact that it might not include them. Never underestimate the gift of understanding. When there are so many people who are selfish and equate relationships as something that only must make them happy, having someone around who can take their needs out of any given situation if they need to. Somebody loves you if they can order you food without having to be told what you want. Somebody loves you if they rub your back at any given moment. Somebody loves you if they give you oral sex without expecting anything back. Somebody loves you if they don’t care about your job or how much money you make. It’s a relationship where no one is selling something to the other. No one is the prostitute. Somebody loves you if they’ll watch a movie starring Kate Hudson because you really really want to see it. Somebody loves you if they’re able to create their own separate world with you, away from the internet and your job and family and friends. Just you and them. Somebody will always love you. If you don’t think this is true, then you’re not paying close enough attention.

Don’t attach yourself to anyone who shows you the least bit of attention because you’re lonely. Loneliness is the human condition. Cultivate it. The way it tunnels into you allows your soul room to grow. Never expect to outgrow loneliness. Never hope to find people who will understand you, someone to fill that space. An intelligent, sensitive person is the exception, the very great exception. If you expect to find people who will understand you, you will grow murderous with disappointment. The best you’ll ever do is to understand yourself, know what it is that you want, and not let the cattle stand in your way. (movie & novel combination)

What's this?" Dan said, pointing to a funny squiggly formation. Uh, an M," said Nellie. "Or if you look at it the other way, a W. Or sideways, kind of S-ish..." Maybe it's palm trees," Dan said. "Like in the movie It's a Mad, Mad, Mad, Mad World. You know? No? These guys need to find hidden money, and the only clue they have is it's under a big W? And no one sees what it means-but then, near the end of the movie, there's this grove of four palm trees rising up in the shape of... you-know-what! Classic!" Amy, Alistair, Natalie, Ian and Nellie all looked at him blankly. There is no W in the Korean language," Alistair replied. "Or palm trees in Korea. I might be maple trees..." Mrrp," said Saladin, rubbing his face against Dan's knee. I'll tell you the rest of the plot later," Dan whispered to the Mau.

Today is your big moment. Moments, really. The life you’ve been waiting for is happening all around you. The scene unfolding right outside your window is worth more than the most beautiful painting, and the crackers and peanut butter that you’re having for lunch on the coffee table are as profound, in their own way, as the Last Supper. This is it. This is life in all its glory, swirling and unfolding around us, disguised as pedantic, pedestrian non-events. But pull of the mask and you will find your life, waiting to be made, chosen, woven, crafted. Your life, right now, today, is exploding with energy and power and detail and dimension, better than the best movie you have ever seen. You and your family and your friends and your house and your dinner table and your garage have all the makings of a life of epic proportions, a story for the ages. Because they all are. Every life is. You have stories worth telling, memories worth remembering, dreams worth working toward, a body worth feeding, a soul worth tending, and beyond that, the God of the universe dwells within you, the true culmination of super and natural. You are more than dust and bones. You are spirit and power and image of God. And you have been given Today.

But there comes a point in the speech where I find my cadence. The crowd quiets rather than roars. It's the kind of moment I'd come to recognize in subsequent years, on certain magic nights. There's a physical feeling, a current of emotion that passes back and forth between you and the crowd, as if your lives and theirs are suddenly spliced together, like a movie reel, projecting backward and forward in time, and your voice creeps right up to the edge of cracking, because for an instant, you feel them deeply; you can see them whole. You've tapped into some collective spirit, a thing we all know and wish for - a sense of connection that overrides our differences and replaces them with a giant swell of possibility - and like all things that matter most, you know the moment is fleeting and that soon the spell will be broken.

We didn't think the library was funny looking in it's faux- Greek splendor, nor did we find the cuisine limited or bland, or the movies at the Michigan theater relentlessly American and mindless. These were opinions I came to later, after I became a denizen of a City, an expatriate anxious to distance herself from the bumpkin ways of her youth. I am suddenly consumed by nostalgia for the little girl who was me, who loved the fields and believed in God, who spent winter days home sick from school reading Nancy Drew and sucking menthol cough drops, who could keep a secret.

This is one of the reasons we watch movies, attend recovery groups, read memoirs, and sit around campfires telling stories long after the fire has dwindled down to a few glowing embers. It’s written in the Psalms that “deep calls to deep,” which is what happens when you get a glimpse of what someone else has gone through or is currently in the throes of and you find yourself inextricably, mysteriously linked with that person because you have been reminded again of our common humanity and its singular source, the subsurface unity of all things that is ever before us in countless manifestations but requires eyes wide open to see it burst into view.

I have seen them stagger out of their movie palaces and blink their empty eyes in the face of reality once more, and stagger home, to read the Times, to find out what's going on in the world. I have vomited at their newspapers, read their literature, observed their customs, eaten their food, desired their women, gaped at their art. But I am poor, and my name ends with a soft vowel, and they hate me and my father, and my father's father, and they would have my blood and put me down, but they are old now, dying in the sun and in the hot dust of the road, and I am young and full of hope and love for my country and my times, and when I say Greaser to you it is not my heart that speaks, but the quivering of an old wound, and I am ashamed of the terrible thing I have done.

