Fuse Man Quotes

Why was the blind guy playing with matches, you ask? Because he's good at it. Anything to do with fire, igniting things, exploding things, things with fuses, wicks, accelerants . . . Iggy's your man. It's one of those good/bad things.

Sometimes a kind of glory lights up the mind of a man. It happens to nearly everyone. You can feel it growing or preparing like a fuse burning toward dynamite. It is a feeling in the stomach, a delight of the nerves, of the forearms. The skin tastes the air, and every deep-drawn breath is sweet. Its beginning has the pleasure of a great stretching yawn; it flashes in the brain and the whole world glows outside your eyes. A man may have lived all of his life in the gray, and the land and trees of him dark and somber. The events, even the important ones, may have trooped by faceless and pale. And then -the glory- so that a cricket song sweetens his ears, the smell of the earth rises chanting to his nose, and dappling light under a tree blesses his eyes. Then a man pours outward, a torrent of him, and yet he is not diminished. And I guess a man's importance in the world can be measured by the quality and number of his glories. It is a lonely thing but it relates us to the world. It is the mother of all creativeness, and it sets each man separate from all other men.

A whole woman will always attract a whole man. And when they touch, they will fuse to create a whole marriage. Ultimately, when the time is right, they will produce whole children.

A blind man can see what she feels for you and you for her. Your souls are not merely entwined; they are fused.

He invented the Fuse Box Dwarf, a little man who popped out at you from behind the paint cans in the cellarway and screamed, "Dreeb! Dreeb! I am the Fuse Box Dwarf!" Lewis was not scared by the little man, and he felt that those who scream "Dreeb" are more to be pitied than censured.

Man's meanness is a fuse in search of a flame.

Pick an apocalypse, any apocalypse. A sea of black oil and dead things. No wind. No light. Nothing stirring, not even an ant, a spider. A silent universe. Such is the end of the flicker of time, the brief hot fuse of events and ideas set off, accidentally, and snuffed out, accidentally, by man. Not a real ending of course, nor even a beginning. Mere ripple in Time's stream.

Rocket Man, burning out his fuse up here alone.

You cannot have my pain.” “Dalinar—” Dalinar forced himself to his feet. “You. Cannot. Have. My. Pain.” “Be sensible.” “I killed those children,” Dalinar said. “No, it—” “I burned the people of Rathalas.” “I was there, influencing you—” “YOU CANNOT HAVE MY PAIN!” Dalinar bellowed, stepping toward Odium. The god frowned. His Fused companions shied back, and Amaram raised a hand before his eyes and squinted. Were those gloryspren spinning around Dalinar? “I did kill the people of Rathalas,” Dalinar shouted. “You might have been there, but I made the choice. I decided!” He stilled. “I killed her. It hurts so much, but I did it. I accept that. You cannot have her. You cannot take her from me again.” “Dalinar,” Odium said. “What do you hope to gain, keeping this burden?” Dalinar sneered at the god. “If I pretend … If I pretend I didn’t do those things, it means that I can’t have grown to become someone else.” “A failure.” Something stirred inside of Dalinar. A warmth that he had known once before. A warm, calming light. Unite them. “Journey before destination,” Dalinar said. “It cannot be a journey if it doesn’t have a beginning.” A thunderclap sounded in his mind. Suddenly, awareness poured back into him. The Stormfather, distant, feeling frightened—but also surprised. Dalinar? “I will take responsibility for what I have done,” Dalinar whispered. “If I must fall, I will rise each time a better man.

Do you desire to be wholly one; always day and night in one another's company? For if this is what you desire, I am ready to melt and fuse you together, so that being two you shall become one, and while you live a common life as if you were a single man, and after your death in the world below still be one departed soul, instead of two....

I want to say before I go on that I have never previously told anyone my sordid past in detail. I haven't done it now to sound as though I might be proud of how bad, how evil, I was. But people are always speculating-why am I as I am? To understand that of any person, his whole life, from birth, must be reviewed. All of our experiences fuse into our personality. Everything that ever happened to us is an ingredient. Today, when everything that I do has an urgency, I would not spend one hour in the preparation of a book which had the ambition to perhaps titillate some readers. But I am spending many hours because the full story is the best way that I know to have it seen, and understood, that I had sunk to the very bottom of the American white man's society when-soon now, in prison-I found Allah and the religion of Islam and it completely transformed my life.

Because of demagogues, rhetoric has a tainted reputation in our time. However, rhetoric is central to democratic governance. It can fuse passion and persuasion, moving free people to freely choose what is noble.

O Love, divine Love, why do You lay siege to me? In a frenzy of love for me, You find no rest. From five sides You move against me, Hearing, sight, taste, touch, and scent. To come out is to be caught; I cannot hide from You. If I come out through sight I see Love Painted in every form and color, Inviting me to come to You, to dwell in You. If I leave through the door of hearing, What I hear points only to You, Lord; I cannot escape Love through this gage. If I come out through taste, every flavor proclaims: "Love, divine Love, hungering Love! You have caught me on Your hook, for you want to reign in me." If I leave through the door of scent I sense You in all creation; You have caught me And wounded me through that fragrance. If I come out through the sense of touch I find Your lineaments in every creature; To try to flee from You is madness. Love, I flee from You, afraid to give You my heart: I see that You make me one with You, I cease to be me and can no longer find myself. If I see evil in a man or defect or temptation, You fuse me with him, and make me suffer; O Love without limits, who is it You love? It is You, O Crucified Christ, Who take possession of me, Drawing me out of the sea to the shore; There I suffer to see Your wounded heart. Why did You endure the pain? So that I might be healed.

It was more than a spider. It was every unknown terror in the world fused into wriggling, poison-jawed horror. It was every anxiety, insecurity, and fear in his life given a hideous, night-black form.

Why has the car stopped?" "Ah!" I said with manly frankness that became me well. "There you have me." You see, I'm one of those birds who drive a lot but don't know the first thing about the works. The policy I pursue is to get aboard, prod the self-starter, and leave the rest to Nature. If anything goes wrong, I scream for an A.A. scout. It's a system that answers admirably as a rule, but on the present occasion it blew a fuse owing to the fact that there wasn't an A.A. scout within miles.

Sometimes a kind of glory lights up the mind of a man. It happens to nearly everyone. You can feel it growing or preparing like a fuse burning toward dynamite…. A man may have lived all of his life in the gray, and the land and trees of him dark and somber. The events, the important ones, may have trooped by faceless and pale. And then—the glory—so that a cricket song sweetens his ears, the smell of the earth rises chanting to his nose, and dappling light under a tree blesses his eyes. Then a man pours outward, a torrent of him, and yet he is not diminished. And I guess a man’s importance in the world can be measured by the quality and number of his glories.

How was I supposed to relate to the man when he didn’t speak in movie quotes?

One by one Man fused with AC, each physical body losing its mental identity in a manner that was somehow not a loss but a gain.

I don’t want you.” He moved so quickly she barely had time to gasp before he lifted her off her feet, fused his mouth to hers, and kissed her until her brain melted. Then he set her back on her wobbly legs and said,” That was for the lie. And for future reference, myerina, wrapping your legs around a man and commanding him to pleasure you is not an effective way to illustrate your lack of interest.

When two elements are fused into one they become inseparable. A force of sufficient magnitude may destroy them, but it can never disjoin them. A man and a woman who have become “one flesh” under God’s design for marriage cannot be separated without suffering great damage or even destruction. It would be the spiritual equivalent of having an arm or a leg torn from their bodies.

For life is a fire burning along a piece of string--or is it a fuse to a powder keg which we call God?--and the string is what we don't know, our Ignorance, and the trail of ash, which, if a gust of wind does not come, keeps the structure of the string, is History, man's Knowledge, but it is dead, and when the fire has burned up all the string, then man's Knowledge will be equal to God's Knowledge and there won't be any fire, which is Life. Or if the string leads to a powder keg, then there will be a terrific blast of fire, and even the trail of ash will be blown completely away.

The fact that the Hebrew word 'adam', meaning 'man', is identical with Adam as the name of the father of Seth plays a fundamental role in fusing the three stories (Gen 2:7-3:24, 4:1, 4:25 and 5:1) in one.

I’m not taking that,” Mort said, and part of him was marvelling at what a really accommodating beast a man was: when someone held something out to you, your first instinct was to take it. No matter if it was a check for a thousand dollars or a stick of dynamite with a lit and fizzing fuse, your first instinct was to take it.

Yes, the issue was courage. It always had been, even as a kid. Things scared him. He couldn't help it. Noise scared him, dark scared him. Tunnels scared him: the time he almost won the Silver Star for valor. But the real issue was courage. It had nothing to do with the Silver Star...Oh, he would've liked winning it, true, but that wasn't the issue. He would've liked showing the medal to his father, the heavy feel of it, looking his father in the eye to show he had been brave, but even that wasn't the real issue. The real issue was the power of will to defeat fear. A matter of figuring a way to do it. Somehow working his way into that secret chamber of the human heart, where, in tangles, lay the circuitry for all that was possible, the full range of what a man might be. He believed, like Doc Peret, that somewhere inside each man is a biological center for the exercise of courage, a piece of tissue that might be touched and sparked and made to respond, a chemical maybe, or a lone chromosome that when made to fire would produce a blaze of valor that even the biles could not extinguish. A filament, a fuse, that if ignited would release the full energy of what might be. There was a Silver Star twinkling somewhere inside him.

Song of myself Now I will do nothing but listen, To accrue what I hear into this song, to let sounds contribute toward it. I hear bravuras of birds, bustle of growing wheat, gossip of flames, clack of sticks cooking my meals, I hear the sound I love, the sound of the human voice, I hear all sounds running together, combined, fused or following, Sounds of the city and sounds out of the city, sounds of the day and night, Talkative young ones to those that like them, the loud laugh of work-people at their meals, The angry base of disjointed friendship, the faint tones of the sick, The judge with hands tight to the desk, his pallid lips pronouncing a death-sentence, The heave'e'yo of stevedores unlading ships by the wharves, the refrain of the anchor-lifters, The ring of alarm-bells, the cry of fire, the whirr of swift-streaking engines and hose-carts with premonitory tinkles and color'd lights, The steam-whistle, the solid roll of the train of approaching cars, The slow march play'd at the head of the association marching two and two, (They go to guard some corpse, the flag-tops are draped with black muslin.) I hear the violoncello, ('tis the young man's heart's complaint,) I hear the key'd cornet, it glides quickly in through my ears, It shakes mad-sweet pangs through my belly and breast. I hear the chorus, it is a grand opera, Ah this indeed is music--this suits me.

It's not the first time in his life he's felt like a man.

Jesus, man. Get a grip. I don’t need thanks. I’m happy just to be awesome.

She started telling Lyda stories, odd nameless placeless stories, about the man and the woman, myths or memories, perhaps from her own childhood.

