Genius Girl Quotes

What is a Gallagher Girl? She's a genius, a scientist, a heroine, a spy... a Gallagher Girl is whatever she wants to be.

For a genius thief you really are a stupid girl aren't you?

That's when I heard the sounds of a certified genius spinning around in circles like a dog chasing its tail.

What is a Gallagher Girl?" Liz asked one final time. "She's a genius, a scientist, a heroine, a spy. And now we are at the end of our time at school, and the one thing I know for certain is this: a Gallagher Girl is whatever she wants to be.

Why do you love the woman you're in love with? Because she is. And that, after all, is God's own definition of Himself; I am that I am. The girl is who she is. Some of her isness spills over and impregnates the entire universe. Objects and events cease to be mere representations of classes and become their own uniqueness; cease to be illustrations of verbal abstractions and become fully concrete. Then you stop being in love, and the universe collapses, with an almost audible squeak of derision, into its normal insignificance.

I'm not a girl. I'm a genius.

And the truth is that I'm not, Ed, is what I wanted to tell you. I'm not arty like everyone says who doesn't know me, I don't paint, I can't draw, I play no instrument, I can't sing. I'm not in plays, I wanted to say, I don't write poems. I can't dance except tipsy at dances. I'm not athletic, I'm not a goth or a cheerleader, I'm not treasurer or co-captain. I'm not gay and out and proud, I'm not that kid from Sri Lanka, not a triplet, a prep, a drunk, a genius, a hippie, a Christian, a slut, not even one of those super-Jewish girls with a yarmulke gang wishing everyone a happy Sukkoth. I'm not anything, this is what I realized ... I like movies, everyone knows I do -- I love them -- but I will never be in charge of one because my ideas are stupid and wrong in my head. There's nothing different about that, nothing fascinating, interesting, worth looking at.

Boys are idiots. Girls are idiots, too, of course, but boys are a special kind of idiot. A girl, for instance, will vote for a boy in an election, or go to a movie that's about a boy, or buy a book that features a boy hero (or villain). Boys are much less likely to return the favor. They can't wrap their feeble minds around the idea that this girl might have anything in common with them. It's like they can't recognize girls as human beings.

Any plan where you lose your hat is a bad plan.

Just accept that you’re not a genius. Once I told myself that, I was able to finally write.

Genius or jock, it didn't seem to matter. Boys were born with a gene that kept girls, no matter how smart they might be, from understanding them.

Plague might be a social incompetent, but he was unquestionably a genius.

What my parents kept failing to understand was how happy I was when I was alone with my books. There was no pressure to perform or be cute, and books never disappoint-- unless, of course, you've chosen a bad one. But then, you can always put it down and pick up another one without any repercussions.

The machines were simple and harmless, developed by a human genius who set in motion something, which ultimately had far reaching consequences.

As Master Payne escorted her to the waiting coach, a small frown crossed her face. "People keep giving me rings," she confided to him, "But I think a small death ray might be more practical.

My one friend is a screwup—a genius blessed with the most beautiful girl in the world, and he doesn’t even know it.

Agatha Clay: "I've never had coffee. Lilith said a young lady shouldn't drink stimulants." Zeetha: "Drink your coffee like a warrior." Agatha Clay: "...Yes, Zeetha.

...no genius, I am a girl who knows too much to know anything at all...

The difference between stupidity and genius is that genius has its limits. – Unknown

But I think Cybil was my biggest fan. She cut out my articles and hung them in her locker and we were always cracking up how if you wrote the simplest, most obvious thing in the world people thought you were a genius.

I like the lady horses best, how they make it all look easy, like running 40 miles per hour is as fun as taking a nap, or grass. I like their lady horse swagger, after winning. Ears up, girls, ears up! But mainly, let’s be honest, I like that they’re ladies. As if this big dangerous animal is also a part of me, that somewhere inside the delicate skin of my body, there pumps an 8-pound female horse heart, giant with power, heavy with blood. Don’t you want to believe it? Don’t you want to lift my shirt and see the huge beating genius machine that thinks, no, it knows, it’s going to come in first.

Now I am in control!" He followed this statement with a burst of laughter that showed the owner had done a fair share of gloating in his time, and had the basics down pat.

In the end, therefore, money will be the one thing people will desire, which is moreover only representative, an abstraction. Nowadays a young man hardly envies anyone his gifts, his art, the love of a beautiful girl, or his fame; he only envies him his money. Give me money, he will say, and I am saved...He would die with nothing to reproach himself with, and under the impression that if only he had had the money he might really have lived and might even have achieved something great.

Girls are genius at getting through sexual abuse. Often the only way to get through is not to feel. And that is exactly what these fantasy worlds allow: They give girls a place to go so they don't have to be present in their violated bodies. Brilliant.

They have a genius, young ladies, for getting into various kinds of trouble and difficulty.

Agatha was a connoisseur of headaches, and was relieved at the transitory nature of this one.

She's a smart girl, so she doesn't trust you, but she obviously likes you.

My girl was mad and I loved her. Upon a night, she read my poetry; and kissing me madly she cried, ‘You are a genius, my love!’ To which I replied, ‘My girl,’ whispering, ‘Every doctor in this land with a prescription pad is more of a genius than I.

Yet genius of a sort must have existed among women as it must have existed among the working classes. Now and again an Emily Bronte or a Robert Burns blazes out and proves its presence. But certainly it never got itself on paper. When, however, one reads of a witch being ducked, of a woman possessed by devils, of a wise woman selling herbs, or even of a very remarkable man who had a mother, then I think we are on the track of a lost novelist, a suppressed poet, of some mute and inglorious Jane Austen, some Emily Bronte who dashed her brains out on the moor or mopped and mowed about the highways crazed with the torture that her gift had put her to. […]any woman born with a great gift in the sixteenth century would certainly have gone crazed, shot herself, or ended her days in some lonely cottage outside the village, half witch, half wizard, feared and mocked at. For it needs little skill in psychology to be sure that a highly gifted girl who had tried to use her gift for poetry would have been so thwarted and hindered by other people, so tortured and pulled asunder by her own contrary instincts, that she must have lost her health and sanity to a certainty.

You know, there's more to being an evil despot then getting cake whenever you want it." "If that's what you think, then you're DOING IT WRONG!

Just as the universal family of gifted writers transcends national barriers, so is the gifted reader a universal figure, not subject to spatial or temporal laws. It is he—the good, the excellent reader—who has saved the artists again and again from being destroyed by emperors, dictators, priests, puritans, philistines, political moralists, policemen, postmasters, and prigs. Let me define this admirable reader. He does not belong to any specific nation or class. No director of conscience and no book club can manage his soul. His approach to a work of fiction is not governed by those juvenile emotions that make the mediocre reader identify himself with this or that character and “skip descriptions.” The good, the admirable reader identifies himself not with the boy or the girl in the book, but with the mind that conceived and composed that book. The admirable reader does not seek information about Russia in a Russian novel, for he knows that the Russia of Tolstoy or Chekhov is not the average Russia of history but a specific world imagined and created by individual genius. The admirable reader is not concerned with general ideas; he is interested in the particular vision. He likes the novel not because it helps him to get along with the group (to use a diabolical progressive-school cliche); he likes the novel because he imbibes and understands every detail of the text, enjoys what the author meant to be injoyed, beams inwardly and all over, is thrilled by the magic imageries of the master-forger, the fancy-forger, the conjuror, the artist. Indeed of all the characters that a great artist creates, his readers are the best. (“Russian Writers, Censors, and Readers”)

Toph looks at me. I nod gravely. In this world, in our new world, there will be rocking. We will pay tribute to musicmakers like Journey, particularly if this is Two-for-Tuesday, which means inevitably that one of the songs will be: Just a small-town girl...