Winter denial: therein lay the key to California Schadenfreude--the secret joy that the rest of the country feels at the misfortune of California. The country said: "Look at them, with their fitness and their tans, their beaches and their movie stars, their Silicon Valley and silicone breasts, their orange bridge and their palm trees. God, I hate those smug, sunshiny bastards!" Because if you're up to your navel in a snowdrift in Ohio, nothing warms your heart like the sight of California on fire. If you're shoveling silt out of your basement in the Fargo flood zone, nothing brightens your day like watching a Malibu mansion tumbling down a cliff into the sea. And if a tornado just peppered the land around your Oklahoma town with random trailer trash and redneck nuggets, then you can find a quantum of solace in the fact that the earth actually opened up in the San Fernando Valley and swallowed a whole caravan of commuting SUVs.

You're following me," I finally say. "Why?" "Because I'm trying to reclaim what's mine." "I'm not yours." "You are.You always have been.You always will be." "That's crap." "Is it? Look inside youself, Zara. I think you'll find what's true." "I don't know what's true anymore. But I know you're starting to sound like a bad ripoff of Darth Vader in an old Star Wars movie. And I know you're trying to hurt me." He shakes his head and listens to air. "Never." "Which part? The Darth thing or the hurting thing?" "Both.

At thirteen desperately watching TV, curling my long legs under me, desperately reading books, callow adolescent that I was, trying (desperately!) to find someone in books, in movies, in life, in history, to tell me it was O.K. to be ambitious, O.K. to be loud, O.K. to be Humphrey Bogart (smart and rudeness), O.K. to be James Bond (arrogance), O.K. to be Superman (power), O.K. to be Douglas Fairbanks (swashbuckling), to tell me self-love was all right, to tell me I could love God and Art and Myself better than anything on earth and still have orgasms.

How To Love Yourself When you change your focus what is absent to what is present, what is missing to what has been given, what you are not towards what you are, the ravages of linear time to the immediacy of Now you're reconnecting with love, truth and beauty, and abundance is yours, effortlessly. For truly, nothing is missing here, where you are, nothing is missing in this present scene in the movie of your life, and are forever busy, and at a point of completeness. The only reason why you can not find the Unit it is because it never came out. The day is waiting to be lived. So breathe life friend, Breathe life.

Dorothy viewed my mother's propensity toward madness not as something to be afraid of, but rather as something to look forward to, like a movie or a newly released color of nail polish. 'Your mother is just expressing herself,' Dorothy would tell me when my mother stopped sleeping, started smoking the filters of her cigarettes and began writing backward with a glitter pen. No, she's not,' I would say. 'She's going insane again.' Don't be so mundane,' she would yawn, passing my mother a shoebox filled with cat vertebrae. 'She is a brilliant artist. If you want Hamburger Helper, go find some other mother.

My filmmaking education consisted of finding out what filmmakers I liked were watching, then seeing those films. I learned the technical stuff from books and magazines, and with the new technology you can watch entire movies accompanied by audio commentary from the director. You can learn more from John Sturges' audio track on the 'Bad Day at Black Rock' laserdisc than you can in 20 years of film school. Film school is a complete con, because the information is there if you want it.

Coordination' occurred with astonishing speed, even in sectors of life not directly targeted by specific laws, as Germans willingly placed themselves under the sway of Nazi rule, a phenomenon that became known as Selbtsgleichschaltung, or 'self-coordination.' Change came to Germany so quickly and across such a wide front that German citizens who left the country for business or travel returned to find everything around them altered, as if they were characters in a horror movie who come back to find that people who once were their friends, clients, patients, and customers have become different in ways hard to discern.

Whenever I get gloomy with the state of the world, I think about the arrivals gate at Heathrow Airport. General opinion's starting to make out that we live in a world of hatred and greed, but I don't see that. It seems to me that love is everywhere. Often it's not particularly dignified or newsworthy, but it's always there - fathers and sons, mothers and daughters, husbands and wives, boyfriends, girlfriends, old friends. When the planes hit the Twin Towers, as far as I know none of the phone calls from the people on board were messages of hate or revenge - they were all messages of love. If you look for it, I've got a sneaky feeling you'll find that love actually is all around.

I had a few good professors in my painting and drawing classes, but all my graphic design classes tried to teach us how to use Photoshop and Illistrator by showing the class demonstration video clips. You know, exactly like the kind you can watch for free on Youtube, except these video clips cost me thousands of dollars to watch. I felt like I paid a lot of money to learn martial arts, only to show up to find the instructor is fat, sluggish, and cowardly, and he tries to overcome that by trying to teach us how to fight by showing us Chuck Norris movies. (Fact: Chuck Norris could teach me how to fight without even bothering to show up to class).

And that's how it was with Garrett. Because he understood me, the me I wanted so desperately to be. Think about your best friend - how you tell them everything, how they're the person who knows you best, all your deepest fears and insecurities. They're the one you call when something amazing happens or when everything falls apart and you need someone to come over and watch movies and tell you that everything's going to be OK. It's not like family, who are obligated to love you and even then sometimes fail to be everything they're supposed to be. Your true friend has chosen you, and you them, and that's a different kind of bond. That's Garrett to me. I'm used to talking to him all the time, about the most meaningless stuff. To have him gone feels like a loss, an absence haunting me every day. Without him, there's just the empty space that used to be filled with laughter and friendship and comfort. Can you really blame me for finding it so hard to let go?

Illness is a reminder that we don’t really have any control. And I understand why people find schizophrenia frightening, believe me, I get it. Hallucinations, delusions, it’s difficult to imagine having a mind that is not fully your own, just like it’s difficult to imagine having cancer, where your body isn’t fully your own. But people living with paranoid type often experience less dysfunction than people living with other subtypes. They’re often able to live, work, and care for themselves. And yet, almost every depiction you find in books or movies make people living with paranoid schizophrenia the villains. Can you imagine if books and movies did the same thing to people with cancer?