Devaluation of the Earth, hostility towards the Earth, fear of the Earth: these are all from the psychological point of view the expression of a weak patriarchal consciousness that knows no other way to help itself than to withdraw violently from the fascinating and overwhelming domain of the Earthly. For we know that the archetypal projection of the Masculine experiences, not without justice, the Earth as the unconscious-making, instinct-entangling, and therefore dangerous Feminine. At the same time the projection of the masculine anima is mingled with the living image of the Earth archetype in the unconscious of man; and the more one-sidedly masculine man's conscious mind is the more primitive, unreliable, and therefore dangerous his anima will be. However, the Earth archetype, in compensation to the divinity of the archetype of Heaven and the Father, that determined the consciousness of medieval man, is fused together with the archaic image of the Mother Goddess. Yet in its struggle against this Mother Goddess, the conscious mind, in its historical development, has had great difficulty in asserting itself so as to reach its – patriarchal - independence. The insecurity of this conscious mind-and we have profound experience of how insecure the position of the conscious mind still is in modern man-is always bound up with fear of the unconscious, and no well-meaning theory "against fear" will be able to rid the world of this deeply rooted anxiety, which at different times has been projected on different objects. Whether this anxiety expresses itself in a religious form as the medieval fear of demons or witches, or politically as the modern fear of war with the State beyond the Iron Curtain, in every case we are dealing with a projection, though at the same time the anxiety is justified. In reality, our small ego-consciousness is justifiably afraid of the superior power of the collective forces, both without and within. In the history of the development of the conscious mind, for reasons which we cannot pursue here, the archetype of the Masculine Heaven is connected positively with the conscious mind, and the collective powers that threaten and devour the conscious mind both from without and within, are regarded as Feminine. A negative evaluation of the Earth archetype is therefore necessary and inevitable for a masculine, patriarchal conscious mind that is still weak. But this validity only applies in relation to a specific type of conscious mind; it alters as the integration of the human personality advances, and the conscious mind is strengthened and extended. A one-sided conscious mind, such as prevailed in the medieval patriarchal order, is certainly radical, even fanatical, but in a psychological sense it is by no means strong. As a result of the one-sidedness of the conscious mind, the human personality becomes involved in an equally one-sided opposition to its own unconscious, so that actually a split occurs. Even if, for example, the Masculine principle identifies itself with the world of Heaven, and projects the evil world of Earth outwards on the alien Feminine principle, both worlds are still parts of the personality, and the repressing masculine spiritual world of Heaven and of the values of the conscious mind is continually undermined and threatened by the repressed but constantly attacking opposite side. That is why the religious fanaticism of the representatives of the patriarchal World of Heaven reached its climax in the Inquisition and the witch trials, at the very moment when the influence of the archetype of Heaven, which had ruled the Middle Ages and the previous period, began to wane, and the opposite image of the Feminine Earth archetype began to emerge.

On September 29, as they closed on her at the Capes of Virginia, Blackbeard donned his new, terrifying battle attire. He wore a silk sling over his shoulders, to which were attached “three brace of pistols, hanging in holsters like bandaliers.” Under his hat, he tied on lit fuses, allowing some of them to dangle down on each side of his face, surrounding it with a halo of smoke and fire. So adorned, a contemporary biographer reported, “his eyes naturally looking fierce and wild, [that he] made altogether such a figure that imagination cannot form an idea of a fury from Hell to look more frightful.

The samurai leader asked Captain Algren, “Do you believe a man can change his destiny?” Captain Algren thinks about if for a second, and he replies, “I think a man does what he can, until his destiny is revealed.

Only a woman can carry in her body an eternal being which bears the very image of God. Only she is the recipient of the miracle of life. Only a woman can conceive and nurture this life using her own flesh and blood, and then deliver a living soul into the world. God has bestowed upon her alone a genuine miracle — the creation of life, and the fusing of an eternal soul with mortal flesh. This fact alone establishes the glory of motherhood. Despite the most creative plans of humanist scientists and lawmakers to redefine the sexes, no man will ever conceive and give birth to a child. The fruitful womb is a holy gift given by God to women alone. This is one reason why the office of wife and mother is the highest calling to which a woman can aspire. This is the reason why nations that fear the Lord esteem and protect mothers. They glory in the distinctions between men and women, and attempt to build cultures in which motherhood is honored and protected.

What he did there was, if one were to make a story of it to someone, absolutely nothing. It was fall, and in the mountains the early-autumn sun has a power of its own; mornings it lifted him up and bore him to some tree high up on the slopes, from beneath which one looked into the far distance, for in spite of his heavy hiking boots he was really not conscious of walking. In the same self-forgetful way he changed his location several times during the day and read a little in a few books he had with him. Nor was he really thinking, although he felt his mind more deeply agitated than usual, for his thoughts did not shake themselves up as they usually do, so that a new idea is always landing on top of the pyramid of the earlier ones while the ones at the bottom are becoming more and more compacted until finally they fuse with flesh, blood, skull case, and the tendons supporting the muscles, but his insights came like a jet into a full vessel, in endless overflowing and renewal, or they passed in an everlasting progression like clouds through the sky in which nothing changes, not the blue depths and not the soundless swimming of those mother-of-pearl fish. It could happen that an animal came out of the woods, observed Ulrich, and slowly bounded away without anything changing; that a cow grazed nearby, or a person went past, without any more happening than a beat of the pulse, twin to all the others of the stream of life that softly pounds without end against the walls of the understanding.

Know Deeply, Know Thyself More Deeply" Go deeper than love, for the soul has greater depths, love is like the grass, but the heart is deep wild rock molten, yet dense and permanent. Go down to your deep old heart, woman, and lose sight of yourself. And lose sight of me, the me whom you turbulently loved. Let us lose sight of ourselves, and break the mirrors. For the fierce curve of our lives is moving again to the depths out of sight, in the deep dark living heart. But say, in the dark wild metal of your heart is there a gem, which came into being between us? is there a sapphire of mutual trust, a blue spark? Is there a ruby of fused being, mine and yours, an inward glint? If there is not, O then leave me, go away. For I cannot be bullied back into the appearances of love, any more than August can be bullied to look like March. Love out of season, especially at the end of the season is merely ridiculous. If you insist on it, I insist on departure. Have you no deep old heart of wild womanhood self-forgetful, and gemmed with experience, and swinging in a strange union of power with the heart of the man you are supposed to have loved? If you have not, go away. If you can only sit with a mirror in your hand, an ageing woman posing on and on as a lover, in love with a self that now is shallow and withered, your own self–that has passed like a last summer’s flower– then go away– I do not want a woman whom age cannot wither. She is a made-up lie, a dyed immortelle of infinite staleness.

I got a letter from a lightning rod company this morning trying to out the fear of God in me, but with small success. Lightning seems to have lost its menace. Compared to what is going on on earth today, heaven’s firebrands are penny fireworks with wet fuses.

The travelers emerged into a spacious square. In the middle of this square were several dozen people on a wooden bandstand like in a public park. They were the members of a band, each of them as different from one another as their instruments. Some of them looked round at the approaching column. Then a grey-haired man in a colorful cloak called out and they reached for their instruments. There was a burst of something like cheeky, timid bird-song and the air – air that had been torn apart by the barbed wire and the howl of sirens, that stank of oily fumes and garbage – was filled with music. It was like a warm summer cloud-burst ignited by the sun, flashing as it crashed down to earth. People in camps, people in prisons, people who have escaped from prison, people going to their death, know the extraordinary power of music. No one else can experience music in quite the same way. What music resurrects in the soul of a man about to die is neither hope nor thought, but simply the blind, heart-breaking miracle of life itself. A sob passed down the column. Everything seemed transformed, everything had come together; everything scattered and fragmented -home, peace, the journey, the rumble of wheels, thirst, terror, the city rising out of the mist, the wan red dawn – fused together, not into a memory or a picture but into the blind, fierce ache of life itself. Here, in the glow of the gas ovens, people knew that life was more than happiness – it was also grief. And freedom was both painful and difficult; it was life itself. Music had the power to express the last turmoil of a soul in whose blind depths every experience, every moment of joy and grief, had fused with this misty morning, this glow hanging over their heads. Or perhaps it wasn't like that at all. Perhaps music was just the key to a man's feelings, not what filled him at this terrible moment, but the key that unlocked his innermost core. In the same way, a child's song can appear to make an old man cry. But it isn't the song itself he cries over; the song is simply a key to something in his soul.

When God wants to drill a man, And thrill a man, And skill a man, When God wants to mold a man To play the noblest part; When He yearns with all His heart To create so great and bold a man That all the world shall be amazed, Watch His methods, watch His ways! How He ruthlessly perfects Whom He royally elects! How He hammers him and hurts him, And with mighty blows converts him Into trial shapes of clay which Only God understands; While his tortured heart is crying And he lifts beseeching hands! How He bends but never breaks When his good He undertakes; How He uses whom He chooses, And with every purpose fuses him; But every act induces him To try His splendor out— God knows what He’s about. SELECTED Life is a quarry, out of which we are to mold and chisel and complete a character. GOETHE

Chorus: 'man after man after man o mortal generations here once almost not here what are we dust ghosts images a rustling of air nothing nothing we breathe on the abyss we are the abyss our happiness no more than traces of a dream the high noon sun sinking into the sea the red spume of its wake raining behind it we are you we are you Oedipus dragging your maimed foot in agony and now that I see your life finally revealed your life fused with the god blazing out of the black nothingness of all we know I say no happiness lasts nothing human lasts

Number 99 was an eviscerated ceramics plant. During the war a succession of blazing explosions had burst among the stock of thousands of chemical glazes, fused them, and splashed them into a wild rainbow reproduction of a lunar crater. Great splotches of magenta, violet, bice green, burnt umber, and chrome yellow were burned into the stone walls. Long streams of orange, crimson, and imperial purple had erupted through windows and doors to streak the streets and surrounding ruins with slashing brush strokes. This became the Rainbow House of Chooka Frood.

Man lives by committing himself to invisible states, by fusing his imagination with what he knows to be other than himself, and in this union he experiences the results of that fusion. No one can lose what he has save by detachment from the state where the things experienced have their natural life.

Then not your deeds only O voyagers, O scientists and inventors, shall be justified, All these hearts as of fretted children shall be sooth’d, All affection shall be fully responded to, the secret shall be told, All these separations and gaps shall be taken up and hook’d and link’d together, The whole earth, this cold, impassive, voiceless earth, shall be completely Justified, Trinitas divine shall be gloriously accomplish’d and compacted by the true son of God, the poet, (He shall indeed pass the straits and conquer the mountains, He shall double the cape of Good Hope to some purpose,) Nature and Man shall be disjoin’d and diffused no more, The true son of God shall absolutely fuse them.

One could certainly think of a man not in terms of a body but as a single vital current. And this would allow one to grasp the concept of existence as dynamic and on-going, rather than as static. Just as he had said, there was no difference between a single consciousness possessing various vital currents in succession, and a single vital current animating various consciousnesses in succession. For life and self-awareness would fuse into a whole. And if one were to then extrapolate this theory of the unity of life and self-awareness, the whole sea of life with its infinity of currents – the whole vast process of transmigration called Samsara in Sanskrit – would be possessed by a single consciousness.

