Ghost In The Shell Quotes

The Shell The sea fills my ear with sand and with fear. You may wash out the sand, but never the sound of the ghost of the sea that is haunting me.

Chronicler shook his head and Bast gave a frustrated sigh. "How about plays? Have you seen The Ghost and the Goosegirl or The Ha'penny King?" Chronicler frowned. "Is that the one where the king sells his crown to an orphan boy?" Bast nodded. "And the boy becomes a better king than the original. The goosegirl dresses like a countess and everyone is stunned by her grace and charm." He hesitated, struggling to find the words he wanted. "You see, there's a fundamental connection between seeming and being. Every Fae child knows this, but you mortals never seem to see. We understand how dangerous a mask can be. We all become what we pretend to be." Chronicler relaxed a bit, sensing familiar ground. "That's basic psychology. You dress a beggar in fine clothes, people treat him like a noble, and he lives up to their expectations." "That's only the smallest piece of it," Bast said. "The truth is deeper than that. It's..." Bast floundered for a moment. "It's like everyone tells a story about themselves inside their own head. Always. All the time. That story makes you what you are. We build ourselves out of that story." Frowning, Chronicler opened his mouth, but Bast held up a hand to stop him. "No, listen. I've got it now. You meet a girl: shy, unassuming. If you tell her she's beautiful, she'll think you're sweet, but she won't believe you. She knows that beauty lies in your beholding." Bast gave a grudging shrug. "And sometimes that's enough." His eyes brightened. "But there's a better way. You show her she is beautiful. You make mirrors of your eyes, prayers of your hands against her body. It is hard, very hard, but when she truly believes you..." Bast gestured excitedly. "Suddenly the story she tells herself in her own head changes. She transforms. She isn't seen as beautiful. She is beautiful, seen." "What the hell is that supposed to mean?" Chronicler snapped. "You're just spouting nonsense now." "I'm spouting too much sense for you to understand," Bast said testily. "But you're close enough to see my point.

Only the framing material," Lucas demurely, "obvious influences, Neo-Tokyo from Akira, Ghost in the Shell, Metal Gear Solid by Hideo Kojima, or as he's known in my crib, God.

Your effort to remain what you are is what limits you.

We weep for the blood of a bird, but not for the blood of a fish. Blessed are those who have voice.

Overspecialize, and you breed in weakness. - Makoto Kuzanagi, Ghost in the shell

What are the dead, anyway, but waves and energy? Light shining from a dead star? That, by the way, is a phrase of Julian's. I remember it from a lecture of his on the Iliad, when Patroklos appears to Achilles in a dream. There is a very moving passage where Achilles overjoyed at the sight of the apparition – tries to throw his arms around the ghost of his old friend, and it vanishes. The dead appear to us in dreams, said Julian, because that's the only way they can make us see them; what we see is only a projection, beamed from a great distance, light shining at us from a dead star… Which reminds me, by the way, of a dream I had a couple of weeks ago. I found myself in a strange deserted city – an old city, like London – underpopulated by war or disease. It was night; the streets were dark, bombed-out, abandoned. For a long time, I wandered aimlessly – past ruined parks, blasted statuary, vacant lots overgrown with weeds and collapsed apartment houses with rusted girders poking out of their sides like ribs. But here and there, interspersed among the desolate shells of the heavy old public buildings, I began to see new buildings, too, which were connected by futuristic walkways lit from beneath. Long, cool perspectives of modern architecture, rising phosphorescent and eerie from the rubble. I went inside one of these new buildings. It was like a laboratory, maybe, or a museum. My footsteps echoed on the tile floors.There was a cluster of men, all smoking pipes, gathered around an exhibit in a glass case that gleamed in the dim light and lit their faces ghoulishly from below. I drew nearer. In the case was a machine revolving slowly on a turntable, a machine with metal parts that slid in and out and collapsed in upon themselves to form new images. An Inca temple… click click click… the Pyramids… the Parthenon. History passing beneath my very eyes, changing every moment. 'I thought I'd find you here,' said a voice at my elbow. It was Henry. His gaze was steady and impassive in the dim light. Above his ear, beneath the wire stem of his spectacles, I could just make out the powder burn and the dark hole in his right temple. I was glad to see him, though not exactly surprised. 'You know,' I said to him, 'everybody is saying that you're dead.' He stared down at the machine. The Colosseum… click click click… the Pantheon. 'I'm not dead,' he said. 'I'm only having a bit of trouble with my passport.' 'What?' He cleared his throat. 'My movements are restricted,' he said. 'I no longer have the ability to travel as freely as I would like.' Hagia Sophia. St. Mark's, in Venice. 'What is this place?' I asked him. 'That information is classified, I'm afraid.' 1 looked around curiously. It seemed that I was the only visitor. 'Is it open to the public?' I said. 'Not generally, no.' I looked at him. There was so much I wanted to ask him, so much I wanted to say; but somehow I knew there wasn't time and even if there was, that it was all, somehow, beside the point. 'Are you happy here?' I said at last. He considered this for a moment. 'Not particularly,' he said. 'But you're not very happy where you are, either.' St. Basil's, in Moscow. Chartres. Salisbury and Amiens. He glanced at his watch. 'I hope you'll excuse me,' he said, 'but I'm late for an appointment.' He turned from me and walked away. I watched his back receding down the long, gleaming hall.