IT’S A FUNNY THING TO be the product of a fairy-tale romance. It’s another thing to think you might find one yourself. You can read the stories and watch the movies, and you can think you know how it’s all supposed to unfold. But the truth is, love is as much fate as it is planning, as much a beauty as it is a disaster. Finding a prince might mean kissing a lot of frogs. Or kicking a lot of frogs out of your house. Falling might mean running headfirst into something you always wanted. Or dipping your toe into something you’ve been scared of your whole life. Happily ever after could be waiting in a field a mile wide. Or a window as narrow as seven minutes'.

KAUFMAN Sir, what if a writer is attempting to create a story where nothing much happens, where people don't change, they don't have any epiphanies. They struggle and are frustrated and nothing is resolved. More a reflection of the real world — MCKEE The real world? KAUFMAN Yes, sir. MCKEE The real fucking world? First of all, you write a screenplay without Conflict or Crisis, you'll bore your audience to tears. Secondly: nothing happens in the world? Are you out of your fucking mind? People are murdered every day! There's genocide, war, corruption! Every fucking day somewhere in the world somebody sacrifices his life to save someone else! Every fucking day someone somewhere makes a conscious decision to destroy someone else! People find love! People lose it! For Christ's sake! A child watches her mother beaten to death on the steps of a church! Someone goes hungry! Somebody else betrays his best friend for a woman! If you can't find that stuff in life, then you, my friend, don't know CRAP about life! And WHY THE FUCK are you wasting my two precious hours with your movie? I don't have any use for it! I don't have any bloody use for it! KAUFMAN Okay, thanks.

It’s a funny thing to be the product of a fairy-tale romance. It’s another thing to think you might find one yourself. You can read the stories and watch the movies, and you can think you know how it’s all supposed to unfold. But the truth is, love is as much fate as it is planning, as much a beauty as it is a disaster. Finding a prince might mean kissing a lot of frogs. Or kicking a lot of frogs out of your house. Falling might mean running headfirst into something you always wanted. Or dipping your toe into something you’ve been scared of your whole life. Happily ever after could be waiting in a field a mile wide. Or a window as narrow as seven minutes.

Movie directors often shoot funerals in the rain. The mourners stand in their dark suits under large black umbrellas, the kind you never have handy in real life, while the rain falls symbolically all around them, on grass and tombstones and the roods of cars, generating atmostphere. What they don't show you is how the legs of your suit caked with grass clippings, cling soaked to your shins, how even under umbrellas the rain still manages to find your scalp, running down your skull and past your collar like wet slugs, so that while you're supposed to be meditating on the deceased, instead you're mentally tracking the trickle of water as it slides down your back. The movies don't convey how the soaked, muddy ground will swallow up the dress shoes of the pallbearers like quicksand, how the water, seeping into the pine coffin, will release the smell of death and decay, how the large mound of dirt meant to fill the grave will be transformed into an oozing pile of sludge that will splater with each stab of the shovel and land on the coffin with an audible splat. And instead of a slow and dignified farewell, everyone just wants to get the deceased into the ground and get the hell back into their cars.

Girls are taught a lot of stuff growing up: if a boy punches you he likes you, never try to trim your own bangs, and someday you will meet a wonderful guy and get your very own happy ending. Every movie we see, every story we're told implores us to wait for it: the third act twist, the unexpected declaration of love, the exception to the rule. But sometimes we're so focused on finding our happy ending we don't learn how to read the signs. How to tell the ones who want us from the ones who don't, the ones who will stay and the ones who will leave. And maybe a happy ending doesn't include a guy, maybe it's you, on your own, picking up the pieces and starting over, freeing yourself up for something better in the future. Maybe the happy ending is just moving on. Or maybe the happy ending is this: knowing after all the unreturned phone calls and broken-hearts, through the blunders and misread signals, through all the pain and embarrassment... You never gave up hope.

As soon as teenage girls start to profess love for something, everyone else becomes totally dismissive of it. Teenage girls are open season for the cruelest bullying that our society can dream up. Everyone's vicious to them. They're vicious to each other. Hell, they're even vicious to themselves. It's terrible. So if teenage girls have something that they love, isn't that a good thing? Isn't it better for them to find some words they believe in, words like the 'fire-proof and fearless' lyrics that Jacqui wrote? Isn't it better for them to put those words on their arm in a tattoo than for them to cut gashes in that same skin? Shouldn't we be grateful when teenage girls love our work? Shouldn't that be a fucking honor? It's used as the cheapest, easiest test of crap, isn't it? If teenage girls love a movie, a book, a band, then it's immediately classified as mediocre shit. Well, I'm not going to stand for that. Someone needs to treat them like they're precious, and if nobody else is ready to step up, I guess it's up to us to put them on the path to recognizing that about themselves.

I didn’t go to the moon, I went much further — for time is the longest distance between two places. Not long after that I was fired for writing a poem on the lid of a shoe-box. I left Saint Louis. I descended the steps of this fire escape for a last time and followed, from then on, in my father’s footsteps, attempting to find in motion what was lost in space. I traveled around a great deal. The cities swept about me like dead leaves, leaves that were brightly colored but torn away from the branches. I would have stopped, but I was pursued by something. It always came upon me unawares, taking me altogether by surprise. Perhaps it was a familiar bit of music. Perhaps it was only a piece of transparent glass. Perhaps I am walking along a street at night, in some strange city, before I have found companions. I pass the lighted window of a shop where perfume is sold. The window is filled with pieces of colored glass, tiny transparent bottles in delicate colors, like bits of a shattered rainbow. Then all at once my sister touches my shoulder. I turn around and look into her eyes. Oh, Laura, Laura, I tried to leave you behind me, but I am more faithful than I intended to be! I reach for a cigarette, I cross the street, I run into the movies or a bar, I buy a drink, I speak to the nearest stranger — anything that can blow your candles out! For nowadays the world is lit by lightning! Blow out your candles, Laura — and so goodbye. . .