I also think of those daily slaughters along the highways, of that death that is as horrible as it is banal and that bears no resemblance to cancer or AIDS because, as the work not of nature but of man, it is an almost voluntary death. How can it be that such a death fails to dumbfound us, to turn our lives upside down, to incite us to vast reforms? No, it does not dumbfound us, because like Pasenow, we have a poor sense of the real, and in the sur-real sphere of symbols, this death in the guise of a handsome car actually represents life; this smiling death is con-fused with modernity, freedom, adventure, just as Elisabeth was con-fused with the Virgin. This death of a man condemned to capital punishment, though infinitely rarer, much more readily draws our attention, rouses passions: confounded with the image of the executioner, it has a symbolic voltage that is far stronger, far darker and more repellent. Et cetera. Man is a child wandering lost—to cite Baudelaire`s poem again—in the "forests of symbols." (The criterion of maturity: the ability to resist symbols. But mankind grows younger all the time.)

Who are you?” the creature asked in a flat, sandpaper voice. “I am the egg man,” I said seriously. Darius slightly shook his head. He probably also rolled his eyes. “Egg man,” the creature said. Its head slowly turned to Darius. The suit wasn’t hiding him from the boat captain. “Who are you?” Darius stared at him for a beat. “I am the walrus.” I couldn’t help myself. I was a Beatles fan. “Goo goo g’joob.

But not so with Mister Sam’s chauffeur, Johnson X, the invisible man. He could hold it no longer. “Shit!” he cried. “Shit!” One couldn’t tell whether it was an order or an exclamation. “Shit! Does anyone in their right state of mind, with all their pieces of gray matter assembled in the right way in they haid, with no fuses blowed in they brain, with they think-piece hitting on all cylinders — you dig me? Anyone — you — me — us — they—we — them—him or her—anyone—you dig me? believe that shittt?” His loose lips punctuated each word with a spray of spit, flapped up and down over white buck teeth like the shutter of a camera photographing missiles shot into space, curled and popped over the tonal effect of each sound, and pronounced the word “shit” as though he had tasted it and spat it out — eloquent, logical and positive.

I always imagined rape as this violent scene of a woman walking alone down a dark alley and getting mugged and beaten by some masked criminal. Rape was an angry man forcing himself inside a damsel in distress. I would not carry the trauma of a cliché rape victim. I would not shriek in the midst of my slumber with night terrors. I would not tremble at the sight of every dark haired man or the mention of Number 1’s name. I would not even harbor ill will towards him. My damage was like a cigarette addiction- subtle, seemingly innocent, but everlasting and inevitably detrimental. Number 1 never opened his screen door to furious crowds waving torches and baseball bats. Nobody punched him out in my honor. The Nightfall crowd never socially ostracized him. Even the ex-boyfriend who’d second handedly fused the entire fiasco continued to mingle with him in drug circles. Everybody continued with business as usual. And when I told my parents I lost my virginity against my will, unconscious on a bathroom floor, Carl did not erupt in fury and demand I give him all I knew about his whereabouts so he could greet him with a rifle. Mom blankly shrugged and mumbled, “Oh, that’s too bad,” and drifted into the kitchen as if I’d received a stubbed toe rather than a shredded hymen. Everyone in my life took my rape as lightly as a brief thunderstorm that might have been frightening when it happened, but was easy to forget about. I adopted that mentality as the foundation of my sex life. I would, time and time again, treat sex as flimsily as it started. I would give it away as if it was cheap, second hand junk, rather than a prize that deserved to be earned.

...because a man on the scent of the White House is rarely rational. He is more like a beast in heat: a bull elk in the rut, crashing blindly through the timber in a fever for something to fuck. Anything! A cow, a calf, a mare--any flesh and blood beast with a hole in it.The bull elk is a very crafty animal for about fifty weeks of the year; his senses are so sharp that only an artful stalker can get within a thousand yards of him...butwhen the rut comes on, in the autumn, any geek with the sense to blow an elk-whistle can lure a bull elk right up to his car in ten minutes if he can drive within hearing range. The dumb bastards lose all control of themselves when the rut comes on. Their eyes glaze over, their ears pack up with hot wax, and their loins get heavy with blood. Anything that sounds like a cow elk in heat will fuse the central nervous systems of every bull on the mountain. They will race through the timbers like huge cannonballs, trampling small trees and scraping off bloody chunks of their own hair on the unyielding bark of the big ones. They behave like sharks in a feeding frenzy, attacking each other with all the demented violence of human drug dealers gone mad on their own wares. A career politician finally smelling the White House is not Much different from a bull elk in the rut. He will stop at nothing, trashing anything that gets in his way; and anything he can't handle personally, he will hire out--or, failing that, make a deal. It is a difficult syndrome for most people to understand, because so few of us ever come close to the kind of Ultimate Power and Achievement that the White House represents to a career politician.

I spread my arms to encircle her till my elbows were firmly against the back of her rib cage. I wanted to fuse myself with her. I wanted to bite into her like an apple and then eat her, digest her, absorb her into my bloodstream, my hemoglobin, my ESR. “What are you thinking?” she asked. “I don’t know what to do. It’s a problem. I can’t have you.” “But I am yours,” she said simply. “I know, I know, but, I mean, I want to possess you like an apple,” I said. “An apple?” she burst out laughing. I didn’t know how to explain what I meant. I didn’t appreciate that someone who belonged to me could just laugh at what I had said. It was not permissible. It was against the rules. I rolled over forcefully so that she was on her back and I was on top. Then I bit her cheek as if I were biting an apple. It held none of the satisfaction I had imagined. I needed to bite her and swallow. I bit her round shoulders as if they were apples, then her stomach and her knees, her toes and her back, the round lobes of her bottom. I bit them harder than everything else because they were the roundest and most applelike. But she squealed, so I stopped. I noticed that my biting had caused her to start breathing heavily, so I replaced my teeth with my lips. I gathered different parts of her flesh between my lips and kissed her all over, in the opposite order in which I had bitten. In her breathless moans and her cries of pleasure I owned her more than I owned myself and was immersed in her more than I had ever been immersed in my own self. Me, I had not yet discovered. I was an unknown quantity, a constantly unraveling mystery. But India was absolutely and completely known both carnally and otherwise. I rolled off of her with the sweet exhaustion of a man who has just hunted his dinner animal.

The force that through the green fuse drives the flower" The force that through the green fuse drives the flower Drives my green age; that blasts the roots of trees Is my destroyer. And I am dumb to tell the crooked rose My youth is bent by the same wintry fever. The force that drives the water through the rocks Drives my red blood; that dries the mouthing streams Turns mine to wax. And I am dumb to mouth unto my veins How at the mountain spring the same mouth sucks. The hand that whirls the water in the pool Stirs the quicksand; that ropes the blowing wind Hauls my shroud sail. And I am dumb to tell the hanging man How of my clay is made the hangman’s lime. The lips of time leech to the fountain head; Love drips and gathers, but the fallen blood Shall calm her sores. And I am dumb to tell a weather’s wind How time has ticked a heaven round the stars. And I am dumb to tell the lover’s tomb How at my sheet goes the same crooked worm.

The phrase was so simple and for most women, so generic. Any other female would have laughed off such a question from a boy she had no interest in. But in my case, it was a landmark moment in my life. Number 23 had gone where no other man had gone before. Until then, my history with men had been volatile. Instead of a boyfriend or even a drunken prom date, my virginity was forfeited to a very disturbed, grown man while I was unconscious on a bathroom floor. The remnants of what could be considered high school relationships were blurry and drug infused. Even the one long-lasting courtship I held with Number 3 went without traditional dating rituals like Valentine’s Day, birthdays, anniversary gifts, or even dinner. Into young adulthood, I was never the girl who men asked on dates. I was asked on many fucks. I was a pair of tits to cum on, a mouth to force a cock down, and even a playmate to spice up a marriage. At twenty-four, I had slept with twenty-two men, gotten lustfully heated with countless more, but had never once been given flowers. With less than a handful of dates in my past, romance was something I accepted as not being in the cards for me. My personality was too strong, my language too foul, and my opinions too outspoken. No, I was not the girl who got asked out on dates and though that made me sad at times, I buried myself too deeply in productivity to dwell on it. But, that day, Number 23 sparked a fuse. That question showed a glimmer of a simplistic sweetness that men never gave me. Suddenly he went from being some Army kid to the boyfriend I never had.

Things come and go,' he said. 'That's the gist of it. In a billion billion billion years, everything will have come and gone several times, in various forms. Even I will be gone...Meaningless, however. These jugs and pebbles, everything, these too will go...A swirl in the stream of time. A temporary gathering of bits, a few random dust specks, so to speak—pure metaphor, you understand—then by chance a vast floating cloud of dustspecks, an expanding universe—' He shrugged. 'Complexities: green dust as well as the regular kind. Purple dust. Gold. Additional refinements: sensitive dust, copulating dust, worshipful dust!...New laws for each new form, of course. New lines of potential. Complexity beyond complexity, accident on accident.'...He closed his eyes, still smiling. 'Pick an apocalypse, any apocalypse. A sea of black oil and dead things. No wind. No light. Nothing stirring, not even an ant, a spider. A silent universe. Such is the end of the flicker of time, the brief, hot fuse of events and ideas set off, accidentally, and snuffed out, accidentally, by man. Not a real ending of course, nor even a beginning. Mere ripple in Time's stream.

The real writer, the fellow who sends planets spinning and models a man asleep and eagerly tampers with the sleeper's rib, that kind of author has no given values at his disposal: he must create them himself. The art of writing is a very futile business if it does not imply first of all the art of seeing the world as the potentiality of fiction. The material of this world may be real enough (as far as reality goes) but it does not exist at all as an accepted entirety: it is chaos, and to this chaos the author says "go!" allowing the world to flicker and to fuse. It is now recombined in its very atoms, not merely in its visible and superficial parts. The writer is the first man to map it and to name the natural objects it contains. Those berries are edible. That speckled creature that bolted across my path might be tamed. That lake between those trees will be called Lake Opal or, more artistically, Dishwater Lake. That mist is a mountain--and that mountain must be conquered. Up a trackless slope climbs the master artist, and at the top, on a windy ridge, whom do you think he meets? The panting and happy reader, and there they spontaneously embrace and are linked forever if the book lasts forever.

Normal food is less strong than man, it serves him, is taken into man’s body to be assimilated and to build it up. But this special food, the Eucharist, is above man and stronger than man. Consequently the whole process involved is reversed: the man who eats this bread is assimilated by it, taken into it; he is fused into this bread and becomes bread, like Christ himself. “Though many, we are one body, for we are one bread.” The result of this insight is quite clear: Eucharist is never merely an event a deux, a dialogue between Christ and me. The goal of eucharistic communion is a total recasting of a person’s life, breaking up a man’s whole “I” and creating a new “We”.