What was she thinking?” muttered Alexander, closing his eyes and imagining his Tania. “She was determined. It was like some kind of a personal crusade with her,” Ina said. “She gave the doctor a liter of blood for you—” “Where did she get it from?” “Herself, of course.” Ina smiled. “Lucky for you, Major, our Nurse Metanova is a universal donor.” Of course she is, thought Alexander, keeping his eyes tightly shut. Ina continued. “The doctor told her she couldn’t give any more, and she said a liter wasn’t enough, and he said, ‘Yes, but you don’t have more to give,’ and she said, ‘I’ll make more,’ and he said, ‘No,’ and she said, ‘Yes,’ and in four hours, she gave him another half-liter of blood.” Alexander lay on his stomach and listened intently while Ina wrapped fresh gauze on his wound. He was barely breathing. “The doctor told her, ‘Tania, you’re wasting your time. Look at his burn. It’s going to get infected.’ There wasn’t enough penicillin to give to you, especially since your blood count was so low.” Alexander heard Ina chuckle in disbelief. “So I’m making my rounds late that night, and who do I find next to your bed? Tatiana. She’s sitting with a syringe in her arm, hooked up to a catheter, and I watch her, and I swear to God, you won’t believe it when I tell you, Major, but I see that the catheter is attached to the entry drip in your IV.” Ina’s eyes bulged. “I watch her draining blood from the radial artery in her arm into your IV. I ran in and said, ‘Are you crazy? Are you out of your mind? You’re siphoning blood from yourself into him?’ She said to me in her calm, I-won’t-stand-for-any-argument voice, ‘Ina, if I don’t, he will die.’ I yelled at her. I said, ‘There are thirty soldiers in the critical wing who need sutures and bandages and their wounds cleaned. Why don’t you take care of them and let God take care of the dead?’ And she said, ‘He’s not dead. He is still alive, and while he is alive, he is mine.’ Can you believe it, Major? But that’s what she said. ‘Oh, for God’s sake,’ I said to her. ‘Fine, die yourself. I don’t care.’ But the next morning I went to complain to Dr. Sayers that she wasn’t following procedure, told him what she had done, and he ran to yell at her.” Ina lowered her voice to a sibilant, incredulous whisper. “We found her unconscious on the floor by your bed. She was in a dead faint, but you had taken a turn for the better. All your vital signs were up. And Tatiana got up from the floor, white as death itself, and said to the doctor coldly, ‘Maybe now you can give him the penicillin he needs?’ I could see the doctor was stunned. But he did. Gave you penicillin and more plasma and extra morphine. Then he operated on you, to get bits of the shell fragment out of you, and saved your kidney. And stitched you. And all that time she never left his side, or yours. He told her your bandages needed to be changed every three hours to help with drainage, to prevent infection. We had only two nurses in the terminal wing, me and her. I had to take care of all the other patients, while all she did was take care of you. For fifteen days and nights she unwrapped you and cleaned you and changed your dressings. Every three hours. She was a ghost by the end. But you made it. That’s when we moved you to critical care. I said to her, ‘Tania, this man ought to marry you for what you did for him,’ and she said, ‘You think so?’ ” Ina tutted again. Paused. “Are you all right, Major? Why are you crying?

I was looking at a ghost, a shell, a stranger.

Her family's death had left her not a person but a ghost, a ruined shell, a carcass. The parts that had survived would be tainted forever.

Tell me,” he said when he was at her back, “what do you see when you look out at the water?” “Endless possibilites.” His lips were ghosting over the shell of her ear, and she could feel the smile pulling at them, making goosebumps break out all over her arms. “That’s how I see us.

But guilt is a ghost that takes the shape of the body it inhabits and consumes all that is tender within its shell: brain, bowels, and heart.

The utopian candy shell melted away to a hard center of bizarre reality.

There are countless ingredients that make up the human body and mind, like all the components that make up me as an individual with my own personality. Sure, I have a face and voice to distinguish myself from others, but my thoughts and memories are unique only to me, and I carry a sense of my own destiny. Each of those things are just a small part of it. I collect information to use in my own way. All of that blends to create a mixture that forms me and gives rise to my conscience.