The people had come to witness a sensational case, to see celebrities, to get material for conversation, to be seen, to kill time. They would return to unwanted jobs, unloved families, unchosen friends, to drawing rooms, evening clothes, cocktail glasses and movies, to unadmitted pain, murdered hope, desire left unreached, left hanging silently over a path on which no step was taken, to days of effort not to think, not to say, to forget and give in and give up. But each of them had known some unforgotten moment-a morning when nothing had happened, a piece of music heard suddenly and never heard in the same way again, a stranger's face seen in a bus-a moment when each had known a different sense of living. And each remembered other moments, on a sleepless night, on an afternoon of steady rain, in a church, in an empty street at sunset, when each had wondered why there was so much suffering and ugliness in the world. They had not tried to find the answer and they had gone on living as if no answer was necessary. But each had known a moment when, in lonely, naked honesty, he had felt the need of an answer.

Yesterday it was sun outside. The sky was blue and people were lying under blooming cherry trees in the park. It was Friday, so records were released, that people have been working on for years. Friends around me find success and level up, do fancy photo shoots and get featured on big, white, movie screens. There were parties and lovers, hand in hand, laughing perfectly loud, but I walked numbly through the park, round and round, 40 times for 4 hours just wanting to make it through the day. There's a weight that inhabits my chest some times. Like a lock in my throat, making it hard to breathe. A little less air got through and the sky was so blue I couldn’t look at it because it made me sad, swelling tears in my eyes and they dripped quietly on the floor as I got on with my day. I tried to keep my focus, ticked off the to-do list, did my chores. Packed orders, wrote emails, paid bills and rewrote stories, but the panic kept growing, exploding in my chest. Tears falling on the desk tick tick tick me not making a sound and some days I just don't know what to do. Where to go or who to see and I try to be gentle, soft and kind, but anxiety eats you up and I just want to be fine. This is not beautiful. This is not useful. You can not do anything with it and it tries to control you, throw you off your balance and lovely ways but you can not let it. I cleaned up. Took myself for a walk. Tried to keep my eyes on the sky. Stayed away from the alcohol, stayed away from the destructive tools we learn to use. the smoking and the starving, the running, the madness, thinking it will help but it only feeds the fire and I don't want to hurt myself anymore. I made it through and today I woke up, lighter and proud because I'm still here. There are flowers growing outside my window. The coffee is warm, the air is pure. In a few hours I'll be on a train on my way to sing for people who invited me to come, to sing, for them. My own songs, that I created. Me—little me. From nowhere at all. And I have people around that I like and can laugh with, and it's spring again. It will always be spring again. And there will always be a new day.

Relationships never provide you with everything. They provide you with some things. You take all the things you want from a person - sexual chemistry, let's say, or good conversation, or financial support, or intellectual compatibility, or niceness, or loyalty - and you get to pick three of those things. Three - that's it. Maybe four, if you're very lucky. The rest you have to look for elsewhere. It's only in the movies that you find someone who gives you all of those things. But this isn't the movies. In the real world, you have to identify which three qualities you want to spend the rest of your life with, and then you look for those qualities in another person. That's real life. Don't you see it's a trap? If you keep trying to find everything, you'll wind up with nothing.' ...At the time, he hadn't believed these words, because at the time, everything really did seem possible: he was twenty-three, and everyone was young and attractive and smart and glamorous. Everyone thought they would be friends for decades, forever. But for most people, of course, that hadn't happened. As you got older, you realized that the qualities you valued in the people you slept with or dated weren't necessarily the ones you wanted to live with, or be with, or plod through your days with. If you were smart, and if you were lucky, you learned this and accepted this. You figured out what was most important to you and you looked for it, and you learned to be realistic. They all chose differently: Roman had chosen beauty, sweetness, pliability; Malcolm, he thought, had chosen reliability, and competence...and aesthetic compatibility. And he? He had chosen friendship. Conversation. Kindness, Intelligence. When he was in his thirties, he had looked at certain people's relationships and asked the question that had (and continued to) fuel countless dinner-party conversations: What's going on there? Now, though, as an almost-forty-eight-year-old, he saw people's relationships as reflections of their keenest yet most inarticulable desires, their hopes and insecurities taking shape physically, in the form of another person. Now he looked at couples - in restaurants, on the street, at parties - and wondered: Why are you together? What did you identify as essential to you? What's missing in you that you want someone else to provide? He now viewed a successful relationship as one in which both people had recognized the best of what the other person had of offer and had chosen to value it as well.

Every day we’re bombarded with information and images—with adolescents in heavy makeup pretending to be grown women as they advertise miraculous creams promising eternal beauty; with the story of an aging couple who climbed Mount Everest to celebrate their wedding anniversary; with new massage gizmos, and pharmacy windows that are chockablock with slimming products; with movies that give an entirely false impression of reality, and books promising fantastic results; with specialists who give advice about how to succeed in life or find inner peace. And all these things make us feel old, make us feel that we’re leading dull, unadventurous lives as our skin grows ever more flaccid, and the pounds pile on irrevocably. And yet we feel obliged to repress our emotions and our desires, because they don’t fit with what we call “maturity.” Choose what information you listen to. Place a filter over your eyes and ears and allow in only things that won’t bring you down, because we have our day-to-day life to do that.