Echad is first mentioned in the garden. It says a man and a woman, when they join together, become echad, or “one.” But that word echad is more explosive with meaning than just one flesh. It can literally mean to fuse together at the deepest part of our beings. Two becoming one, completely glued together, completely meshing. I still remember one of the hardest conversations I have had with Alyssa. We were just starting to date again, and were sitting in the car after a wonderful date night. We knew marriage was a possibility on the horizon, and I felt like I finally had to share things in my past that would affect her if we got married. I was incredibly nervous, as well as terrified of rejection or hurt, but I realized that if intimacy were to grow, I had to get vulnerable. For marriage to be what it truly is—two people becoming one in mind, body, soul, and spirit—I had to be honest. I remember sharing with her many things, but specifically some details of my sexual past. My teenage years were littered with me almost worshiping sexual fulfillment in pornography, partying, and girls. And I say worship, because that was where I got my worth, value, and purpose as well as what I most lived for (which is what the definition of worship is). I had to apologize and ask forgiveness from Alyssa for things I had done before I even knew her because of echad—one form of complete and utter intimacy. Because of that beauty, mystery, and power, God created it to function best in a man and a woman coming together for life and constantly echading or fusing together. I needed forgiveness because I had betrayed echad. I had betrayed oneness. I had betrayed intimacy. And if I wasn’t honest about it, it’d be a little part of my life or heart that Alyssa didn’t know—thus blocking echad. But something really peculiar happened in that moment. With the grace and forgiveness of Jesus, Alyssa forgave me. She heard all that I was and am, and still wanted to walk this journey with me. I still remember the tenderness in her voice as she spoke truth and forgiveness over me. In that moment I was exposed and known, and yet because of Alyssa’s grace, I was at the same time loved. And that is where intimacy is found—to be fully loved and to be fully known. To be fully loved, but not fully known will always allow us to buy the lie that “if they only knew the real me, they wouldn’t want me anymore.” And to be fully known but not fully loved feels sharp, painful, at a level of rejection that hurts so bad. But to be fully known and at the same time fully loved, now that is intimacy. I don’t want to give the wrong impression. Intimacy is certainly romantic in some aspects, but at its deepest level, it’s much more than that. It can be experienced with friends and family, not just spouses and loved ones.

Gasher's right. You're pert. But you don't want to be pert with me, cully. You don't EVER want to be pert with me. Have you heard of people with short fuses? Well, I have no fuse at all, and there's a thousand could testify to it if I hadn't stilled their tongues for good. If you ever speak to me of Lord Perth again...ever, ever, EVER...I'll tear off the top of your skull and eat your brains. I'll have none of that bad-luck story in the Cradle of the Grays. Do you understand me?" He shook Jake back and forth like a rag, and the boy burst into tears. "Do you?" "Y-Y-Yes!" "Good." He set Jake upon his feet, where he swayed woozily back and forth, wiping at his streaming eyes and leaving smudges of dirt on his cheeks so dark they looked like mascara. "Now, my little cull, we're going to have a question and answer session here. I'll ask the questions and you'll give the answers. Do you understand?" Jake didn't reply. He was looking at a panel of the ventilator grille which circled the chamber. The Tick-Tock Man grabbed his nose between two of his fingers and squeezed it viciously. "Do you understand me?" "Yes!" Jake cried. His eyes, now watering with pain as well as terror, returned to Tick-Tock's face. He wanted to look back at the ventilator grille, wanted desperately to verify that what he had seen there was not simply a trick of his frightened, overloaded mind, but he didn't dare. He was afraid someone else--Tick-Tock himself, most likely--would follow his gaze and see what he had seen. "Good." Tick-Tock pulled Jack back over to the chair by his nose, sat down, and cocked his leg over the arm again. "Let's have a nice little chin, then.

SOMETIMES A KIND OF GLORY lights up the mind of a man. It happens to nearly everyone. You can feel it growing or preparing like a fuse burning toward dynamite. It is a feeling in the stomach, a delight of the nerves, of the forearms. The skin tastes the air, and every deep-drawn breath is sweet. Its beginning has the pleasure of a great stretching yawn; it flashes in the brain and the whole world glows outside your eyes. A man may have lived all of his life in the gray, and the land and trees of him dark and somber. The events, even the important ones, may have trooped by faceless and pale. And then—the glory—so that a cricket song sweetens his ears, the smell of the earth rises chanting to his nose, and dappling light under a tree blesses his eyes. Then a man pours outward, a torrent of him, and yet he is not diminished. And I guess a man’s importance in the world can be measured by the quality and number of his glories. It is a lonely thing but it relates us to the world. It is the mother of all creativeness, and it sets each man separate from all other men. I don’t know how it will be in the years to come. There are monstrous changes taking place in the world, forces shaping a future whose face we do not know. Some of these forces seem evil to us, perhaps not in themselves but because their tendency is to eliminate other things we hold good. It is true that two men can lift a bigger stone than one man. A group can build automobiles quicker and better than one man, and bread from a huge factory is cheaper and more uniform. When our food and clothing and housing all are born in the complication of mass production, mass method is bound to get into our thinking and to eliminate all other thinking.

Like a gust of wind, Scott swept past all of this. The scenery stretched and distorted in his vision, blurring like the wild strokes of Postimpressionists. He had to keep himself from howling, and all sound was tossed behind with the streaming air, fading rapidly. He shifted and sensed the higher torque from a lower gear, as though the mechanical beast between his legs had melded with his body so that no matter what the road conditions, the machine would sensitively and appropriately translate his intent into motion. Fusing Man with machine. The idea surfaced in Scott’s mind, unbidden. Just like the shocking tale he had heard a few hours ago. The mysterious prosthesis with the serial number SBT-VBPII32503439 was intended to replace the back of the skull between the coronal suture and the lambdoid suture, including parts of the parietal and occipital bones.

Think you can last eight seconds?” Joss was one hundred percent, absolutely, positively certain that she would not. She was even more certain that she’d break something. Unfortunately, nerves made her mouthy. “Eight seconds, huh? I heard you rodeo guys had a short fuse. We have pills for that now you know?” He laughed and his lips were suddenly close to her ear again. “I can go longer than eight seconds as you well know. But even if that were true, I promise you, doc, it’d be the best eight seconds of your life.” Great. Now all she was going to think about while a piece of machinery spun and bucked beneath her was riding Troy in exactly the same way. Was it possible to have a mechanical-bull-induced orgasm? That would be seriously embarrassing. Certainly more than the good folk of Plainview would have expected from an innocent night out at the Bull Bar. There were children watching for the love of Mike.

Very convenient. Anything else?’ ‘Not really. I’m sure, for instance, that you haven’t the slightest interest in a Berger International flight into the Isle of Man, carrying one Marco Rossi.’ Dillon laughed. ‘Well, imagine that.’ ‘If it’s a sea voyage he’s planning, he’s in for a rough ride. Tomorrow and tomorrow night, there’ll be rain squalls and high seas. You’ll know you’re out there!’ ‘Should be interesting.’ ‘Do you have a game plan, Sean?’ ‘Yeah, the game plan is to blow the hell out of the Mona Lisa and deposit two million quid’s worth of arms on the floor of the Irish Sea.’ ‘What about the crew? I’ve got a Captain Martino listed here and five others: Gomez, Fabio, Arturo somebody, an Enrico, a Sancho. You’re going to kill them all, Sean?’ ‘Why not? They’re a reasonable facsimile of scum. They’ve run everything from heroin to human beings, I’m told, and now arms. They shouldn’t have joined if they didn’t want the risk.’ ‘Fine by me. I’ll stay in touch. Speak to you tomorrow.’ ‘Good, but stay on the Berger case. I’m convinced Rossi was responsible for Sara Hesser’s death.’ ‘I’ll see what I can do.’ Oban was enveloped in mist and rain. Beyond Kerrera, the waters looked disturbed in the Firth of Lorn, and clouds draped across the mountain tops. ‘I’ve said it before,’ Billy moaned. ‘What a bloody awful place. I mean, it rains all the bleeding time.’ ‘No, Billy, it rains six days a week.’ Dillon turned to Ferguson. ‘Am I right, General?’ ‘You usually are, Dillon.’ ‘Good. Please join me in the wheelhouse.’ There was a flap to one side of the instrument panel and he pressed a button. Inside was a fuse box and some clips screwed into place. He opened one of the weapons bags, took out a Browning with a twenty-round magazine protruding from its butt. He clipped it into place and added a Walther in the other clips. ‘Ace in the hole.’ He closed the flap. ‘My goodness, you do mean business,’ Ferguson said. ‘I always did, Charles. Now let’s go ashore and eat.’ The early darkness of the far north was against them

Last Words to Miriam ~ By D. H. Lawrence Yours is the shame and sorrow But the disgrace is mine; Your love was dark and thorough, Mine was the love of the sun for a flower He creates with his shine. I was diligent to explore you, Blossom you stalk by stalk, Till my fire of creation bore you Shrivelling down in the final dour Anguish—then I suffered a balk. I knew your pain, and it broke My fine, craftsman’s nerve; Your body quailed at my stroke, And my courage failed to give you the last Fine torture you did deserve. You are shapely, you are adorned, But opaque and dull in the flesh, Who, had I but pierced with the thorned Fire-threshing anguish, were fused and cast In a lovely illumined mesh. Like a painted window: the best Suffering burnt through your flesh, Undressed it and left it blest With a quivering sweet wisdom of grace: but now Who shall take you afresh? Now who will burn you free, From your body’s terrors and dross, Since the fire has failed in me? What man will stoop in your flesh to plough The shrieking cross? A mute, nearly beautiful thing Is your face, that fills me with shame As I see it hardening, Warpening the perfect image of God, And darkening my eternal fame.

J. R. R. Tolkien’s famous essay, “On Fairy-Stories,” in Tree and Leaf (New York: HarperCollins, 2001), pp. 1–82. The consolation . . . the joy of the happy ending . . . the sudden joyous ‘turn’ . . . this joy which . . . stories can produce supremely well, is not essentially ‘escapist’ nor ‘fugitive.’ . . . It is a sudden and miraculous grace: never to be counted on to recur. It does not deny the existence of dyscatastrophe, of sorrow and failure. Indeed, the possibility of these is necessary to the joy of deliverance. Rather, it denies (in the face of much evidence, if you will) universal final defeat, and thus is evangelium, giving a fleeting glimpse of Joy, Joy beyond the walls of the world, poignant as grief. It is the mark of a good story, of the higher or more complete kind, that however wild its events, however fantastic or terrible the adventures, it can give . . . when the ‘turn’ comes, a catch of the breath, a beat and lifting of the heart, near to (or indeed accompanied by) tears, as keen as that given by any form of literary art, and having a peculiar quality. In . . . the ‘turn’ . . . we get a piercing glimpse of joy, and heart’s desire, that for a moment passes outside the frame, rends indeed the very web of story, and lets a gleam come through.” Tolkien, “On Fairy-Stories,” pp. 68–69. Later Tolkien argues that the ultimate story—the gospel—is the essence of all other stories with the joy-giving happy ending. “This ‘joy’ . . . merits more consideration. The peculiar quality of the ‘joy’ in a successful Fantasy can . . . be explained as a sudden glimpse of an underlying . . . Reality. . . . The Gospels contain . . . a story of a larger kind which embraces all the essence of fairy-stories. They contain . . . the greatest and most complete conceivable eucatastrophe. But this story has entered history and the primary world. . . . The Birth of Christ is the eucatastrophe of Man’s history. The Resurrection is the eucatastrophe of the story of the Incarnation. This story ends in joy. . . . There is no tale ever told that men would rather find was true, and none which so many skeptical men have accepted as true on its own merits. For the Art of it has the supremely convincing tone of Primary Art, that is, of Creation. To reject it leads either to sadness or to wrath. . . . [T]his story is supreme; and it is true. Art has been verified. God is Lord, of angels, and of men—and of elves. Legend and History have met and fused.” Tolkien, “On Fairy-Stories,” pp. 71–73.