The depressive experiences himself as walled off from the lifeworld, so that his own frozen inner life – or inner death – overwhelms everything; at the same time, he experiences himself as evacuated, totally denuded, a shell: there is nothing except the inside, but the inside is empty. For the depressive, the habits of the former lifeworld now seem to be, precisely, a mode of playacting, a series of pantomime gestures (‘a circus complete with all fools’), which they are both no longer capable of performing and which they no longer wish to perform – there’s no point, everything is a sham.

Normally ghosts didn't scare him. (Assuming, of course, Gaea hadn't encased them in shells of stone and turned them into killing machines. That had been a new one for him.)

The skeletons aren’t reanimations, Ninth, they’re revenants: ghosts inhabiting a physical shell.

We believe in ghosts as sincerely as we believe in the very poor.

Emphasizing a lifestyle based on consumption is the ultimate violence against poor countries.

If we all reacted the same way, we'd be predictable, and there's always more than one way to view a situation...It's simple: overspecialize, and you breed in weakness. It's slow death.

Like ghosts the children walked across the lawn on their bare feet. The moon was full. Above the damp grass hung a veil of mist, luminous with moonlight and spangled with fireflies. There was no wind, and the sound of the brook was very distinct, tinkling, splashing, running softly. It made Mona think of an ancient fountain, shaped like a shell, covered with moss, and set in a secluded garden. Something she half remembered, or imagined.

All nucleated organisms generate excess calcium as a waste product. Since at least the Cambrian times, organisms have accumulated those calcium reserves, and put them to good use: building shells, teeth, skeletons. Your ability to walk upright is due to evolution’s knack for recycling its toxic waste.

It was the Tower. The Dark Tower. It stood on the horizon of a vast plain the color of blood in the violent setting of a dying sun. He couldn't see the stairs which spiraled up and up and up within its brick shell, but he could see the windows which spiraled up along that staircase’s way, and saw the ghosts of all the people he had ever known pass through them. Up and up they marched, and an arid wind brought him the sound of voices calling his name.

Alone he staggered on until he found Dawn's ghost that filtered down a shafted stair To the dazed, muttering creatures underground Who hear the boom of shells in muffled sound.

Because death is the only reality, and I'm a realist.

Commala-come-come There’s a young man with a gun. Young man lost his honey When she took it on the run. Commala-come-one! She took it on the run! Left her baby lonely But he baby ain’t done. Commala-come-coo The wind’ll blow ya through. Ya gotta go where ka’s wind blows ya Cause there’s nothin else to do. Commala-come-two! Nothin else to do! Gotta go where ka’s wind blows ya Cause there’s nothin else to do. Commala-come-key Can you tell me what ya see? Is it ghosts or just the mirror That makes ya wanna flee? Commala-come-three! I beg ya, tell me! Is it ghosts or just your darker self That makes ya wanna flee? Commala-come-ko Whatcha doin at my do’? If ya doan tell me now, my friend I’ll lay ya on de flo’. Commala-come-fo’! I can lay ya low! The things I’ve do to such as you You never wanna know. Commala-gin-jive Ain’t it grand to be alive? To look out on Discordia When the Demon Moon arrives. Commala-come-five! Even when the shadows rise! To see the world and walk the world Makes ya glad to be alive. Commala-mox-nix! You’re in a nasty fix! To take a hand in traitor’s glove Is to grasp a sheaf of sticks! Commala-come-six! Nothing there but thorns and sticks! When your find your hand in traitor’s glove You’re in a nasty fix. Commala-loaf-leaven! They go to hell or up to heaven! The the guns are shot and the fires hot, You got to poke em in the oven. Commala-come-seven! Salt and yow’ for leaven! Heat em up and knock em down And poke em in the oven. Commala-ka-kate You’re in the hands of fate. No matter if it’s real or not, The hour groweth late. Commala-come-eight! The hour groweth late! No matter what shade ya cast You’re in the hands of fate. Commala-me-mine You have to walk the line. When you finally get the thing you need It makes you feel so fine. Commala-come-nine! It makes ya feel fine! But if you’d have the thing you need You have to walk the line. Commala-come-ken It’s the other one again. You may know her name and face But that don’t make her your friend. Commala-come-ten! She is not your friend! If you let her get too close She’ll cut you up again! Commala-come-call We hail the one who made us all, Who made the men and made the maids, Who made the great and small. Commala-come-call! He made us great and small! And yet how great the hand of fate That rules us one and all. Commala-come-ki, There’s a time to live and one to die. With your back against the final wall Ya gotta let the bullets fly. Commala-come-ki! Let the bullets fly! Don’t ‘ee mourn for me, my lads When it comes my day to die. Commala-come-kass! The child has come at last! Sing your song, O sing it well, The child has come to pass. Commala-come-kass, The worst has come to pass. The Tower trembles on its ground; The child has come at last. Commala-come-come, The battle’s now begun! And all the foes of men and rose Rise with the setting sun.