Marie clasped her hands together and looked vulnerable. Payne flinched. “The only time you don’t tell me something is when you think it’s dangerous, because being a fragile, sheltered noblewoman, I might faint at the thought of experiencing physical harm like a common person.” She sighed, and seemingly from nowhere, produced an enormous cast-iron frying pan easily one hundred centimeters in diameter. “And then,” she said sadly, “I have to damage one of the good pans by smacking it against your thick, common skull until you tell me—

The future is trapped in a cage opened only by the key of genius.

You can create something that is pure genius, but you have to get your timing right.

People keep giving me rings. But I think a small death ray might be more practical.

Is this one of those situations that involves "ethics"? 'Cause I'm a cat, you know. I've never been very good at those.

...genius, having the widest experience of the human intelligence, can best understand the ideas most directly in opposition to those which form the foundation of its own works.

Agatha, I've decided. I'm going to marry you for your library.

Vanamonde: Welcome home, Lady Heterodyne. Agatha: Thank you, Herr von Mekkhan, but I can't help but notice that my home appears to be on fire.

We swear we see each other, but all we are ever able to make out is a tiny porthole view of an ocean. We think we remember the past, but our memories are as fantastic and flimsy as dreams. It's so easy to hate the pretty one, worship the genius, love the rockstar, trust the good girl. That's never their only story.

I didn’t tell him. He found out. Basically, he caught me coming in after the last time you and I saw each other. But he won’t give us away, Lucas. He’s even willing to help us see each other, as long as we help him with Charity.” “What, like, a fund-raiser or something?” I’d forgotten he didn’t know her name. “The vampire girl in Amherst.” “Wait—Charity? That’s her name? You were able to figure out who she is.” He smiled so proudly that all the tension of the moment instantly melted. “I fell in love with a genius.

Seriously, what does having it all even mean? All is subjective. Not every woman's vision of a perfect future looks the same. Not every woman wants kids. Not every woman wants to get married. Not every woman wants a house in the suburbs. Not every woman wants a career. Not every woman is attracted to men in the first place. Why and how did dudes become the key to our Perfect Future?

Happy the writer who, passing by characters that are boring, disgusting, shocking in their mournful reality, approaches characters that manifest the lofty dignity of man, who from the great pool of daily whirling images has chosen only the rare exceptions, who has never once betrayed the exalted turning of his lyre, nor descended from his height to his poor, insignificant brethren, and, without touching the ground, has given the whole of himself to his elevated images so far removed from it. Twice enviable is his beautiful lot: he is among them as in his own family; and meanwhile his fame spreads loud and far. With entrancing smoke he has clouded people's eyes; he has flattered them wondrously, concealing what is mournful in life, showing them a beautiful man. Everything rushes after him, applauding, and flies off following his triumphal chariot. Great world poet they name him, soaring high above all other geniuses in the world, as the eagle soars above the other high fliers. At the mere mention of his name, young ardent hearts are filled with trembling, responsive tears shine in all eyes...No one equals him in power--he is God! But such is not the lot, and other is the destiny of the writer who has dared to call forth all that is before our eyes every moment and which our indifferent eyes do not see--all the stupendous mire of trivia in which our life in entangled, the whole depth of cold, fragmented, everyday characters that swarm over our often bitter and boring earthly path, and with the firm strength of his implacable chisel dares to present them roundly and vividly before the eyes of all people! It is not for him to win people's applause, not for him to behold the grateful tears and unanimous rapture of the souls he has stirred; no sixteen-year-old girl will come flying to meet him with her head in a whirl and heroic enthusiasm; it is not for him to forget himself in the sweet enchantment of sounds he himself has evoked; it is not for him, finally, to escape contemporary judgment, hypocritically callous contemporary judgment, which will call insignificant and mean the creations he has fostered, will allot him a contemptible corner in the ranks of writers who insult mankind, will ascribe to him the quality of the heroes he has portrayed, will deny him heart, and soul, and the divine flame of talent. For contemporary judgment does not recognize that equally wondrous are the glasses that observe the sun and those that look at the movement of inconspicuous insect; for contemporary judgment does not recognize that much depth of soul is needed to light up the picture drawn from contemptible life and elevate it into a pearl of creation; for contemporary judgment does not recognize that lofty ecstatic laughter is worthy to stand beside the lofty lyrical impulse, and that a whole abyss separates it from the antics of the street-fair clown! This contemporary judgment does not recognize; and will turn it all into a reproach and abuse of the unrecognized writer; with no sharing, no response, no sympathy, like a familyless wayfarer, he will be left alone in the middle of the road. Grim is his path, and bitterly he will feel his solitude.

I saw very little as it truly was. But that was what Martha taught me. We swear we see each other, but all we are ever able to make out is a tiny porthole view of an ocean. We think we remember the past as it was, but our memories are as fantastic and flimsy as dreams. It's so easy to hate the pretty one, worship the genius, love the rock star, trust the good girl. That's never their only story. We are all anthologies. We are each thousands of pages long, filled with fairy tales and poetry, mysteries and tragedy, forgotten stories in the back no one will ever read. The most we can do is hold out our hands and help each other across the unknown. For in our held hands we find pathways through the dark, across jungles and cities, bridges suspended over the deepest caverns of this world. Your friends will walk with you, holding on with all their might, even when they're no longer there.

We swear we see each other, but all we are ever able to make out is a tiny porthole view of an ocean. We think we remember the past as it was, but our memories are as fantastic and flimsy as dreams. It's so easy to hate the pretty one, worship the genius, love the rock star, trust the good girl. That's never their only story. We are all anthologies. We are each thousands of pages long, filled with fairy tales and poetry, mysteries and tragedy, forgotten stories in the back no one will ever read.

You have a picture of life within you, a faith, a challenge, and you were ready for deeds and sufferings and sacrifices, and then you became aware by degrees that the world asked no deeds and no sacrifices of you whatever, and that life is no poem of heroism with heroic parts to play and so on, but a comfortable room where people are quite content with eating and drinking, coffee and knitting, cards and wireless. And whoever wants more and has got it in him--the heroic and the beautiful, and the reverence for the great poets or for the saints--is a fool and a Don Quixote. Good. And it has been just the same for me, my friend. I was a gifted girl. I was meant to live up to a high standard, to expect much of myself and do great things. I could have played a great part. I could have been the wife of a king, the beloved of a revolutionary, the sister of a genius, the mother of a martyr. And life has allowed me just this, to be a courtesan of fairly good taste, and even that has been hard enough. That is how things have gone with me. For a while I was inconsolable and for a long time I put the blame on myself. Life, thought I, must in the end be in the right, and if life scorned my beautiful dreams, so I argued, it was my dreams that were stupid and wrong headed. But that did not help me at all. And as I had good eyes and ears and was a little inquisitive too, I took a good look at this so-called life and at my neighbors and acquaintances, fifty or so of them and their destinies, and then I saw you. And I knew that my dreams had been right a thousand times over, just as yours had been. It was life and reality that were wrong. It was as little right that a woman like me should have no other choice than to grow old in poverty and in a senseless way at a typewriter in the pay of a money-maker, or to marry such a man for his money's sake, or to become some kind of drudge, as for a man like you to be forced in his loneliness and despair to have recourse to a razor. Perhaps the trouble with me was more material and moral and with you more spiritual--but it was the same road. Do you think I can't understand your horror of the fox trot, your dislike of bars and dancing floors, your loathing of jazz and the rest of it? I understand it only too well, and your dislike of politics as well, your despondence over the chatter and irresponsible antics of the parties and the press, your despair over the war, the one that has been and the one that is to be, over all that people nowadays think, read and build, over the music they play, the celebrations they hold, the education they carry on. You are right, Steppenwolf, right a thousand times over, and yet you must go to the wall. You are much too exacting and hungry for this simple, easygoing and easily contented world of today. You have a dimension too many. Whoever wants to live and enjoy his life today must not be like you and me. Whoever wants music instead of noise, joy instead of pleasure, soul instead of gold, creative work instead of business, passion instead of foolery, finds no home in this trivial world of ours--