I’ll go myself,” the sergeant said tersely. He was getting annoyed. The stairway went down underneath the ground floor to a depth of about eight feet. A short paved corridor ran in front of the boiler room at right angles to the stairs, where each end was closed off by unpainted panelled doors. Both the stairs and the corridor felt like loose gravel underfoot, but otherwise they were clean. Splotches of blood were more in evidence in the corridor and a bloody hand mark showed clearly on the unpainted door to the rear. “Let’s not touch anything,” the sergeant cautioned, taking out a clean white handkerchief to handle the doorknob. “I better call the fingerprint crew,” the photographer said. “No, Joe will call them; I’ll need you. And you local fellows better wait outside, we’re so crowded in here we’ll destroy the evidence.” “Ed and I won’t move,” Grave Digger said. Coffin Ed grunted. Taking no further notice of them, the sergeant pushed open the door. It was black and dark inside. First he shone his light over the wall alongside the door and all over the corridor looking for electric light switches. One was located to the right of each door. Taking care to avoid stepping in any of the blood splotches, the sergeant moved from one switch to another, but none worked. “Blown fuse,” he muttered, picking his way back to the open room. Without having to move, Grave Digger and Coffin Ed could see all they wanted through the open door. Originally made to accommodate a part-time janitor or any type of laborer who would fire the boiler for a place to sleep, the room had been converted into a pad. All that remained of the original was a partitioned-off toilet in one corner and a washbasin in the other. An opening enclosed by heavy wire mesh opened into the boiler room, serving for both ventilation and heat. Otherwise the room was furnished like a boudoir. There was a dressing-table with a triple mirror, three-quarter bed with chenille spread, numerous foam-rubber pillows in a variety of shapes, three round yellow scatter rugs. On the whitewashed walls an obscene mural had been painted in watercolors depicting black and white silhouettes in a variety of perverted sex acts, some of which could only be performed by male contortionists. And everything was splattered with blood, the walls, the bed, the rugs. The furnishings were not so much disarrayed, as though a violent struggle had taken place, but just bloodied. “Mother-raper stood still and let his throat be cut,” Grave Digger observed. “Wasn’t that,” Coffin Ed corrected. “He just didn’t believe it is all.

Fusing heaven to earth, the Big Horn Mountains stood before him. A few clouds swirled around the highest peaks, furthering the illusion of a wall reaching forever upward. His eyes watered from the glare of the sun against snow, but he could not look away. Nothing in Glass’s twenty years on the plains had prepared him for such mountains. Captain Henry had spoken often of the enormity of the Rockies, but Glass assumed his stories were infused with the standard dose of campfire embellishment. In actuality, Glass thought, Henry’s portrait had been woefully inadequate. Henry was a straightforward man, and his descriptions focused on the mountains as obstacles, barriers to be surmounted in the drive to connect a stream of commerce between east and west. Missing entirely from Henry’s description had been any hint of the devout strength that flowed into Glass at the sight of the massive peaks. […] His awe of the mountains grew in the days that followed, as the Yellowstone River led him nearer and nearer. Their great mass was a marker, a benchmark fixed against time itself. Others might feel disquiet at the notion of something so much larger than themselves. But for Glass, there was a sense of sacrament that flowed from the mountains like a font, an immortality that made his quotidian pains seem inconsequential.

Here’s how I’ve always pictured mitigated free will: There’s the brain—neurons, synapses, neurotransmitters, receptors, brainspecific transcription factors, epigenetic effects, gene transpositions during neurogenesis. Aspects of brain function can be influenced by someone’s prenatal environment, genes, and hormones, whether their parents were authoritative or their culture egalitarian, whether they witnessed violence in childhood, when they had breakfast. It’s the whole shebang, all of this book. And then, separate from that, in a concrete bunker tucked away in the brain, sits a little man (or woman, or agendered individual), a homunculus at a control panel. The homunculus is made of a mixture of nanochips, old vacuum tubes, crinkly ancient parchment, stalactites of your mother’s admonishing voice, streaks of brimstone, rivets made out of gumption. In other words, not squishy biological brain yuck. And the homunculus sits there controlling behavior. There are some things outside its purview—seizures blow the homunculus’s fuses, requiring it to reboot the system and check for damaged files. Same with alcohol, Alzheimer’s disease, a severed spinal cord, hypoglycemic shock. There are domains where the homunculus and that brain biology stuff have worked out a détente—for example, biology is usually automatically regulating your respiration, unless you must take a deep breath before singing an aria, in which case the homunculus briefly overrides the automatic pilot. But other than that, the homunculus makes decisions. Sure, it takes careful note of all the inputs and information from the brain, checks your hormone levels, skims the neurobiology journals, takes it all under advisement, and then, after reflecting and deliberating, decides what you do. A homunculus in your brain, but not of it, operating independently of the material rules of the universe that constitute modern science. That’s what mitigated free will is about. I see incredibly smart people recoil from this and attempt to argue against the extremity of this picture rather than accept its basic validity: “You’re setting up a straw homunculus, suggesting that I think that other than the likes of seizures or brain injuries, we are making all our decisions freely. No, no, my free will is much softer and lurks around the edges of biology, like when I freely decide which socks to wear.” But the frequency or significance with which free will exerts itself doesn’t matter. Even if 99.99 percent of your actions are biologically determined (in the broadest sense of this book), and it is only once a decade that you claim to have chosen out of “free will” to floss your teeth from left to right instead of the reverse, you’ve tacitly invoked a homunculus operating outside the rules of science. This is how most people accommodate the supposed coexistence of free will and biological influences on behavior. For them, nearly all discussions come down to figuring what our putative homunculus should and shouldn’t be expected to be capable of.

place; it’s a mind-set. A strange coincidence: for my project on roots, I was reading a staggering book from 1980 called Le Corps noir (The Black Body) by a Haitian writer named Jean-Claude Charles. He coined the term enracinerrance, a French neologism that fuses the idea of rootedness and wandering. He spent his life between Haiti, New York, and Paris, very comfortably rooted in his nomadism. The first line of one of his experimental chapters is this: “il était une fois john howard griffin mansfield texas” (“once upon a time there was john howard griffin in mansfield texas”). I was stunned to find the small town that shares a border with my hometown in the pages of this Haitian author’s book published in France. What in the world was Mansfield, Texas, doing in this book I’d found by chance while researching roots for a totally unrelated academic project? The white man named John Howard Griffin referred to by Charles had conducted an experiment back in the late 1950s in which he disguised himself as a black man in order to understand what it must feel like to be black in the South. He darkened his skin with an ultraviolet lamp and skin-darkening medication and then took to the road, confirming the daily abuses in the South toward people with more melanin in their skin. His experiences were compiled in the classic Black Like Me (1962), which was later made into a film. When the book came out, Griffin and his family in Mansfield received death threats. It is astounding that I found out about this experiment, which began one town over from mine, through a gleefully nomadic Haitian who slipped it into his pain-filled essay about the black body. If you don’t return to your roots, they come and find you.

The girl circled in my arm was clean and fresh, and her sleeping breath was humid against the base of my throat. Something stirred in me in response to her helplessness, and yet at the same time I resented her. I had seen too damn many of these brisk and shining girls, so lovely, so gracious, and so inflexibly ambitious. They had counted their stock in trade and burnished it and spread it right out there on the counter. It was all yours for the asking. All you had to do was give her all the rest of your life, and come through with the backyard pool, cookouts, Eames chairs, mortgage, picture windows, two cars, and all the rest of the setting they required for themselves. These gorgeous girls, with steel behind their eyes, were the highest paid whores in the history of the world. All they offered was their poised, half-educated selves, one hundred and twenty pounds of healthy, unblemished, arrogant meat, in return for the eventual occupational ulcer, the suburban coronary. Nor did they bother to sweeten the bargain with their virginity. Before you could, in your hypnoid state, slip the ring on her imperious finger, that old-fashioned prize was long gone, and even its departure celebrated many times, on house parties and ski weekends, in becalmed sailboats and on cruise ships. This acknowledged and excused promiscuity was, in fact, to her advantage. Having learned her way through the jungly province of sex, she was less likely to be bedazzled by body hunger to the extent that she might make a bad match with an unpromising young man. Her decks were efficiently cleared, guns rolled out, fuses alight, cannonballs stacked, all sails set. She stood on the bridge, braced and ready, scanning the horizon with eyes as cold as winter pebbles. One

businessman by imagining yourself doing what you long to do, and possessing the things you long to possess. Become imaginative; mentally participate in the reality of the successful state. Make a habit of it. Go to sleep feeling successful every night, and perfectly satisfied, and you will eventually succeed in implanting the idea of success in your subconscious mind. Believe you were born to succeed, and wonders will happen as you pray! Profitable Pointers 1. Success means successful living. When you are peaceful, happy, joyous, and doing what you love to do, you are successful. 2. Find out what you love to do, and then do it. If you don’t know your true expression, ask for guidance, and the lead will come. 3. Specialize in your particular field and try to know more about it than anyone else. 4. A successful man is not selfish. His main desire in life is to serve humanity. 5. There is no true success without peace of mind. 6. A successful man possesses great psychological and spiritual understanding. 7. If you imagine an objective clearly, you will be provided with the necessities through the wonder-working power of your subconscious mind. 8. Your thought fused with feeling becomes a subjective belief, and according to your belief is it done unto you. 9. The power of sustained imagination draws forth the miracle-working powers of your subconscious mind. 10. If you are seeking promotion in your work, imagine your employer, supervisor, or loved one congratulating you on your promotion. Make the picture vivid and real. Hear the voice, see the gestures, and feel the reality of it all. Continue to do this frequently, and through frequent occupancy of your mind, you will experience the joy of the answered prayer. 11. Your subconscious mind is a storehouse of memory. For a perfect memory, affirm frequently: “The infinite intelligence of my subconscious mind reveals to me everything I need to know at all times, everywhere.” 12. If you wish to sell a home or property of any kind, affirm slowly, quietly, and feelingly as follows: “Infinite intelligence attracts to me the buyer for this house or property, who wants it, and who prospers in it.” Sustain this awareness, and the deeper currents of your subconscious mind will bring it to pass. 13. The idea of success contains all the elements of success. Repeat the word, “success,” to yourself frequently with faith and conviction, and you will be under a subconscious compulsion to succeed.