It is lonely behind these boundaries. Some people-particularly those whom psychiatrists call schizoid-because of unpleasant, traumatizing experiences in childhood, perceive the world outside of themselves as unredeemably dangerous, hostile, confusing and unnurturing. Such people feel their boundaries to be protecting and comforting and find a sense of safety in their loneliness. But most of us feel our loneliness to be painful and yearn to escape from behind the walls of our individual identities to a condition in which we can be more unified with the world outside of ourselves. The experience of falling in love allows us this escapetemporarily. The essence of the phenomenon of falling in love is a sudden collapse of a section of an individual's ego boundaries, permitting one to merge his or her identity with that of another person. The sudden release of oneself from oneself, the explosive pouring out of oneself into the beloved, and the dramatic surcease of loneliness accompanying this collapse of ego boundaries is experienced by most of us as ecstatic. We and our beloved are one! Loneliness is no more! In some respects (but certainly not in all) the act of falling in love is an act of regression. The experience of merging with the loved one has in it echoes from the time when we were merged with our mothers in infancy. Along with the merging we also reexperience the sense of omnipotence which we had to give up in our journey out of childhood. All things seem possible! United with our beloved we feel we can conquer all obstacles. We believe that the strength of our love will cause the forces of opposition to bow down in submission and melt away into the darkness. All problems will be overcome. The future will be all light. The unreality of these feelings when we have fallen in love is essentially the same as the unreality of the two-year-old who feels itself to be king of the family and the world with power unlimited. Just as reality intrudes upon the two-year-old's fantasy of omnipotence so does reality intrude upon the fantastic unity of the couple who have fallen in love. Sooner or later, in response to the problems of daily living, individual will reasserts itself. He wants to have sex; she doesn't. She wants to go to the movies; he doesn't. He wants to put money in the bank; she wants a dishwasher. She wants to talk about her job; he wants to talk about his. She doesn't like his friends; he doesn't like hers. So both of them, in the privacy of their hearts, begin to come to the sickening realization that they are not one with the beloved, that the beloved has and will continue to have his or her own desires, tastes, prejudices and timing different from the other's. One by one, gradually or suddenly, the ego boundaries snap back into place; gradually or suddenly, they fall out of love. Once again they are two separate individuals. At this point they begin either to dissolve the ties of their relationship or to initiate the work of real loving.

The conference is geared to people who enjoy meaningful discussions and sometimes "move a conversation to a deeper level, only to find out we are the only ones there." . . . When it's my turn, I talk about how I've never been in a group environment in which I didn't feel obliged to present an unnaturally rah-rah version of myself. . . . Scientists can easily report on the behavior of extroverts, who can often be found laughing, talking, or gesticulating. But "if a person is standing in the corner of a room, you can attribute about fifteen motivations to that person. But you don't really know what's going on inside." . . . So what is the inner behavior of people whose most visible feature is that when you take them to a party they aren't very pleased about it? . . . The highly sensitive tend to be philosophical or spiritual in their orientation, rather than materialistic or hedonistic. They dislike small talk. They often describe themselves as creative or intuitive . . . . They dream vividly, and can often recall their dreams the next day. They love music, nature, art, physical beauty. They feel exceptionally strong emotions--sometimes acute bouts of joy, but also sorrow, melancholy, and fear. Highly sensitive people also process information about their environments--both physical and emotional--unusually deeply. They tend to notice subtleties that others miss--another person's shift in mood, say, or a lightbulb burning a touch too brightly. . . . [Inside fMRI machines], the sensitive people were processing the photos at a more elaborate level than their peers . . . . It may also help explain why they're so bored by small talk. "If you're thinking in more complicated ways," she told me, "then talking about the weather or where you went for the holidays is not quite as interesting as talking about values or morality." The other thing Aron found about sensitive people is that sometimes they're highly empathic. It's as if they have thinner boundaries separating them from other people's emotions and from the tragedies and cruelties of the world. They tend to have unusually strong consciences. They avoid violent movies and TV shows; they're acutely aware of the consequences of a lapse in their own behavior. In social settings they often focus on subjects like personal problems, which others consider "too heavy.

1. Scribbled secret notebooks, and wild typewritten pages, for yr own joy 2. Submissive to everything, open, listening 3. Try never get drunk outside yr own house 4. Be in love with yr life 5. Something that you feel will find its own form 6. Be crazy dumbsaint of the mind 7. Blow as deep as you want to blow 8. Write what you want bottomless from bottom of the mind 9. The unspeakable visions of the individual 10. No time for poetry but exactly what is 11. Visionary tics shivering in the chest 12. In tranced fixation dreaming upon object before you 13. Remove literary, grammatical and syntactical inhibition 14. Like Proust be an old teahead of time 15. Telling the true story of the world in interior monolog 16. The jewel center of interest is the eye within the eye 17. Write in recollection and amazement for yourself 18. Work from pithy middle eye out, swimming in language sea 19. Accept loss forever 20. Believe in the holy contour of life 21. Struggle to sketch the flow that already exists intact in mind 22. Dont think of words when you stop but to see picture better 23. Keep track of every day the date emblazoned in yr morning 24. No fear or shame in the dignity of yr experience, language & knowledge 25. Write for the world to read and see yr exact pictures of it 26. Bookmovie is the movie in words, the visual American form 27. In praise of Character in the Bleak inhuman Loneliness 28. Composing wild, undisciplined, pure, coming in from under, crazier the better 29. You're a Genius all the time 30. Writer-Director of Earthly movies Sponsored & Angeled in Heaven