When we set about accounting for a Napoleon or a Shakespeare or a Raphael or a Wagner or an Edison or other extraordinary person, we understand that the measure of his talent will not explain the whole result, nor even the largest part of it; no, it is the atmosphere in which the talent was cradled that explains; it is the training it received while it grew, the nurture it got from reading, study, example, the encouragement it gathered from self-recognition and recognition from the outside at each stage of its development: when we know all these details, then we know why the man was ready when his opportunity came.

Girls did that then – knocked themselves out to support some man’s notion of his own genius. What was Gavin doing to help pay the rent? Not much, though she suspected him of dealing pot on the side. Once in a while they even smoked some of that, though not often, because it made Constance cough. It was all very romantic.

Ten good lines out of four hundred, Emily—comparatively good, that is—and all the rest balderdash—balderdash, Emily." "I—suppose so," said Emily faintly. Her eyes brimmed with tears—her lips quivered. She could not help it. Pride was hopelessly submerged in the bitterness of her disappointment. She felt exactly like a candle that somebody had blown out. "What are you crying for? demanded Mr. Carpenter. Emily blinked away tears and tried to laugh. "I—I'm sorry—you think it's no good—" she said. Mr. Carpenter gave the desk a mighty thump. "No good! Didn't I tell you there were ten good lines? Jade, for ten righteous men Sodom had been spared." "Do you mean—that—after all—" The candle was being relighted again. "Of course, I mean. If at thirteen you can write ten good lines, at twenty you'll write ten times ten—if the gods are kind. Stop messing over months, though—and don't imagine you're a genius, either, if you have written ten decent lines. I think there's something trying to speak through you—but you'll have to make yourself a fit instrument for it. You've got to work hard and sacrifice—by gad, girl, you've chosen a jealous goddess. And she never lets her votaries go—not even when she shuts her ears forever to their plea.

We try to stay as thin as possible - which also keeps us weak. When you're skinny, you have no body fat; when you have no body fat, you're cold all the time; and when you're cold all the time, you stay inside; and when you stay inside... you don't vote. I may be joking about that last part... but I'm not totally wrong. Ever stop to think that by keeping women eternally preoccupied with superficialities that we might be missing out on important things in life?

A girl who is told repeatedly that she’s no genius ends up winning an award for being one. The

You don't have to be a genius to be a scientist, but you do need to be persistent.

--But you're such close neighbors, and you've been at war for HOW long?" "Oh, a really good war -- you don't want to waste it on STRANGERS!

Ah! Speak of the devil, and you find her in your hat.

Agatha: She uses poison?! Gil: Well, I always thought she just couldn't make coffee. But now, I'm not so sure.

Violetta: Didn't you even run any tests? Tarvek: With what?! I came in here in a bedsheet!

Most of Arbus's work lies within the Warhol aesthetic, that is, defines itself in relation to the twin poles of boringness and freakishness; but it doesn't have the Warhol style. Arbus had neither Warhol's narcissism and genius for publicity nor the self-protective blandness with which he insulates himself from the freaky nor his sentimentality. It is unlikey that Warhol, who comes from a working-class family, ever felt any ambivalence toward success which afflicted the children of the Jewish upper middle classes in the 1960s. To someone raised as a Catholic, like Warhol (and virtually everyone in his gang), a fascination with evil comes much more genuinely than it does to someone from a Jewish background. Compared with Warhol, Arbus seems strikingly vulnerable, innocent--and certainly more pessimistic. Her Dantesque vision of the city (and the suburbs) has no reserves of irony. Although much of Arbus's material is the same as that depicted in, say, Warhol's Chelsea Girls (1966)...For Arbus, both freaks and Middle America were equally exotic: a boy marching in a pro-war parade and a Levittown housewife were as alien as a dwarf or a transvestite; lower-middle-class suburbia was as remote as Times Square, lunatic asylums, and gay bars. Arbus's work expressed her turn against what was public (as she experienced it), conventional, safe, reassuring--and boring--in favor of what was private, hidden, ugly, dangerous, and fascinating. These contrasts, now, seem almost quaint. What is safe no long monopolizes public imagery. The freakish is no longer a private zone, difficult of access. People who are bizarre, in sexual disgrace, emotionally vacant are seen daily on the newsstands, on TV, in the subways. Hobbesian man roams the streets, quite visible, with glitter in his hair.

See, you teach people how to treat you. If you don't like someone's behavior toward you, educate them. Your Girl Logic might be urging you to crawl into a corner, to cry or sulk and pretend it's not happening. And of course you need to pick your battles... But if you aren't getting the respect you deserve, demand it.

When life gives you lemons, Tessie . . .” He trails off and starts his car, pulling away from his garage. “You squeeze the life out of them and then throw them in the trash, genius,” I scoff. From

...Moving pictures and flying machines nth seemed like magic at one time. It's not a huge leap to believe that what seems irrational or magical now ill be commonplace in the future. I believe everyone has magical powers. However, only certain people - the ones who are open to it - can tap into the true capacity of the mind and push the current brink of human thought. Some are called geniuses, some are called prophets, others are called witches.

The dominant myth of the day seemed to be that anybody could do anything, even go to the moon. You could do whatever you wanted -in the ads and in the articles, ignore your limitations, defy them. If you were an indecisive person, you could become a leader and wear lederhosen. If you were a housewife, you could become a glamour girl with rhinestone sunglasses. Are you slow witted? No worries -you can be an intellectual genius. If you're old, you can be young. Anything was possible. It was almost like a war against the self.

The world ain't ready for true black genius. In every nigger is a cup of African blood from kings and queens of divine nature, mathematicians, craftsmen, men and women of the land. I have known some sisters and brothers would scare Einstein back into East European caves with the magnificence of their minds. We are a people with a practical nature and great vision. We have built nations, discovered treasures for everyday use. Our people are a great race of people, and though the Europeans raped and plundered, we have kept inner riches. You got a cup of African blood and that mean something, means you got a responsibility to be proud of it and use your talents or suffer self-destruction.

It was the quartets of Beethoven (numbers 12,13,14, and 15) which over fifty years, created and expanded the the audience of listeners to the quartets of Beethoven, thus achieving, as all masterpieces do, progress if not in the quality of artists, at least in the company of minds, which is largely composed these days of what was missing when the work appeared: people capable of liking it.