The most visible feature of self-oriented perfectionism is this hypercompetitive streak fused to a sense of never being good enough. Hypercompetitiveness reflects a paradox because people high in self-oriented perfectionism can recoil from competition due to fear of failure and fear of losing other people's approval. Socially-prescribed perfectionism makes for a hugely pressured life, spent at the whim of everyone else's opinions, trying desperately to be somebody else, somebody perfect. Perfectionism lurks beneath the surface of mental distress. Someone who scores high on perfectionism also scores high on anxiety. The ill-effects of self-oriented perfectionism correlate with anxiety and it predicts increases in depression over time. There are links between other-oriented perfectionism and higher vindictiveness, a grandiose desire for admiration and hostility toward others, as well as lower altruism, compliance with social norms and trust. People with high levels of socially-prescribed perfectionism typically report elevated loneliness, worry about the future, need for approval, poor-quality relationships, rumination and brooding, fears of revealing imperfections to others, self-harm, worse physical health, lower life satisfaction and chronically low self-esteem. Perfectionism makes people extremely insecure, self-conscious and vulnerable to even the smallest hassles. Perfection is man's ultimate illusion. It simply doesn't exist in the universe. If you are a perfectionist, you are guaranteed to be a loser in whatever you do. Socially-prescribed perfectionism has an astonishingly strong link with burnout. What I don't have - or how perfectionism grows in the soil of our manufactured discontent. No matter what the advertisement says, you will go on with your imperfect existence whether you make that purchase or not. And that existence is - can only ever be - enough. Make a promise to be kind to yourself, taking ownership of your imperfections, recognizing your shared humanity and understanding that no matter how hard your culture works to teach you otherwise, no one is perfect and everyone has an imperfect life. Socially-prescribed perfectionism is the emblem of consumer culture. Research shows that roaming outside, especially in new places, contributes to enhanced well-being. Other benefits of getting out there in nature include improved attention, lower stress, better mood, reduced risk of psychiatric disorders and even upticks in empathy and cooperation. Perfection is not necessary to live an active and fulfilling life.

One persistent attempt to find a thread in the history of mankind focuses on the notion of Reason. Human history, on this view, is the unfolding of rationality. Human thought, institutions, social organization, become progressively more rational. The idea that Reason is the goal or end-point of the development of mankind can fuse with the view that it also constitutes the principal agency which impels humanity along its path. It seems natural to suppose that changes in human life spring from growth of our ideas, our ways of thought. What is conduct if not implementation of ideas? If we improve, is it not because our ideas have improved? Though somewhat suspect as the fruit of vainglorious self-congratulation by nineteenth century Europeans, the role of thought and reason still deserves some consideration. The problems and difficulties facing a reason-centred view of history are considerable. No doubt the idea is far less popular now than it was in the heady days of rationalistic optimism, which stretched, in one form or another, from the late eighteenth to the early twentieth centuries. But, in a sober and not necessarily optimistic form, it remains necessary to attempt some kind of sketch of the cognitive transformation of mankind, from the days of hunting to those of computing. The nature of our cognitive activities has not remained constant: not only have things changed, but the change has also been deep and fundamental. It is not merely a matter of more of the same. The changes that have occurred have been changes in kind. A convenient baseline or starting point for the discussion of this problem is provided by the blatant absurdity of some at least of the beliefs of primitive man. Many of us like to think that the standards of what is acceptable in matters of belief have gone up, and that the advance of reason in history is manifest in this raising of standards. We have become fastidious and shrink from the beliefs of our distant ancestors, which strike us as absurd. Perhaps, so as not to prejudge an important issue, one ought to say-it is the translations frequently offered of some of the beliefs of some primitive men which now seem so absurd. It may be—and some have indeed argued this—that the absurdity is located not in the original belief itself but in its translation, inspired by a failure to understand the original context. On this view, it is the modern translator, and not the savage, who is guilty of absurdity.

One persistent attempt to find a thread in the history of mankind focuses on the notion of Reason. Human history, on this view, is the unfolding of rationality. Human thought, institutions, social organization, become progressively more rational. The idea that Reason is the goal or end-point of the development of mankind can fuse with the view that it also constitutes the principal agency which impels humanity along its path. It seems natural to suppose that changes in human life spring from growth of our ideas, our ways of thought. What is conduct if not implementation of ideas? If we improve, is it not because our ideas have improved? Though somewhat suspect as the fruit of vainglorious self-congratulation by nineteenth century Europeans, the role of thought and reason still deserves some consideration. The problems and difficulties facing a reason-centred view of history are considerable. No doubt the idea is far less popular now than it was in the heady days of rationalistic optimism, which stretched, in one form or another, from the late eighteenth to the early twentieth centuries. But, in a sober and not necessarily optimistic form, it remains necessary to attempt some kind of sketch of the cognitive transformation of mankind, from the days of hunting to those of computing. The nature of our cognitive activities has not remained constant: not only have things changed, but the change has also been deep and fundamental. It is not merely a matter of more of the same. The changes that have occurred have been changes in kind. A convenient baseline or starting point for the discussion of this problem is provided by the blatant absurdity of some at least of the beliefs of primitive man. Many of us like to think that the standards of what is acceptable in matters of belief have gone up, and that the advance of reason in history is manifest in this raising of standards. We have become fastidious and shrink from the beliefs of our distant ancestors, which strike us as absurd. Perhaps, so as not to prejudge an important issue, one ought to say - it is the translations frequently offered of some of the beliefs of some primitive men which now seem so absurd. It may be — and some have indeed argued this — that the absurdity is located not in the original belief itself but in its translation, inspired by a failure to understand the original context. On this view, it is the modern translator, and not the savage, who is guilty of absurdity.

In a letter written to the play's director, Peter Wood, on 30th March 1958, just before the start of rehearsals, Pinter rightly refused to add extra lines explaining or justifying Stanley's motives in withdrawing from the world into a dingy seaside boarding-house: 'Stanley cannot perceive his only valid justification - which is he is what he is - therefore he certainly can never be articulate about it.' But Pinter came much closer than he usually does to offering an explanation of the finished work: We've agreed: the hierarchy, the Establishment, the arbiters, the socio- religious monsters arrive to affect censure and alteration upon a member of the club who has discarded responsibility (that word again) towards himself and others. (What is your opinion, by the way, of the act of suicide?) He does possess, however, for my money, a certain fibre - he fights for his life. It doesn't last long, this fight. His core being a quagmire of delusion, his mind a tenuous fuse box, he collapses under the weight of their accusation - an accusation compounded of the shit- stained strictures of centuries of 'tradition'. This gets us right to the heart of the matter. It is not simply a play about a pathetic victim brainwashed into social conformity. It is a play about the need to resist, with the utmost vigour, dead ideas and the inherited weight of the past. And if you examine the text, you notice how Pinter has toughened up the original image of the man in the Eastbourne digs with 'nowhere to go'. Pinter's Stanley Webber - a palpably Jewish name, incidentally - is a man who shores up his precarious sense of self through fantasy, bluff, violence and his own manipulative form of power-play. His treatment of Meg initially is rough, playful, teasing: he's an ersatz, scarpegrace Oedipus to her boardinghouse Jocasta. But once she makes the fateful, mood-changing revelation - 'I've got to get things in for the two gentlemen' - he's as dangerous as a cornered animal. He affects a wanton grandeur with his talk of a European concert tour. He projects his own fear on to Meg by terrorising her with stories of nameless men coming to abduct her in a van. In his first solo encounter with McCann, he tries to win him over by appealing to a shared past (Maidenhead, Fuller's tea shop, Boots library) and a borrowed patriotism ('I know Ireland very well. I've many friends there. I love that country and I admire and trust its people... I think their policemen are wonderful'). At the start of the interrogation he resists Goldberg's injunction to sit down and at the end of it he knees him in the stomach. And in the panic of the party, he attempts to strangle Meg and rape Lulu. These are hardly the actions of a supine victim. Even though Stanley is finally carried off shaven, besuited, white-collared and ostensibly tamed, the spirit of resistance is never finally quelled. When asked how he regards the prospect of being able to 'make or break' in the integrated outer world, he does not stay limply silent, but produces the most terrifying noises.

The man of genius is he who understands incomparably more other beings than the average man. Goethe is said to have said of himself that there was no vice or crime of which he could not trace the tendency in himself, and that at some period of his life he could not have understood fully. The genius, therefore, is a more complicated, more richly endowed, more varied man; and a man is the closer to being a genius the more men he has in his personality, and the more really and strongly he has these others within him. If comprehension of those about him only flickers in him like a poor candle, then he is unable, like the great poet, to kindle a mighty flame in his heroes, to give distinction and character to his creations. The ideal of an artistic genius is to live in all men, to lose himself in all men, to reveal himself in multitudes; and so also the aim of the philosopher is to discover all others in himself, to fuse them into a unit which is his own unit.

Neither mystic insights, nor philosophic wisdom, nor creative power can be provided by pill or injection. The psycho-pharmacist cannot add to the faculties of the brain-but he can, at best, eliminate obstructions and blockages which impede their proper use. He cannot aggrandise us-but he can, within limits, normalise us; he cannot put additional circuits into the brain, but he can, again within limits, improve the co-ordination between existing ones, attenuate conflicts, prevent the blowing of fuses, and ensure a steady power supply. That is all the help we can ask for-but if we were able to obtain it, the benefits to mankind would be incalculable; it would be the 'Final Revolution' in a sense opposite to Huxley's-the break-through from maniac to man.

Contrary to the mutant Aryan child (i.e. Horus) that were delivered back from his mother to lead the masonic Civilization (and that functions as an avatar for the royal who is yet-to-die into an Osiris), the Son of Man (i.e. Moses) were delivered back from Civilization to his mother to lead a human nation.

Fragments of all kinds of data find their way into orbit. We’re pulled in one direction, then suddenly our instincts send us flying in another. Material collides and fuses, disappears and reappears. This chaos is essential to the creative process. A

Each of our contemporary scholars, nevertheless, adheres to one school of the (above mentioned) teachings. And there are some (even) among the Buddhists who mistake the temporary for the eternal doctrine. In consequence they are never successful in tracing Heaven, Earth, Man, and other things back to their First Cause. But I am now (going to show how) to infer an Ultimate Cause for thousands of things, not only from the Buddhist, but from outsiders' teachings. First I shall treat of the superficial doctrines, and then of the profound, (in order to) free the followers of the temporary faiths from those (prejudices that prove to be) obstructions in their way to the truth, and enable them to attain to the Ultimate Reality. Afterwards I shall point out, according to the perfect doctrine, how things evolved themselves through one stage after another out of the First Cause (in order to) make the incomplete doctrines fuse into the complete one, and to enable the followers to explain the phenomenal universe.[FN#291]

The problem, at least for the British, was that by this time more than 13,000 American soldiers were in place and ready to defend Fort McHenry with 100 cannons.  With the forces on land unable to continue the advance, the British turned to their naval superiority in an attempt to reduce the fort, and in his work, Pezzola described for his readers what kind of shells the British were using, making a reference to Francis Scott Key’s poem to drive the point home: “Just one of these cast-iron spheres contained a bursting powder charge of 9-lbs, touched off by a wooden fuse packed into the ball with finely ground powder, which was then launched from the ship by an 8000-lb mortar firing at an angle of 45-degrees. If the bomb ‘burst in air’ (to quote Francis Scott Key's later poem), the fragments showered down on the roofless forts, killing, wounding and maiming the unlucky defender-victims. If the ball struck the forts before detonation, it would smash what it hit to bits - and then explode.