Regret nothing. Not the cruel novels you read to the end just to find out who killed the cook. Not the insipid movies that made you cry in the dark, in spite of your intelligence, your sophistication. Not the lover you left quivering in a hotel parking lot, the one you beat to the punchline, the door, or the one who left you in your red dress and shoes, the ones that crimped your toes, don’t regret those. Not the nights you called god names and cursed your mother, sunk like a dog in the livingroom couch,b chewing your nails and crushed by loneliness. You were meant to inhale those smoky nights over a bottle of flat beer, to sweep stuck onion rings across the dirty restaurant floor, to wear the frayed coat with its loose buttons, its pockets full of struck matches. You’ve walked those streets a thousand times and still you end up here. Regret none of it, not one of the wasted days you wanted to know nothing, when the lights from the carnival rides were the only stars you believed in, loving them for their uselessness, not wanting to be saved. You’ve traveled this far on the back of every mistake, ridden in dark-eyed and morose but calm as a house after the TV set has been pitched out the upstairs window. Harmless as a broken ax. Emptied of expectation. Relax. Don’t bother remembering any of it. Let’s stop here, under the lit sign on the corner, and watch all the people walk by.

Movies are made out of darkness as well as light; it is the surpassingly brief intervals of darkness between each luminous still image that make it possible to assemble the many images into one moving picture. Without that darkness, there would only be a blur. Which is to say that a full-length movie consists of half an hour or an hour of pure darkness that goes unseen. If you could add up all the darkness, you would find the audience in the theater gazing together at a deep imaginative night. It is the terra incognita of film, the dark continent on every map. In a similar way, a runner’s every step is a leap, so that for a moment he or she is entirely off the ground. For those brief instants, shadows no longer spill out from their feet, like leaks, but hover below them like doubles, as they do with birds, whose shadows crawl below them, caressing the surface of the earth, growing and shrinking as their makers move nearer or farther from that surface. For my friends who run long distances, these tiny fragments of levitation add up to something considerable; by their own power they hover above the earth for many minutes, perhaps some significant portion of an hour or perhaps far more for the hundred-mile races. We fly; we dream in darkness; we devour heaven in bites too small to be measured.

These diseases are not really there, are they? A: They can be if people choose to allow those energies to enter into their body. But for the most part, they are only in the energetic fields. And like anything else that is talked about, or thought about, it can become reality in the physical. D: Yes, if enough people accept it as their reality. A: But the diseases are extremely blown out of proportion, and they are not epidemics as they are portrayed to be. The media and the movies are showing you their desperation as they insist in presenting to the masses information that is completely negative and fear-based. Subject matter such as murder, death and betrayal, attacks and such that keep the consciousness focused on these matters, as opposed to portraying in the media images of hope and inspiration. But nevertheless, there are enough of those positive messages being broadcast at this time, that like a domino effect, they are no longer stoppable. D: Another fear the government is trying to promote is terrorism. A: Yes. It is just another tool, like the diseases, to find excuses to give people a reason to be afraid and not unify, but to trust that the government will solve their problems. They are imaginary problems, and in the subconscious, many people are becoming aware of this. They are no longer believing, although many are in the masses. But on their subconscious level, they are beginning to awaken, and the power knows this. That is the reason they are resorting to ridiculous stories that only those who wish to believe, believe in them because anybody with a logical and reasonable mind could not believe them.

When The Matrix debuted in 1999, it was a huge box-office success. It was also well received by critics, most of whom focused on one of two qualities—the technological (it mainstreamed the digital technique of three-dimensional “bullet time,” where the on-screen action would freeze while the camera continued to revolve around the participants) or the philosophical (it served as a trippy entry point for the notion that we already live in a simulated world, directly quoting philosopher Jean Baudrillard’s 1981 reality-rejecting book Simulacra and Simulation). If you talk about The Matrix right now, these are still the two things you likely discuss. But what will still be interesting about this film once the technology becomes ancient and the philosophy becomes standard? I suspect it might be this: The Matrix was written and directed by “the Wachowski siblings.” In 1999, this designation meant two brothers; as I write today, it means two sisters. In the years following the release of The Matrix, the older Wachowski (Larry, now Lana) completed her transition from male to female. The younger Wachowski (Andy, now Lilly) publicly announced her transition in the spring of 2016. These events occurred during a period when the social view of transgender issues radically evolved, more rapidly than any other component of modern society. In 1999, it was almost impossible to find any example of a trans person within any realm of popular culture; by 2014, a TV series devoted exclusively to the notion won the Golden Globe for Best Television Series. In the fifteen-year window from 1999 to 2014, no aspect of interpersonal civilization changed more, to the point where Caitlyn (formerly Bruce) Jenner attracted more Twitter followers than the president (and the importance of this shift will amplify as the decades pass—soon, the notion of a transgender US president will not seem remotely implausible). So think how this might alter the memory of The Matrix: In some protracted reality, film historians will reinvestigate an extremely commercial action movie made by people who (unbeknownst to the audience) would eventually transition from male to female. Suddenly, the symbolic meaning of a universe with two worlds—one false and constructed, the other genuine and hidden—takes on an entirely new meaning. The idea of a character choosing between swallowing a blue pill that allows him to remain a false placeholder and a red pill that forces him to confront who he truly is becomes a much different metaphor. Considered from this speculative vantage point, The Matrix may seem like a breakthrough of a far different kind. It would feel more reflective than entertaining, which is precisely why certain things get remembered while certain others get lost.