Excuse me while I throw this down, I’m old and cranky and tired of hearing the idiocy repeated by people who ought to know better. Real women do not have curves. Real women do not look like just one thing. Real women have curves, and not. They are tall, and not. They are brown-skinned, and olive-skinned, and not. They have small breasts, and big ones, and no breasts whatsoever. Real women start their lives as baby girls. And as baby boys. And as babies of indeterminate biological sex whose bodies terrify their doctors and families into making all kinds of very sudden decisions. Real women have big hands and small hands and long elegant fingers and short stubby fingers and manicures and broken nails with dirt under them. Real women have armpit hair and leg hair and pubic hair and facial hair and chest hair and sexy moustaches and full, luxuriant beards. Real women have none of these things, spontaneously or as the result of intentional change. Real women are bald as eggs, by chance and by choice and by chemo. Real women have hair so long they can sit on it. Real women wear wigs and weaves and extensions and kufi and do-rags and hairnets and hijab and headscarves and hats and yarmulkes and textured rubber swim caps with the plastic flowers on the sides. Real women wear high heels and skirts. Or not. Real women are feminine and smell good and they are masculine and smell good and they are androgynous and smell good, except when they don’t smell so good, but that can be changed if desired because real women change stuff when they want to. Real women have ovaries. Unless they don’t, and sometimes they don’t because they were born that way and sometimes they don’t because they had to have their ovaries removed. Real women have uteruses, unless they don’t, see above. Real women have vaginas and clitorises and XX sex chromosomes and high estrogen levels, they ovulate and menstruate and can get pregnant and have babies. Except sometimes not, for a rather spectacular array of reasons both spontaneous and induced. Real women are fat. And thin. And both, and neither, and otherwise. Doesn’t make them any less real. There is a phrase I wish I could engrave upon the hearts of every single person, everywhere in the world, and it is this sentence which comes from the genius lips of the grand and eloquent Mr. Glenn Marla: There is no wrong way to have a body. I’m going to say it again because it’s important: There is no wrong way to have a body. And if your moral compass points in any way, shape, or form to equality, you need to get this through your thick skull and stop with the “real women are like such-and-so” crap. You are not the authority on what “real” human beings are, and who qualifies as “real” and on what basis. All human beings are real. Yes, I know you’re tired of feeling disenfranchised. It is a tiresome and loathsome thing to be and to feel. But the tit-for-tat disenfranchisement of others is not going to solve that problem. Solidarity has to start somewhere and it might as well be with you and me

I never want to forget that if Lewis Carroll had asked me whether or not he should bother writing about a little girl named Alice who fell asleep and dreamed that she had a lot of adventures down a rabbit hole, it would not have sounded awfully tempting to any editor.

This is the way it was in Yates County. Bald Girls. Wild boys formed from math. Geniuses all around, just waiting to be discovered, or waiting to rot in trailers behind their parents' barns, die penniless, mourned only by the Amish from whom they bought all those eggs.

Hard work and intention often go unnoticed. All people see is what you don't do or what they think you should be doing better.

A Girl Mozart Startles the World of Chess.

A reporter once asked me why I think progressive men who earn significantly less than their breadwinning wives still won't quit their jobs to take care of their children. Why do they still hold on to their careers, even if taking care of the children would make more financial sense because the cost of childcare is higher than their net salary? I think I know the answer to that now, and it sucks. Women are not expected to live a life for themselves. When women dedicate their lives to children, it is deemed a worthy and respectable choice. When women dedicate themselves to a passion outside of the family that doesn't involve worshiping their husbands or taking care of their kids, they're seen as selfish, cold, or unfit mothers. But when a man spends hours grueling over a craft, profession, or project, he's admired and seen as a genius. And when a man finds a woman who worships him, who dedicates her life to serving him, he's lucky. But when a man dedicates himself to taking care of his children it's seen as a last resort. That it must be because he ran out of other options. That it's plan Z. That it's an indicator of his inability to provide for his family. Basically, that he's a fucking loser. I think it's one of the most important falsehoods we need to shatter when talking about women's rights.

What is a Gallagher Girl?” Liz asked. She looked nervously down at the papers in her hand even though I knew for a fact she had memorized every word. “When I was eleven I thought I knew the answer to that question. That was when the recruiters came to see me. They showed me brochures and told me they were impressed by my test scores and asked if I was ready to be challenged. And I said yes. Because that was what a Gallagher Girl was to me then, a student at the toughest school in the world.” She took a deep breath and talked on. “What is a Gallagher Girl?” Liz asked again. “When I was thirteen I thought I knew the answer to that question. That was when Dr. Fibs allowed me to start doing my own experiments in the lab. I could go anywhere—make anything. Do anything my mind could dream up. Because I was a Gallagher Girl. And, to me, that meant I was the future.” Liz took another deep breath. “What is a Gallagher Girl?” This time, when Liz asked it, her voice cracked. “When I was seventeen I stood on a dark street in Washington, D.C., and watched one Gallagher Girl literally jump in front of a bullet to save the life of another. I saw a group of women gather around a girl whom they had never met, telling the world that if any harm was to come to their sister, it had to go through them first.” Liz straightened. She no longer had to look down at her paper as she said, “What is a Gallagher Girl? I’m eighteen now, and if I’ve learned anything, it’s that I don’t really know the answer to that question. Maybe she is destined to be our first international graduate and take her rightful place among Her Majesty’s Secret Service with MI6.” I glanced to my right and, call me crazy, but I could have sworn Rebecca Baxter was crying. “Maybe she is someone who chooses to give back, to serve her life protecting others just as someone once protected her.” Macey smirked but didn’t cry. I got the feeling that Macey McHenry might never cry again. “Who knows?” Liz asked. “Maybe she’s an undercover journalist.” I glanced at Tina Walters. “An FBI agent.” Eva Alvarez beamed. “A code breaker.” Kim Lee smiled. “A queen.” I thought of little Amirah and knew somehow that she’d be okay. “Maybe she’s even a college student.” Liz looked right at me. “Or maybe she’s so much more.” Then Liz went quiet for a moment. She too looked up at the place where the mansion used to stand. “You know, there was a time when I thought that the Gallagher Academy was made of stone and wood, Grand Halls and high-tech labs. When I thought it was bulletproof, hack-proof, and…yes…fireproof. And I stand before you today happy for the reminder that none of those things are true. Yes, I really am. Because I know now that a Gallagher Girl is not someone who draws her power from that building. I know now with scientific certainty that it is the other way around.” A hushed awe descended over the already quiet crowd as she said this. Maybe it was the gravity of her words and what they meant, but for me personally, I like to think it was Gilly looking down, smiling at us all. “What is a Gallagher Girl?” Liz asked one final time. “She’s a genius, a scientist, a heroine, a spy. And now we are at the end of our time at school, and the one thing I know for certain is this: A Gallagher Girl is whatever she wants to be.” Thunderous, raucous applause filled the student section. Liz smiled and wiped her eyes. She leaned close to the microphone. “And, most of all, she is my sister.

What is a Gallagher Girl?” Liz asked one final time. “She’s a genius, a scientist, a her**ne, a spy. And now we are at the end of our time at school, and the one thing I know for certain is this: A Gallagher Girl is whatever she wants to be.” Thunderous, raucous applause filled the student section. Liz smiled and wiped her eyes. She leaned close to the microphone. “And, most of all, she is my sister.

...those who produce works of genius are not those who spend their days in the most refined company...or whose culture is the broadest; they are those who have the ability to stop living for themselves and make a mirror of their personality, so that their lives, however nondescript they may be, are reflected in it.