Watching you and my daughter, seeing how you’ve survived things other women couldn’t--” She licked her lips. “That steel in your backbones came from your bringin’ up, from me. I’ve taught you to stand up and fight back. I’ve raised you proud. Lately, I’ve been staring into my looking glass, wondering where the old Rachel has got off to.” “Oh, Aunt Rachel, you’ve only done what you felt you had to for me and Amy.” Rachel nodded. “Yes. But there comes a time when a body must draw the line." She sighed and rolled her eyes, a reluctant smile tugging at her mouth. “If it’s a draw between a baby and Henry, I’ll kick his ornery butt all the way to the fancy house in Jacksboro and tell him to stay there this time.” Appalled and uncertain how to react, Loretta said, “Fancy house?” “You don’t really think he goes there to get tobacco and coffee and the Godey’s Lady’s Book for us, do you?” Rachel touched Loretta’s shoulder. “Don’t look so woebegone. He leaves me alone for nigh on a month after. I consider it a blessing.” Loretta threw back her head and gave a weak laugh. “Uncle Henry visiting a fancy house? Oh, Aunt Rachel, I bet those ladies double their rates when they see the likes of him coming!” “No doubt,” Rachel said grimly. “A lover, Henry ain’t. I’ve wasted a lot of years kowtowing to him. I don’t plan to waste any more. I can make it without a man. Just you watch me.” She pushed to her feet and extended Loretta a helping hand. “Come on, little mother. I’ll fix you some remedy for that rolling tummy.” “Oh, Aunt Rachel, do you think it’s for sure?” “Sure enough that we’d best start cutting out nightshirts. I got flannel tucked away in my barrel. That’ll make up nice.” Loretta smiled, and taking a deep breath, she passed a hand over her brow. “I am powerful pleased, Aunt Rachel!” “Just keep thinkin’ that way until I get Henry told.” “Do we have to tell him right now?” “Honey, if you go to upchucking of a morning before you can reach the privacy, he’s gonna know anyway. May as well light his fuse when we’re expecting the explosion.

I'm not sure what I imagined, but I thought the lapis sash of a mallard's wing meant joy was everyone's destiny. that it was tucked in if only you knew how to look, how to route salt to the side of your tongue, bitter to the back. I preened in the gloss of black ice. Our vows lassoed the night sky--tried to-- each word a flint-dipped sparkler, a nest of lightning or a thrashing fuse. Wasn't that love? Not the way violins are made, maple soaked, warped, planted till sound bloats wood's ancient fissures. Not like the bow slow-combed, pale horsehair secured, capped in wax. when you begin to hate a man, his stunt fingers swell with fat. His red face sweats strawberry rot. Like a stuck pig, the door, if locked, brays and grunts at his boot-strike, shoulder-strike. The town is small, but it's his. You dial, wanting someone to marvel with you, to witness that cheap bolt as it holds. To fix the cornered nuthatch three-quarters dead, still resisting in the cat's mouth, still dreaming of flight.

Fuse box is in there. I can go check on the kids so I’m not in your hair.” “Oh no, you’re going to help.” He was so nonchalant as he said it, opening the door and setting his toolbox down to hold it in place. One of my eyebrows rose at the evenly spoken command. “Am I?” He hit me with the full force of those eyes when he turned. “Yeah. Because if this ever happens again, you’ll know what to do.” Aiden jerked his head for me to join him in the utility room.

This ”joy” which I have selected as the mark of the true fairy-story (or romance), or as the seal upon it, merits more consideration. Probably every writer making a secondary world, a fantasy, every sub-creator, wishes in some measure to be a real maker, or hopes that he is drawing on reality: hopes that the peculiar quality of this secondary world (if not all the details) are derived from Reality, or are flowing into it. If he indeed achieves a quality that can fairly be described by the dictionary definition: “inner consistency of reality,” it is difficult to conceive how this can be, if the work does not in some way partake of reality. The peculiar quality of the ”joy” in successful Fantasy can thus be explained as a sudden glimpse of the underlying reality or truth. It is not only a “consolation” for the sorrow of this world, but a satisfaction, and an answer to that question, “Is it true?” The answer to this question that I gave at first was (quite rightly): “If you have built your little world well, yes: it is true in that world.” That is enough for the artist (or the artist part of the artist). But in the “eucatastrophe” we see in a brief vision that the answer may be greater—it may be a faroff gleam or echo of evangelium in the real world. The use of this word gives a hint of my epilogue. It is a serious and dangerous matter. It is presumptuous of me to touch upon such a theme; but if by grace what I say has in any respect any validity, it is, of course, only one facet of a truth incalculably rich: finite only because the capacity of Man for whom this was done is finite. I would venture to say that approaching the Christian Story from this direction, it has long been my feeling (a joyous feeling) that God redeemed the corrupt making-creatures, men, in a way fitting to this aspect, as to others, of their strange nature. The Gospels contain a fairystory, or a story of a larger kind which embraces all the essence of fairy-stories. They contain many marvels—peculiarly artistic, beautiful, and moving: “mythical” in their perfect, self-contained significance; and among the marvels is the greatest and most complete conceivable eucatastrophe. But this story has entered History and the primary world; the desire and aspiration of sub-creation has been raised to the fulfillment of Creation. The Birth of Christ is the eucatastrophe of Man's history. The Resurrection is the eucatastrophe of the story of the Incarnation. This story begins and ends in joy. It has pre-eminently the “inner consistency of reality.” There is no tale ever told that men would rather find was true, and none which so many sceptical men have accepted as true on its own merits. For the Art of it has the supremely convincing tone of Primary Art, that is, of Creation. To reject it leads either to sadness or to wrath. It is not difficult to imagine the peculiar excitement and joy that one would feel, if any specially beautiful fairy-story were found to be “primarily” true, its narrative to be history, without thereby necessarily losing the mythical or allegorical significance that it had possessed. It is not difficult, for one is not called upon to try and conceive anything of a quality unknown. The joy would have exactly the same quality, if not the same degree, as the joy which the “turn” in a fairy-story gives: such joy has the very taste of primary truth. (Otherwise its name would not be joy.) It looks forward (or backward: the direction in this regard is unimportant) to the Great Eucatastrophe. The Christian joy, the Gloria, is of the same kind; but it is preeminently (infinitely, if our capacity were not finite) high and joyous. But this story is supreme; and it is true. Art has been verified. God is the Lord, of angels, and of men—and of elves. Legend and History have met and fused.

3) Chrislam is an Obvious False Teaching that Has Entered Christianity: Marloes Janson and Birgit Meyer state that Chrislam merges Christianity and Islam. This syncretistic movement rests upon the belief that following Christianity or Islam alone will not guarantee salvation. Chrislamists participate in Christian and Islamic beliefs and practices. During a religious service Tela Tella, the founder of Ifeoluwa, Nigeria’s first Chrislamic movement, proclaimed that “Moses is Jesus and Jesus is Muhammad; peace be upon all of them – we love them all.’” Marloes Janson says he met with a church member who calls himself a Chrislamist. The man said, “You can’t be a Christian without being a Muslim, and you can’t be a Muslim without being a Christian.” These statements reflect the mindset of this community, which mixes Islam with Christianity, and African culture. Samsindeen Saka, a self-proclaimed prophet, also promotes Chrislam. Mr. Saka founded the Oke Tude Temple in Nigeria in 1989. The church's name means the mountain of loosening bondage. His approach adds a charismatic flavor to Chrislam. He says those bound by Satan; are set free through fasting and prayer. Saka says when these followers are set free from evil spirits. Then, the Holy Spirit possesses them. Afterward, they experience miracles of healing and prosperity in all areas of their life. He also claims that combining Christianity and Islam relieves political tension between these groups. This pastor seeks to take dominion of the world in the name of Chrislam (1). Today, Chrislam has spread globally, but with much resistance from the Orthodox (Christians, Muslims, and Jews). Richard Mather of Israeli International News says Chrislamists recognize both the Judeo-Christian “Bible and the Quran as holy texts.” So, they fuse these religions by removing Jewish references from the Bible. Thereby neutralizing the prognostic relevance “of the Jewish people and the land of Israel.” This fusion of Islam with Christianity is a rebranded form of replacement theology (2) (3). Also, traditional Muslims do not believe in the resurrection of Jesus Christ. Therefore, they do not believe Christ died on the cross for the sins of the world. Thus, these religions cannot merge without destroying the foundations of the Gospel of Jesus Christ. References: 1. Janson, Marloes, and Birgit Meyer. “Introduction: Towards a Framework for the Study of Christian-Muslim Encounters in Africa.” Africa, Vol. 86, no. 4, 2016, pp. 615-619, 2. Mather, Richard. “What is Chrislam?” Arutz Sheva – Israel International News. Jewish Media Agency, 02 March 2015, 3. Janson, Marloes. Crossing Religious Boundaries: Islam, Christianity, and ‘Yoruba Religion' in Lagos, Nigeria, (The International African Library Book 64). Cambridge University Press. 2021.

A good thing to do is to think about what people have done. Not only people that you've read about in books or seen on the news or heard mentioned in deliberate conversation, and not only deeds that are noteworthy. It's good to think about all the possibilities of what people have probably done. The scope of what's possible, statistical probabilities of unique behavior and unusual action in the 200,000 years that people have existed because there are more than 7 billion of us alive right now and that's not including the number of people who have ever lived. Within those numbers exist captivating, eccentric, strange, fanciful variation, when you consider what people have probably done. Like, every time you've had an impulse that you've held back, imagine that there has been a person who has had that same impulse and gone through with it, because there probably has been. Imagine any type of person and any type of story having happened because when you do that, it feels like you're creating, but you're probably not. Imagine, considering the magnitude of these numbers and the variables within each human being, that all possibilities have occurred. If physical anomalies like twins born with bodies totally fused together resembling two-headed, eight limbed, human spiders, or a man born with a shrunken female head affixed to the back of his own head, which was animated without being consciously controlled by him, then imagine that anything you can imagine has occurred. However typical or atypical, these things you're imagining have happened. These people you're thinking of have been.

Karma in its effect on character is the most tremendous power that man has to deal with. Man is, as it were, a centre, and is attracting all the powers of the universe towards himself, and in this centre is fusing them all and again sending them off in a big current. Such a centre is the real man — the almighty, the omniscient — and he draws the

Dawn is more than a hope, it is an elect full of fresh fervor. Straining towards what is to come, his ties cut, man when he is finally free gorges himself on eternity. His gravity lies in being available and great, in the vacancy of a moment which will fuse with his life. Not to expect anything and yet to die daily of infinite expectation.

Through man’s love and woman’s love Moons and tides move Which fuse those islands, lying face to face. Mixing in naked passion, Those who naked new life fashion Are themselves reborn in naked grace.