As I’ve told you many times, I’m split in two. One side contains my exuberant cheerfulness, my flippancy, my joy in life and, above all, my ability to appreciate the lighter side of things. By that I mean not finding anything wrong with flirtations, a kiss, an embrace, an off-color joke. This side of me is usually lying in wait to ambush the other one, which is much purer, deeper and finer. No one knows Anne’s better side, and that’s why most people can’t stand me. Oh, I can be an amusing clown for an afternoon, but after that everyone’s had enough of me to last a month. Actually, I’m what a romantic movie is to a profound thinker—a mere diversion, a comic interlude, something that is soon forgotten: not bad, but not particularly good either. I hate having to tell you this, but why shouldn’t I admit it when I know it’s true? My lighter, more superficial side will always steal a march on the deeper side and therefore always win. You can’t imagine how often I’ve tried to push away this Anne, which is only half of what is known as Anne—to beat her down, hide her. But it doesn’t work, and I know why. I’m afraid that people who know me as I usually am will discover I have another side, a better and finer side. I’m afraid they’ll mock me, think I’m ridiculous and sentimental and not take me seriously. I’m used to not being taken seriously, but only the “lighthearted” Anne is used to it and can put up with it; the “deeper” Anne is too weak. If I force the good Anne into the spotlight for even fifteen minutes, she shuts up like a clam the moment she’s called upon to speak, and lets Anne number one do the talking. Before I realize it, she’s disappeared. So the nice Anne is never seen in company. She’s never made a single appearance, though she almost always takes the stage when I’m alone. I know exactly how I’d like to be, how I am … on the inside. But unfortunately I’m only like that with myself. And perhaps that’s why—no, I’m sure that’s the reason why—I think of myself as happy on the inside and other people think I’m happy on the outside. I’m guided by the pure Anne within, but on the outside I’m nothing but a frolicsome little goat tugging at its tether. As I’ve told you, what I say is not what I feel, which is why I have a reputation for being boy-crazy as well as a flirt, a smart aleck and a reader of romances. The happy-go-lucky Anne laughs, gives a flippant reply, shrugs her shoulders and pretends she doesn’t give a darn. The quiet Anne reacts in just the opposite way. If I’m being completely honest, I’ll have to admit that it does matter to me, that I’m trying very hard to change myself, but that I’m always up against a more powerful enemy. A voice within me is sobbing, “You see, that’s what’s become of you. You’re surrounded by negative opinions, dismayed looks and mocking faces, people who dislike you, and all because you don’t listen to the advice of your own better half.” Believe me, I’d like to listen, but it doesn’t work, because if I’m quiet and serious, everyone thinks I’m putting on a new act and I have to save myself with a joke, and then I’m not even talking about my own family, who assume I must be sick, stuff me with aspirins and sedatives, feel my neck and forehead to see if I have a temperature, ask about my bowel movements and berate me for being in a bad mood, until I just can’t keep it up anymore, because when everybody starts hovering over me, I get cross, then sad, and finally end up turning my heart inside out, the bad part on the outside and the good part on the inside, and keep trying to find a way to become what I’d like to be and what I could be if … if only there were no other people in the world. Yours, Anne M. Frank ANNE’S DIARY ENDS HERE.

For now, the Simple Daily Practice means doing ONE thing every day. Try any one of these things each day: A) Sleep eight hours. B) Eat two meals instead of three. C) No TV. D) No junk food. E) No complaining for one whole day. F) No gossip. G) Return an e-mail from five years ago. H) Express thanks to a friend. I) Watch a funny movie or a stand-up comic. J) Write down a list of ideas. The ideas can be about anything. K) Read a spiritual text. Any one that is inspirational to you. The Bible, The Tao te Ching, anything you want. L) Say to yourself when you wake up, “I’m going to save a life today.” Keep an eye out for that life you can save. M) Take up a hobby. Don’t say you don’t have time. Learn the piano. Take chess lessons. Do stand-up comedy. Write a novel. Do something that takes you out of your current rhythm. N) Write down your entire schedule. The schedule you do every day. Cross out one item and don’t do that anymore. O) Surprise someone. P) Think of ten people you are grateful for. Q) Forgive someone. You don’t have to tell them. Just write it down on a piece of paper and burn the paper. It turns out this has the same effect in terms of releasing oxytocin in the brain as actually forgiving them in person. R) Take the stairs instead of the elevator. S) I’m going to steal this next one from the 1970s pop psychology book Don’t Say Yes When You Want to Say No: when you find yourself thinking of that special someone who is causing you grief, think very quietly, “No.” If you think of him and (or?) her again, think loudly, “No!” Again? Whisper, “No!” Again, say it. Louder. Yell it. Louder. And so on. T) Tell someone every day that you love them. U) Don’t have sex with someone you don’t love. V) Shower. Scrub. Clean the toxins off your body. W) Read a chapter in a biography about someone who is an inspiration to you. X) Make plans to spend time with a friend. Y) If you think, “Everything would be better off if I were dead,” then think, “That’s really cool. Now I can do anything I want and I can postpone this thought for a while, maybe even a few months.” Because what does it matter now? The planet might not even be around in a few months. Who knows what could happen with all these solar flares. You know the ones I’m talking about. Z) Deep breathing. When the vagus nerve is inflamed, your breathing becomes shallower. Your breath becomes quick. It’s fight-or-flight time! You are panicking. Stop it! Breathe deep. Let me tell you something: most people think “yoga” is all those exercises where people are standing upside down and doing weird things. In the Yoga Sutras, written in 300 B.C., there are 196 lines divided into four chapters. In all those lines, ONLY THREE OF THEM refer to physical exercise. It basically reads, “Be able to sit up straight.” That’s it. That’s the only reference in the Yoga Sutras to physical exercise. Claudia always tells me that yogis measure their lives in breaths, not years. Deep breathing is what keeps those breaths going.