Jonas Wergeland's first stroke of genius, albeit unbeknownst to himself, was to choose a girl as his best friend. It was Nefertiti who taught him that women are, first and foremost, teachers then mistresses - and above all that when you come right down to it, the female is a very different and, more o the point, a much more fascinating creature than the male.

How drugs patchworked simple, banal thoughts into phrases that seemed filled with importance. My glitchy adolescent brain was desperate for causalities, for conspiracies that drenched every word, every gesture, with meaning. I wanted Russell to be a genius.

Women are not expected to live a life for themselves. When women dedicate their lives to children, it is deemed a worthy and respectable choice. When women dedicate themselves to a passion outside of the family that doesn’t involve worshipping their husbands or taking care of their kids, they’re seen as selfish, cold, or unfit mothers. But when a man spends hours grueling over a craft, profession, or project, he’s admired and seen as a genius. And when a man finds a woman who worships him, who dedicates her life to serving him, he’s lucky. But when a man dedicates himself to taking care of his children it’s seen as a last resort. That it must be because he ran out of other options. That it’s plan Z. That it’s an indicator of his inability to provide for his family. Basically, that he’s a fucking loser.

Why wouldn't I dance?" Uh, maybe because at first glance he looked like he ate puppies for breakfast and kittens for lunch? As for what he enjoyed having for dinner - that couldn't be discussed in polite company. "Because you think it's dumb?" The words emerged as a question rather than the statement I'd meant them to be. "Something that allows a guy to put his hands all over a girl isn't dumb. It's genius

Councillor: But – I thought you said the new Heterodyne was a girl? Vanamonde von Mekkhan: She is. That’s just the boyfriend. Councillor: That’s – we’re … we’re going to have to break out those little iron cages for their children, aren’t we? Vanamonde von Mekkhan: Uh-huh.

Admiral Dahlgren’s twenty-one-year-old son, Ulric, had lost a leg at Gettysburg. When he appeared at a Washington party, he was surrounded by pretty girls. They stayed by his side all night, refusing to dance, in tribute to the handsome colonel who had been known as an expert waltzer.

This is probably a pretty good time to point out that while it may appear that I was lurking—I wasn’t. Lurking is what creepy guys with random facial hair and stains on their shirts do. Geniuses with three years of top secret spy training don’t lurk—we surveil. (Okay, I might have been lurking—a little.)

I first met Winston Churchill in the early summer of 1906 at a dinner party to which I went as a very young girl. Our hostess was Lady Wemyss and I remember that Arthur Balfour, George Wyndman, Hilaire Belloc and Charles Whibley were among the guests… I found myself sitting next to this young man who seemed to me quite different from any other young man I had ever met. For a long time he seemed sunk in abstraction. Then he appeared to become suddenly aware of my existence. He turned on me a lowering gaze and asked me abruptly how old I was. I replied that I was nineteen. “And I,” he said despairingly, “am thirty-two already. Younger than anyone else who counts, though, “he added, as if to comfort himself. Then savagely: “Curse ruthless time! Curse our mortality. How cruelly short is this allotted span for all we must cram into it!” And he burst forth into an eloquent diatribe on the shortness of human life, the immensity of possible human accomplishment—a theme so well exploited by the poets, prophets, and philosophers of all ages that it might seem difficult to invest it with new and startling significance. Yet for me he did so, in a torrent of magnificent language which appeared to be both effortless and inexhaustible and ended up with the words I shall always remember: “We are all worms. But I do believe that I am a glow worm.” By this time I was convinced of it—and my conviction remained unshaken throughout the years that followed. Later he asked me whether I thought that words had a magic and music quite independent of their meaning. I said I certainly thought so, and I quoted as a classic though familiar instance the first lines that came into my head. Charm’d magic casements, opening on the foam Of perilous seas, in faery lands forlorn. His eyes blazed with excitement. “Say that again,” he said, “say it again—it is marvelous!” “But I objected, “You know these lines. You know the ‘Ode to a Nightengale.’ ” He had apparently never read or heard of it before (I must, however, add that next time I met him he had not learned not merely this but all of the odes to Keats by heart—and he recited them quite mercilessly from start to finish, not sparing me a syllable). Finding that he liked poetry, I quoted to him from one of my own favorite poets, Blake. He listened avidly, repeating some lines to himself with varying emphases and stresses, then added meditatively: “I never knew that old Admiral had found so much time to write such good poetry.” I was astounded that he, with his acute susceptibility to words and power of using them, should have left such tracts of English literature entirely unexplored. But however it happened he had lost nothing by it, when he approached books it was “with a hungry, empty mind and with fairly srong jaws, and what I got I *bit*.” And his ear for the beauty of language needed no tuning fork. Until the end of dinner I listened to him spellbound. I can remember thinking: This is what people mean when they talk of seeing stars. That is what I am doing now. I do not to this day know who was on my other side. Good manners, social obligation, duty—all had gone with the wind. I was transfixed, transported into a new element. I knew only that I had seen a great light. I recognized it as the light of genius… I cannot attempt to analyze, still less transmit, the light of genius. But I will try to set down, as I remember them, some of the differences which struck me between him and all the others, young and old, whom I have known. First and foremost he was incalculable. He ran true to no form. There lurked in his every thought and world the ambush of the unexpected. I felt also that the impact of life, ideas and even words upon his mind, was not only vivid and immediate, but direct. Between him and them there was no shock absorber of vicarious thought or precedent gleaned either from books or other minds. His relationship wit

Fame requires every kind of excess. I mean true fame, a devouring neon, not the somber renown of waning statesmen or chinless kings. I mean long journeys across gray space. I mean danger, the edge of every void, the circumstance of one man imparting an erotic terror to the dreams of the republic. Understand the man who must inhabit these extreme regions, monstrous and vulval, damp with memories of violation. Even if half-mad he is absorbed into the public's total madness; even if fully rational, a bureaucrat in hell, a secret genius of survival, he is sure to be destroyed by the public's contempt for survivors. Fame, this special kind, feeds itself on outrage, on what the counselors of lesser men would consider bad publicity-hysteria in limousines, knife fights in the audience, bizarre litigation, treachery, pandemonium and drugs. Perhaps the only natural law attaching to true fame is that the famous man is compelled, eventually, to commit suicide. (Is it clear I was a hero of rock'n'roll?) Toward the end of the final tour it became apparent that our audience wanted more than music, more even than its own reduplicated noise. It's possible the culture had reached its limit, a point of severe tension. There was less sense of simple visceral abandon at our concerts during these last weeks. Few cases of arson and vandalism. Fewer still of rape. No smoke bombs or threats of worse explosives. Our followers, in their isolation, were not concerned with precedent now. They were free of old saints and martyrs, but fearfully so, left with their own unlabeled flesh. Those without tickets didn't storm the barricades, and during a performance the boys and girls directly below us, scratching at the stage, were less murderous in their love of me, as if realizing finally that my death, to be authentic, must be self-willed- a succesful piece of instruction only if it occured by my own hand, preferrably ina foreign city. I began to think their education would not be complete until they outdid me as a teacher, until one day they merely pantomimed the kind of massive response the group was used to getting. As we performed they would dance, collapse, clutch each other, wave their arms, all the while making absolutely no sound. We would stand in the incandescent pit of a huge stadium filled with wildly rippling bodies, all totally silent. Our recent music, deprived of people's screams, was next to meaningless, and there would have been no choice but to stop playing. A profound joke it would have been. A lesson in something or other. In Houston I left the group, saying nothing, and boarded a plane for New York City, that contaminated shrine, place of my birth. I knew Azarian would assume leadership of the band, his body being prettiest. As to the rest, I left them to their respective uproars- news media, promotion people, agents, accountants, various members of the managerial peerage. The public would come closer to understanding my disappearance than anyone else. It was not quite as total as the act they needed and nobody could be sure whether I was gone for good. For my closest followers, it foreshadowed a period of waiting. Either I'd return with a new language for them to speak or they'd seek a divine silence attendant to my own. I took a taxi past the cemetaries toward Manhattan, tides of ash-light breaking across the spires. new York seemed older than the cities of Europe, a sadistic gift of the sixteenth century, ever on the verge of plague. The cab driver was young, however, a freckled kid with a moderate orange Afro. I told him to take the tunnel. Is there a tunnel?" he said.