So any man may be called at least de jure, if not de facto, to become fused into one spirit with Christ in the furnace of contemplation and then go forth and cast upon the earth that same fire which Christ wills to see enkindled. This means, in practice, that there is only one vocation. Whether you teach or live in the cloister or nurse the sick, whether you are in religion or out of it, married or single, no matter who you are or what you are, you are called to the summit of perfection: you are called to a deep interior life perhaps even to mystical prayer, and to pass the fruits of your contemplation on to others. And if you cannot do so by word, then by example. Yet if this sublime fire of infused love burns in your soul, it will inevitably send forth throughout the Church and the world an influence more tremendous than could be estimated by the radius reached by words or by example. Saint John of the Cross writes: “A very little of this pure love is more precious in the sight of God and of greater profit to the Church, even though the soul appear to be doing nothing, than are all other works put together.

As we can learn from every man or woman or child around us when, touched and moved, they tell of something they loved or hated this day, yesterday, or some other day long past. At a given moment, the fuse, after sputtering wetly, flares, and the fireworks begin. Oh, it's limping crude hard work for many, with language in their way. But I have heard farmers tell about their very first wheat crop on their first farm after moving from another state, and if it wasn't Robert Frost talking, it was his cousin, five times removed. I have heard locomotive engineers talk about America in the tones of Thomas Wolfe who rode our country with his style as they ride it in their steel. I have heard mothers tell of the long nights with their firstborn when they were afraid that they and the baby might die. And I have heard my grandmother speak of her first ball when she was seventeen. And they were all, when their souls grew warm, poets.

There and then, it was as if someone had removed a fuse in Ove’s mind. Everything in his eyes grew a shade darker.

I would venture to say that approaching the Christian Story from this direction, it has long been my feeling (a joyous feeling) that God redeemed the corrupt making-creatures, men, in a way fitting to this aspect, as to others, of their strange nature. The Gospels contain a fairy-story, or a story of a larger kind which embraces all the essence of fairy-stories. They contain many marvels peculiarly artistic, beautiful, and moving: 'mythical' in their perfect, self-contained significance; and among the marvels is the greatest and most complete conceivable Eucatastrophe. But this story has entered History and the primary world; the desire and aspiration of subcreation has been raised to the fulfillment of Creation. The Birth of Christ is the Eucatastrophe of Man's history. The Resurrection is the Eucatastrophe of the story of the Incarnation. This story begins and ends in joy. It has pre-eminently the 'inner consistency of reality.' There is no tale ever told that men would rather find was true, and none which so many sceptical men have accepted as true on its own merits. For the Art of it has the supremely convincing tone of Primary Art, that is, of Creation. To reject it leads either to sadness or to wrath. It is not difficult to imagine the peculiar excitement and joy that one would feel, if any specially beautiful fairy story were found to be 'primarily' true, its narrative to be history, without thereby necessarily losing the mythical or allegorical significance that it had possessed. It is not difficult, for one is not called upon to try and conceive anything of a quality unknown. The joy would have exactly the same quality, if not the same degree, as the joy which the 'turn' in a fairy-story gives: such joy has the very taste of primary truth. (Otherwise its name would not be joy.) It looks forward (or backward: the direction in this regard is unimportant) to the Great Eucatastrophe. The Christian joy, the Gloria, is of the same kind; but it is preeminently (infinitely, if our capacity were not finite) high and joyous. But this story is supreme; and it is true. Art has been verified. God is the Lord, of angels, and of men—and of elves. Legend and History have met and fused.

I would venture to say that approaching the Christian Story from this direction, it has long been my feeling (a joyous feeling) that God redeemed the corrupt making-creatures, men, in a way fitting to this aspect, as to others, of their strange nature. The Gospels contain a fairy-story, or a story of a larger kind which embraces all the essence of fairy-stories. They contain many marvels peculiarly artistic, beautiful, and moving: 'mythical' in their perfect, self-contained significance; and among the marvels is the greatest and most complete conceivable Eucatastrophe. But this story has entered History and the primary world; the desire and aspiration of sub-creation has been raised to the fulfillment of Creation. The Birth of Christ is the Eucatastrophe of Man's history. The Resurrection is the Eucatastrophe of the story of the Incarnation. This story begins and ends in joy. It has pre-eminently the 'inner consistency of reality.' There is no tale ever told that men would rather find was true, and none which so many sceptical men have accepted as true on its own merits. For the Art of it has the supremely convincing tone of Primary Art, that is, of Creation. To reject it leads either to sadness or to wrath. It is not difficult to imagine the peculiar excitement and joy that one would feel, if any specially beautiful fairy-story were found to be 'primarily' true, its narrative to be history, without thereby necessarily losing the mythical or allegorical significance that it had possessed. It is not difficult, for one is not called upon to try and conceive anything of a quality unknown. The joy would have exactly the same quality, if not the same degree, as the joy which the 'turn' in a fairy-story gives: such joy has the very taste of primary truth. (Otherwise its name would not be joy.) It looks forward (or backward: the direction in this regard is unimportant) to the Great Eucatastrophe. The Christian joy, the Gloria, is of the same kind; but it is preeminently (infinitely, if our capacity were not finite) high and joyous. But this story is supreme; and it is true. Art has been verified. God is the Lord, of angels, and of men—and of elves. Legend and History have met and fused.

Allegory and metaphor work by linking together two normally unconnected ideas in order to startle the reader into seeing something they thought they knew in a different light. Strictly speaking metaphors aren't coincidences, as they are man-made, but they work the same trick: fusing unrelated entities to power a revelation.

Alexander said as soon as it got cold, they would leave. September came and it was still warm; he liked that. Better still, not only was Tatiana making them a little money, she was drinking some sparkling wine, some Bisol Brut, for which she developed a bit of a taste. After work, she would sit with Anthony, have bread and cheese, and a glass of sparkler. She closed the winery, counted the money, played with the boy, waited for Alexander to finish work, and sipped her drink. By the time they drove to the B&B, had dinner, chocolate cake, more wine, a bath, put Anthony to bed, and she fell down onto the goose down covers, arms flung above her head, Tatiana was so bubbled up, so pliant, so agreeable to all his relentless frenzies, and so ceaselessly and supernally orgasmic that Alexander would not have been a mortal man if he allowed anything to come between his wife and her Bisol Brut. Who would do a crazy thing like quit to go into dry country? This country was flowing with foaming wine, and that is just how they both liked it. He started whispering to her again, night by night, little by little. Tania . . . you want to know what drives me insane? Yes, darling, please tell me. Please whisper to me. When you sit up straight like this with your hands on your lap, and your breasts are pushed together, and your pink nipples are nice and soft. I lose my breath when your nipples are like that. The trouble is, as soon as I see you looking at me, the nipples stop being nice and soft. Yes, they are quite shameful, he whispers, his breath lost, his mouth on them. But your hard nipples also drive me completely insane, so it’s all good, Tatia. It’s all very very good. Anthony was segregated from them by an accordion room partition. A certain privacy was achieved, and after a few nights of the boy not being woken up, they got bolder; Alexander did unbelievable things to Tatiana that made her sparkler-fueled moaning so extravagant that he had to invent and devise whole new ways of sustaining his usually impeccable command over his own release. Tell me what you want. I’ll do anything you want, Tania. Tell me. What can I do—for you? Anything, darling . . . anything you want, you do . . . There was nothing Gulag about their consuming love in that enchanted bed by the window, the bed that was a quilted down island with four posters and a canopy, with pillows so big and covers so thick . . . and afterward he lay drenched and she lay breathless, and she murmured into his chest that she should like a soft big bed like this forever, so comforted was she and so very pleased with him. Once she asked in a breath, Isn’t this better than being on top of the hard stove in Lazarevo? Alexander knew she wanted him to say yes, and he did, but he didn’t mean it, and though she wanted him to say it, he knew she didn’t want him to mean it either. Could anything come close to crimson Lazarevo where, having been nearly dead, without champagne or wine or bread or a bed, without work or food or Anthony or any future other than the wall and the blindfold, they somehow managed for one brief moon to live in thrall sublime? They had been so isolated, and in their memories they still remained near the Ural Mountains, in frozen Leningrad, in the woods of Luga when they had been fused and fevered, utterly doomed, utterly alone. And yet!—look at her tremulous light— as if in a dream—in America—in fragrant wine country, flute full of champagne, in a white quilted bed, her breath, her breasts on him, her lips on his face, her arms in rhapsody around him are so comforting, so true—and so real.

That something is everywhere and always amiss is part of the very stuff of creation. It is as though each clay form had baked into it, fired into it, a blue streak of nonbeing, a shaded emptiness like a bubble that not only shapes its very structure but that also causes it to list and ultimately explode. We could have planned things more mercifully, perhaps, but our plan would never get off the drawing board until we agreed to the very compromising terms that are the only ones that being offers. The world has signed a pact with the devil; it had to. It is a covenant to which every thing, even every hydrogen atom, is bound. The terms are clear: if you want to live, you have to die; you cannot have mountains and creeks without space, and space is a beauty married to a blind man. The blind man is Freedom, or Time, and he does not go anywhere without his great dog Death. The world came into being with the signing of the contract. A poet says, “the force that through the green fuse drives the flower/drives my green age.

Many years ago, an anonymous poet wrote these lines to describe how God shapes us and refines us for His use: When God wants to drill a man, And thrill a man, And skill a man; When God wants to mold a man To play the noblest part, When He yearns with all His heart To create so great and bold a man That all the world shall be amazed, Watch His methods, watch His ways— How He ruthlessly perfects Whom He royally elects. How He hammers him and hurts him, And with mighty blows, converts him Into trial shapes of clay Which only God understands, While his tortured heart is crying, And he lifts beseeching hands. How He bends but never breaks When his good He undertakes. How He uses whom He chooses, And with every purpose, fuses him, By every act, induces him To try His splendor out. God knows what He’s about.

The bodies of a man and his dog fused together, skin and fur melded. Nobody wanted to die alone.

Living every day knowing people were keeping him down because of the color of his skin, Foster said, "You feel like you are a piece of dynamite ready to explode. The only thing it takes is but a little fire--a cigarette butt--and light the fuse." His explosion came one day at work. "I was pretty good in the computation laboratory; and I had one of my supervisors tell me he wanted me to train another person in that unit [a white man] and 'I want to make him your boss.' That bomb went off--my bomb. He didn't get any training from me and never did he become my damn boss!

Why did Amery have the overwhelming urge to curl into a ball and cry? Because he’d just shown her that she wasn’t a cold bitch in bed? He’d proven that she could burn hot and fast with a man who took the time to find her fuse before he prematurely lit the match.

It's amazing how a strip of sticky plastic will make my kids' pain vanish. Lucas will be howling about a stepped-on finger, but as soon as the SpongeBob Band-Aid touches his pinkie, he's all smiles. My sons are so convinced of the magical healing powers of Band-Aids, they think they can solve almost any problem. A couple of years ago, when out Sony TV blew a fuse, Jasper stuck a Band-Aid on the screen hoping to revive it.

At that time I also had, for a short while, the strength to bear it. But all too soon I lost external sight of the shape of that beautiful man, and I saw him disappear to nothing, so quickly melting away and fusing together that I could not see or observe him outside of me, nor discern him within me. It was to me at that moment as if we were one without distinction.