Because complex animals can evolve their behavior rapidly. Changes can occur very quickly. Human beings are transforming the planet, and nobody knows whether it’s a dangerous development or not. So these behavioral processes can happen faster than we usually think evolution occurs. In ten thousand years human beings have gone from hunting to farming to cities to cyberspace. Behavior is screaming forward, and it might be nonadaptive. Nobody knows. Although personally, I think cyberspace means the end of our species.” “Yes? Why is that?” “Because it means the end of innovation,” Malcolm said. “This idea that the whole world is wired together is mass death. Every biologist knows that small groups in isolation evolve fastest. You put a thousand birds on an ocean island and they’ll evolve very fast. You put ten thousand on a big continent, and their evolution slows down. Now, for our own species, evolution occurs mostly through our behavior. We innovate new behavior to adapt. And everybody on earth knows that innovation only occurs in small groups. Put three people on a committee and they may get something done. Ten people, and it gets harder. Thirty people, and nothing happens. Thirty million, it becomes impossible. That’s the effect of mass media—it keeps anything from happening. Mass media swamps diversity. It makes every place the same. Bangkok or Tokyo or London: there’s a McDonald’s on one corner, a Benetton on another, a Gap across the street. Regional differences vanish. All differences vanish. In a mass-media world, there’s less of everything except the top ten books, records, movies, ideas. People worry about losing species diversity in the rain forest. But what about intellectual diversity—our most necessary resource? That’s disappearing faster than trees. But we haven’t figured that out, so now we’re planning to put five billion people together in cyberspace. And it’ll freeze the entire species. Everything will stop dead in its tracks. Everyone will think the same thing at the same time. Global uniformity. Oh, that hurts. Are you done?” “Almost,” Harding said. “Hang on.” “And believe me, it’ll be fast. If you map complex systems on a fitness landscape, you find the behavior can move so fast that fitness can drop precipitously. It doesn’t require asteroids or diseases or anything else. It’s just behavior that suddenly emerges, and turns out to be fatal to the creatures that do it. My idea was that dinosaurs—being complex creatures—might have undergone some of these behavioral changes. And that led to their extinction.

It was getting late, but sleep was the furthest thing from my racing mind. Apparently that was not the case for Mr. Sugar Buns. He lay back, closed his eyes, and threw an arm over his forehead, his favorite sleeping position. I could hardly have that. So, I crawled on top of him and started chest compressions. It seemed like the right thing to do. "What are you doing?" he asked without removing his arm. "Giving you CPR." I pressed into his chest, trying not to lose count. Wearing a red-and-black football jersey and boxers that read, DRIVERS WANTED. SEE INSIDE FOR DETAILS, I'd straddled him and now worked furiously to save his life, my focus like that of a seasoned trauma nurse. Or a seasoned pot roast. It was hard to say. "I'm not sure I'm in the market," he said, his voice smooth and filled with a humor I found appalling. He clearly didn't appreciate my dedication. "Damn it, man! I'm trying to save your life! Don't interrupt." A sensuous grin slid across his face. He tucked his arms behind his head while I worked. I finished my count, leaned down, put my lips on his, and blew. He laughed softly, the sound rumbling from his chest, deep and sexy, as he took my breath into his lungs. That part down, I went back to counting chest compressions. "Don't you die on me!" And praying. After another round, he asked, "Am I going to make it?" "It's touch-and-go. I'm going to have to bring out the defibrillator." "We have a defibrillator?" he asked, quirking a brow, clearly impressed. I reached for my phone. "I have an app. Hold on." As I punched buttons, I realized a major flaw in my plan. I needed a second phone. I could hardly shock him with only one paddle. I reached over and grabbed his phone as well. Started punching buttons. Rolled my eyes. "You don't have the app," I said from between clenched teeth. "I had no idea smartphones were so versatile." "I'll just have to download it. It'll just take a sec." "Do I have that long?" Humor sparkled in his eyes as he waited for me to find the app. I'd forgotten the name of it, so I had to go back to my phone, then back to his, then do a search, then download, then install it, all while my patient lay dying. Did no one understand that seconds counted? "Got it!" I said at last. I pressed one phone to his chest and one to the side of his rib cage like they did in the movies, and yelled, "Clear!" Granted, I didn't get off him or anything as the electrical charge riddled his body, slammed his heart into action, and probably scorched his skin. Or that was my hope, anyway. He handled it well. One corner of his mouth twitched, but that was about it. He was such a trouper. After two more jolts of electricity--it had to be done--I leaned forward and pressed my fingertips to his throat. "Well?" he asked after a tense moment. I released a ragged sigh of relief,and my shoulders fell forward in exhaustion. "You're going to be okay, Mr. Farrow." Without warning, my patient pulled me into his arms and rolled me over, pinning me to the bed with his considerable weight and burying his face in my hair. It was a miracle!