He loved life. He loved the stars silently glowing down at him tonight. He loved even the gray, lifeless rock, which recalled to his imaginative genius the terrific and interesting life that had once existed--he loved the ghostly majesty of the grave-like pinnacle that rose above him, and beyond that he loved all the world. But most of all, more than his own life or all that a thousand lives might hold for him, he loved the violet-eyed girl.

No, no! I detest, despise, hate and discard this man forever. My delusion is gone, I know him now, and nothing can restore love, respect or confidence. He is my evil genius, and long ago when as a reckless girl I said I'd sell my soul to Satan for a year of freedom little I knew that I should be taken at my word in such fearful earnest. I've been happy, I've paid a high price for it, and now I have no desire but to expiate the impious wish by patience and submission.

This new concept of the "finest, highest achievement of art" had no sooner entered my mind than it located the imperfect enjoyment I had had at the theater, and added to it a little of what it lacked; this made such a heady mixture that I exclaimed, "What a great artiste she is!" It may be thought I was not altogether sincere. Think, however, of so many writers who, in a moment of dissatisfaction with a piece they have just written, may read a eulogy of the genius of Chateaubriand, or who may think of some other great artist whom they have dreamed of equaling, who hum to themselves a phrase of Beethoven for instance, comparing the sadness of it to the mood they have tried to capture in their prose, and are then so carried away by the perception of genius that they let it affect the way they read their own piece, no longer seeing it as they first saw it, but going so far as to hazard an act of faith in the value of it, by telling themselves "It's not bad you know!" without realizing that the sum total which determines their ultimate satisfaction includes the memory of Chateaubriand's brilliant pages, which they have assimilated to their own, but which, of course, they did not write. Think of all the men who go on believing in the love of a mistress in whom nothing is more flagrant than her infidelities; of all those torn between the hope of something beyond this life (such as the bereft widower who remembers a beloved wife, or the artist who indulges in dreams of posthumous fame, each of them looking forward to an afterlife which he knows is inconceivable) and the desire for a reassuring oblivion, when their better judgement reminds them of the faults they might otherwise have to expiate after death; or think of the travelers who are uplifted by the general beauty of a journey they have just completed, although during it their main impression, day after day, was that it was a chore--think of them before deciding whether, given the promiscuity of the ideas that lurk within us, a single one of those that affords us our greatest happiness has not begun life by parasitically attaching itself to a foreign idea with which it happened to come into contact, and by drawing from it much of the power of pleasing which it once lacked.

What is to prevent a daily newspaper from being made the greatest organ of social life? Books have had their day-the theaters have had their day-the temple of religion has had its day. A newspaper can be made to take the lead of all these in the great heaven , and save more from Hell, than all the churches and chapels in New York-besides making money at the same time" "Shakespeare is the great genius of the drama, Scott of the novel, Milton and Byron of the poem, and I mean to be the genius of the newspaper press." James Gordon Bennett, editor ot he New York Herald in 1841

Our work is making sure that our stories are told and told true. Our work is making sure our artistry is cultivated and expressed, shared and appreciated. Our work is honoring our genius when no one else does. Our work is refusing to surrender, refusing to be silenced, refusing to be rendered simplistically. Our work seems endless, and probably is. But our stories are at the core of our identity, and if they don’t exist, in some critical way we won’t exist, either. We won’t have the glue that holds us together, and gives us perspective on our lives through the lens of history. We have no way to join the Sisterhood.

Oh I could be out, rollicking in the ripeness of my flesh and others’, could be drinking things and eating things and rubbing mine against theirs, speculating about this person or that, waving, indicating hello with a sudden upward jutting of my chin, sitting in the backseat of someone else’s car, bumping up and down the San Francisco hills, south of Market, seeing people attacking their instruments, afterward stopping at a bodega, parking, carrying the bottles in a paper bag, the glass clinking, all our faces bright, glowing under streetlamps, down the sidewalk to this or that apartment party, hi, hi, putting the bottles in the fridge, removing one for now, hating the apartment, checking the view, sitting on the arm of a couch and being told not to, and then waiting for the bathroom, staring idly at that ubiquitous Ansel Adams print, Yosemite, talking to a short-haired girl while waiting in the hallway, talking about teeth, no reason really, the train of thought unclear, asking to see her fillings, no, really, I’ll show you mine first, ha ha, then no, you go ahead, I’ll go after you, then, after using the bathroom she is still there, still in the hallway, she was waiting not just for the bathroom but for me, and so eventually we’ll go home together, her apartment, where she lives alone, in a wide, immaculate railroad type place, newly painted, decorated with her mother, then sleeping in her oversized, oversoft white bed, eating breakfast in her light-filled nook, then maybe to the beach for a few hours with the Sunday paper, then wandering home whenever, never- Fuck. We don't even have a baby-sitter.

He gave the briefest of glances at Lissie, barely acknowledging her presence as he gently eased Violet onto the seat. For good measure, and Violet was sure it was premeditated, he gave her a long, sweet kiss before closing her door. Violet was surprised at how quickly she responded to his touch, even when she knew it was more for Lissie’s benefit than for hers. But she had to suppress a triumphant smile when she stole a quick look at the other girl’s disgusted expression before Jay put the car in drive and left Lissie standing there, gawking after them. “Sorry about that,” he said apologetically as he concentrated on maneuvering through the busy parking lot. “I’ve been so worried about strange men following you around that I forgot how dangerous Homecoming Queens can be.” Violet smiled at him. “That’s okay. That kiss was a nice touch, by the way. Sheer genius.” “Yeah, that one just came to me,” he chuckled. “Maybe you can show it to me again . . . later,” she said playfully. He reached over and gave her leg a squeeze, his eyes never leaving the road. “I like the way you think, my friend.” “Is that how it is now, we’re back to just friends?” Violet asked, raising her eyebrows at him challengingly. “I’ll remember to keep that in mind next time we’re ‘doing homework.’” He was suddenly serious, his tone determined. “We’ll never be just friends again, not if I have anything to do with it.” And then with conviction he added, “I love you too much to go back now, Vi.” It was still strange to hear him saying things like that. The words sounded so foreign to her ears, but her heart responded, as if it had been waiting a lifetime to hear them, by beating erratically.

One side of his mouth twitched with the hint of a smile. “Sounds like that person is a genius. Probably shockingly good-looking, too.” “Eh.” She laughed when he actually looked wounded. “Oh please, you know you’re a heartbreaker. You don’t need me to tell you that.” “Hey, I have never broken any hearts.” “Maybe not intentionally. But come on. When you or Fitz start dating, there will be crying in the Foxfire halls. I bet there are girls crying now, wishing you guys hadn’t left.” “Not if they’ve heard how awesome my mom is.” “There are still just as many Keefe fangirls, trust me. Everyone loves the bad boys.” She expected some epic Keefe teasing about her use of the word “everyone.” Instead, his shoulders dropped and he asked, “So . . . you think I’m bad?” She grabbed a note that said “The Great Gulon Incident” and handed it to him. His half smile returned. “Point taken.

Lots of talk lately about the GREAT AMERICAN NOVEL that seems to be exclusively masculine. And how many of the characters in the GENIUS BOOKS are likable? Is Holden Caulfield likable? Is Meursault in The Stranger? Is Henry Miller? Is any character in any of these system novels particularly likable? Aren’t they usually loathsome but human, etc., loathsome and neurotic and obsessed? In my memory, all the characters in Jonathan Franzen are total douchebags (I know, I know, I’m not supposed to use that, feminine imagery, whatever, but it is SO satisfying to say and think). How about female characters in the genius books? Was Madame Bovary likable? Was Anna Karenina? Is Daisy Buchanan likable? Is Daisy Miller? Is it the specific way in which supposed readers HATE unlikable female characters (who are too depressed, too crazy, too vain, too self-involved, too bored, too boring), that mirrors the specific way in which people HATE unlikable girls and women for the same qualities? We do not allow, really, the notion of the antiheroine, as penned by women, because we confuse the autobiographical, and we pass judgment on the female author for her terrible self-involved and indulgent life. We do not hate Scott Fitzgerald in “The Crack-Up” or Georges Bataille in Guilty for being drunken and totally wading in their own pathos, but Jean Rhys is too much of a victim.

Education is one of the Grand Christianson Obsessions. They’ve been whole years my mother’s kept us home for intensive private study. As a result of that, Paul will perform the first brain transplant, James will someday build a bridge across the Atlantic Ocean, Charlie – who is an actual musical genius – will probably end up writing the Great American Symphony, and I – I know a little bit about a lot of things. I can tell you the chemical composition of the stuff your stick in your hair; how long it would take you, at just under the speed of light, to get to Alpha Centauri – and how old your body would be when you finally got there; the middle name of the third president of the United States; the amount of the present budget deficit; the author of the Brothers Karamazov, and how many feet there are in a line of trochaic heptameter. The Little Girl Who Had to Know Why, Paul used to call me. But even my mother couldn’t reconcile me and math.

I hadn’t gone to Andover, or Horace Mann or Eton. My high school had been the average kind, and I’d been the best student there. Such was not the case at Eli. Here, I was surrounded by geniuses. I’d figured out early in my college career that there were people like Jenny and Brandon and Lydia and Josh—truly brilliant, truly luminous, whose names would appear in history books that my children and grandchildren would read, and there were people like George and Odile—who through beauty and charm and personality would make the cult of celebrity their own. And then there were people like me. People who, through the arbitrary wisdom of the admissions office, might share space with the big shots for four years, might be their friends, their confidantes, their associates, their lovers—but would live a life well below the global radar. I knew it, and over the years, I’d come to accept it. And I understood that it didn’t make them any better than me.

The reason these diatribes are heard by more than just the occasional potted plant or captured hero is this: sparks quite frequently find themselves surrounded by people whether they want to be or not. We are not just talking about the stereotypical traveler whose cart breaks down during a storm and thus must seek shelter at the lone castle glimpsed through the trees and so finds himself at a timely ringside seat for the revelation of the latest abomination of science (although there is no denying this happens far more than is statistically probable). No, your seriously steeped-in-madness dabbler in the esoteric sciences usually finds themself taxed with a rag-tag collection of hangers-on, typically consisting of minions, constructs, adventurers, and those unique, unclassifiable, individuals whose raison d’être appears to be to remind us of what a strange world it is. Even more interestingly, it appears that the greater the spark, the more of these individuals they spontaneously accumulate.

Darkness my beloved home, I return! I return, not whole, but damaged. Fatigued by quixotic tendencies, The prodigal has come back famished. An outer world, so hostile and strange Filled immensely with ignorant natives The land where all good is forgotten Where hatred itself is life’s matrix. Though I’ve brought an odd mystery, An enigma that requires my genius A phenomenon, in foreign land; A veiled embodiment of Venus. Since, I’ve craved for my sanctuary, I have returned to you, oh darkness! Now I will restore my lost vigor to Unravel demeanors of this goddess. But..... Why am I estranged to this darkness? Maybe I’ve been away for too long, But shouldn’t home always feel home? Why am I in dire need to belong? As if this soul is deprived of life As if this body is in swift decay As if this mind screams for peace As if this heart calls to be lured ‘way Unwise, to have brought the goddess, When she is of a different realm Unfortunate, to have fallen in love, As she leaves to retain her helm Perhaps, this home lies deep within For everything is, but mere illusion Hence, I’ll reside her in my heart; To feel her, even in seclusion.

I will conclude this work with stating in what light religion appears to me. If we suppose a large family of children, who, on any particular day, or particular circumstance, made it a custom to present to their parents some token of their affection and gratitude, each of them would make a different offering, and most probably in a different manner. Some would pay their congratulations in themes of verse and prose, by some little devices, as their genius dictated, or according to what they thought would please; and, perhaps, the least of all, not able to do any of those things, would ramble into the garden, or the field, and gather what it thought the prettiest flower it could find, though, perhaps, it might be but a simple weed. The parent would be more gratified by such a variety, than if the whole of them had acted on a concerted plan, and each had made exactly the same offering. This would have the cold appearance of contrivance, or the harsh one of control. But of all unwelcome things, nothing could more afflict the parent than to know, that the whole of them had afterwards gotten together by the ears, boys and girls, fighting, scratching, reviling, and abusing each other about which was the best or the worst present. Why may we not suppose, that the great Father of all is pleased with variety of devotion; and that the greatest offence we can act, is that by which we seek to torment and render each other miserable? For my own part, I am fully satisfied that what I am now doing, with an endeavour to conciliate mankind, to render their condition happy, to unite nations that have hitherto been enemies, and to extirpate the horrid practice of war, and break the chains of slavery and oppression is acceptable in his sight, and being the best service I can perform, I act it cheerfully. I do not believe that any two men, on what are called doctrinal points, think alike who think at all. It is only those who have not thought that appear to agree… As to what are called national religions, we may, with as much propriety, talk of national Gods. It is either political craft or the remains of the Pagan system, when every nation had its separate and particular deity…

Violet didn't bother responding, and Jay bounded from the car to help her inside. He gave the briefest of glances at Lissie, barely acknowledging her presence as he gently eased Violet onto the seat. For good measure, and Violet was sure it was premeditated, he gave her a long, sweet kiss before closing her door. Violet was surprised at how quickly she responded to his touch, even when she knew it was more for Lissie's benefit than for hers. But she had to suppress a triumphant smile when she stole a quick look at the other girl's disgusted expression before Jay put the car in drive and left Lissie standing there, gawking after them. "Sorry about that," he said apologetically as he concentrated on maneuvering through the busy parking lot. "I've been so worried about strange men following you around that I forgot how dangerous Homecoming Queens can be." Violet smiled at him. "That's okay. That kiss was a nice touch, by the way. Sheer genius." "Yeah, that one just came to me," he chuckled. "Maybe you can show it to me again...later," she said playfully. He reached over and gave her leg a squeeze, his eyes never leaving the road. "I like the way you think, my friend." "Is that how it is now, we're back to just friends?" Violet asked, raising her eyebrows at him challengingly. "I'll remember to keep that in mind next time we're 'doing homework.'" He was suddenly serious, his tone determined. "We'll never be just friends again, not if I have anything to do with it." And then with conviction he added, "I love you too much to go back now, Vi." It was still strange to hear him saying things like that. The words sounded so foreign to her ears, but her heart responded, as if it had been waiting a lifetime to hear them, by beating erratically.

Cordelia – “Why so rough?” Aral – “It’s very poor. It was the town center during the time Isolation. And it hasn’t been touched by renovation, minimal water, no electricity choked with refuse.” “Mostly human,” added Peoter tartly. “Poor?” Asked Cordelia bewildered. “No electricity? How can it be on the comm network?” “It’s not of course,” answered Vorkosigan. “Then how can anyone get their schooling?” Cordelia “They don’t.” Cordelia stared. “I don’t understand, how do they get their jobs?” “A few escape to the service, the rest prey on each other mostly.” Vorkosigan regarded her face uneasily. “Have you no poverty on Beta colony?” “Poverty? Well some people have more money than others, but no comm consuls…?” Vorkosigan was diverted from his interrogation. “Is not owning a comm consul the lowest standard of living you can imagine?” He said in wonder. “It’s the first article in the constitution! ‘Access to information shall not be abridged.’” “Cordelia, these people barely have access to food, clothing and shelter. They have a few rags and cooking pots and squat in buildings that aren’t economical to repair or tear down yet with the wind whistling through the walls.” “No air conditioning?” “No heat in the winter is a bigger problem here.” “I suppose so. You people don’t really have summer. How do they call for help when they are sick or hurt?” “What help?” Vorkosigan was growing grim. “If they’re sick they either get well or die.” “Die if we’re lucking” muttered Veoter. “You’re not joking.” She stared back and forth between the pair of them. “Why, think of all the geniuses you must missing!” “I doubt we must be missing very many from the Caravanceri.” Said Peoter dryly. “Why not? They have the same genetic compliment as you.” Cordelia pointed out the – to her -obvious. The Count went rigid. “My dear girl, they most certainly do not. My family has been Vor for nine generations.” Cordelia raised her eyebrows. “How do you know if you didn’t have the gene-typing until 80 years ago?” Both the guard commander and the footman were acquiring peculiar stuffed expressions. The footman bit his lip. “Besides,” she pointed out reasonably, “If you Vor got around half as much as those histories I’ve been reading imply. 90% of the people on this planet must have Vor blood by now. Who knows who your relatives are on your father’s side. Vorkosigan bit his napkin absently. His eyes gone crinkly with much the same expression as the footman and muttered, “Cordelia, you really can’t sit at the breakfast table and imply my ancestors were bastards. It’s a mortal insult here.” “Where should I sit? Oh I’ll never understand.

New Rule: Conservatives have to stop complaining about Hollywood values. It's Oscar time again, which means two things: (1) I've got to get waxed, and (2) talk-radio hosts and conservative columnists will trot out their annual complaints about Hollywood: We're too liberal; we're out of touch with the Heartland; our facial muscles have been deadened with chicken botulism; and we make them feel fat. To these people, I say: Shut up and eat your popcorn. And stop bitching about one of the few American products--movies---that people all over the world still want to buy. Last year, Hollywood set a new box-office record: $16 billion worldwide. Not bad for a bunch of socialists. You never see Hollywood begging Washington for a handout, like corn farmers, or the auto industry, or the entire state of Alaska. What makes it even more inappropriate for conservatives to slam Hollywood is that they more than anybody lose their shit over any D-lister who leans right to the point that they actually run them for office. Sony Bono? Fred Thompson? And let'snot forget that the modern conservative messiah is a guy who costarred with a chimp. That's right, Dick Cheney. I'm not trying to say that when celebrities are conservative they're almost always lame, but if Stephen Baldwin killed himself and Bo Derrick with a car bomb, the headline the next day would be "Two Die in Car Bombing." The truth is that the vast majority of Hollywood talent is liberal, because most stars adhere to an ideology that jibes with their core principles of taking drugs and getting laid. The liebral stars that the right is always demonizing--Sean Penn and Michael Moore, Barbra Streisand and Alec Baldwin and Tim Robbins, and all the other members of my biweekly cocaine orgy--they're just people with opinions. None of them hold elective office, and liberals aren't begging them to run. Because we live in the real world, where actors do acting, and politicians do...nothing. We progressives love our stars, but we know better than to elect them. We make the movies here, so we know a well-kept trade secret: The people on that screen are only pretending to be geniuses, astronauts, and cowboys. So please don't hat eon us. And please don't ruin the Oscars. Because honestly, we're just like you: We work hard all year long, and the Oscars are really just our prom night. The tuxedos are scratchy, the limousines are rented, and we go home with eighteen-year-old girls.

The reason for which a work of genius is not easily admired from the first is that the man who has created it is extraordinary, that few other men resemble him. It was Beethoven’s Quartets themselves (the Twelfth, Thirteenth, Fourteenth and Fifteenth) that devoted half a century to forming, fashioning and enlarging a public for Beethoven’s Quartets, marking in this way, like every great work of art, an advance if not in artistic merit at least in intellectual society, largely composed to-day of what was not to be found when the work first appeared, that is to say of persons capable of enjoying it. What artists call posterity is the posterity of the work of art. It is essential that the work (leaving out of account, for brevity’s sake, the contingency that several men of genius may at the same time be working along parallel lines to create a more instructed public in the future, a public from which other men of genius shall reap the benefit) shall create its own posterity. For if the work were held in reserve, were revealed only to posterity, that audience, for that particular work, would be not posterity but a group of contemporaries who were merely living half-a-century later in time. And so it is essential that the artist (and this is what Vinteuil had done), if he wishes his work to be free to follow its own course, shall launch it, wherever he may find sufficient depth, confidently outward bound towards the future. And yet this interval of time, the true perspective in which to behold a work of art, if leaving it out of account is the mistake made by bad judges, taking it into account is at times a dangerous precaution of the good. No doubt one can easily imagine, by an illusion similar to that which makes everything on the horizon appear equidistant, that all the revolutions which have hitherto occurred in painting or in music did at least shew respect for certain rules, whereas that which immediately confronts us, be it impressionism, a striving after discord, an exclusive use of the Chinese scale, cubism, futurism or what you will, differs outrageously from all that have occurred before. Simply because those that have occurred before we are apt to regard as a whole, forgetting that a long process of assimilation has melted them into a continuous substance, varied of course but, taking it as a whole, homogeneous, in which Hugo blends with Molière. Let us try to imagine the shocking incoherence that we should find, if we did not take into account the future, and the changes that it must bring about, in a horoscope of our own riper years, drawn and presented to us in our youth. Only horoscopes are not always accurate, and the necessity, when judging a work of art, of including the temporal factor in the sum total of its beauty introduces, to our way of thinking, something as hazardous, and consequently as barren of interest, as every prophecy the non-fulfillment of which will not at all imply any inadequacy on the prophet’s part, for the power to summon possibilities into existence or to exclude them from it is not necessarily within the competence of genius; one may have had genius and yet not have believed in the future of railways or of flight, or, although a brilliant psychologist, in the infidelity of a mistress or of a friend whose treachery persons far less gifted would have foreseen.