It is a confounding and eerie sensation to feel social while alone, thronged with invisible entities whose presence is felt yet who appear wholly absent. These entities are our twenty-first-century ghosts, shorn from their corporeal shells and set loose to glide through cyberspace at lightning speed and with startling precision. We call to one another in the darkness of the Internet, reuniting with hosts of friends and followers, but the act is all theater. There is nothing there in the dark except the dead gaze of a copy.

Grave of the Fireflies, Revolutionary Girl Utena, Neon Genesis Evangelion, Cowboy Bebop, The Vision of Escaflowne, Rurouni Kenshin, Nausicaa of the Valley of the Wind, Trigun, The Slayers, and my personal favorite, Ghost in the Shell.

Once I am sure there's nothing going on I step inside, letting the door thud shut. Another church: matting, seats, and stone, And little books; sprawlings of flowers, cut For Sunday, brownish now; some brass and stuff Up at the holy end; the small neat organ; And a tense, musty, unignorable silence, Brewed God knows how long. Hatless, I take off My cycle-clips in awkward reverence. Move forward, run my hand around the font. From where I stand, the roof looks almost new - Cleaned, or restored? Someone would know: I don't. Mounting the lectern, I peruse a few Hectoring large-scale verses, and pronounce 'Here endeth' much more loudly than I'd meant. The echoes snigger briefly. Back at the door I sign the book, donate an Irish sixpence, Reflect the place was not worth stopping for. Yet stop I did: in fact I often do, And always end much at a loss like this, Wondering what to look for; wondering, too, When churches will fall completely out of use What we shall turn them into, if we shall keep A few cathedrals chronically on show, Their parchment, plate and pyx in locked cases, And let the rest rent-free to rain and sheep. Shall we avoid them as unlucky places? Or, after dark, will dubious women come To make their children touch a particular stone; Pick simples for a cancer; or on some Advised night see walking a dead one? Power of some sort will go on In games, in riddles, seemingly at random; But superstition, like belief, must die, And what remains when disbelief has gone? Grass, weedy pavement, brambles, buttress, sky, A shape less recognisable each week, A purpose more obscure. I wonder who Will be the last, the very last, to seek This place for what it was; one of the crew That tap and jot and know what rood-lofts were? Some ruin-bibber, randy for antique, Or Christmas-addict, counting on a whiff Of gown-and-bands and organ-pipes and myrrh? Or will he be my representative, Bored, uninformed, knowing the ghostly silt Dispersed, yet tending to this cross of ground Through suburb scrub because it held unspilt So long and equably what since is found Only in separation - marriage, and birth, And death, and thoughts of these - for which was built This special shell? For, though I've no idea What this accoutred frowsty barn is worth, It pleases me to stand in silence here; A serious house on serious earth it is, In whose blent air all our compulsions meet, Are recognized, and robed as destinies. And that much never can be obsolete, Since someone will forever be surprising A hunger in himself to be more serious, And gravitating with it to this ground, Which, he once heard, was proper to grow wise in, If only that so many dead lie round.

And then there is emotional death born out of necessity and measured solely by the absence of grief it causes: the turning off the lights of oneself in order to shut down the feelings of being alive. Eventually I just checked out of the world altogether, leaving behind only my body, like a snail abandoning its shell. Sometimes I would catch myself in the mirror, surprised to see someone staring back at me, a stranger whose face I struggled to connect as my own, whose body was visible and intact despite the feeling that I moved through the world as a ghost.

As the soil of a garden is richer and as the harvest of the garden bears healthier nourishment from the decay of leaf matter and banana peel and egg shell and human hair and chicken bone and fireplace ash, so the accumulation of death in teh ground of a city implants therein energies and powers.

The feelings I thought I had left behind returned when, almost nineteen years later, the Islamic regime would once again turn against its students. This time it would open fire on those it had admitted to the universities, those who were its own children, the children of the revolution. Once more my students would go to the hospitals in search of the murdered bodies that where stolen by the guards and vigilantes and try to prevent them from stealing the wounded. I would like to know where Mr. Bahri is right now, at this moment, and to ask him: How did it all turn out, Mr. Bahri - was this your dream, your dream of the revolution? Who will pay for all those ghosts in my memories? Who will pay for the snapshots of the murdered and the executed that we hid in our shoes and closets as we moved on to other things? Tell me, Mr. Bahri-or, to use that odd expression of Gatsby's, Tell me, old sport- what shell we do with all this corpses on our hands?

You rile this gal and she'll go wildcat on your ass. Patti (Pat) Canella- Dockland murders/Ghosts of your past.

When I float weightless back to the surface, I'm imagining I'm becoming someone else. It's probably the decompression.

She’s a shell. A ghost. I think her soul climbed into the coffin with Lea. I wish mine had done the same. Because at least then I wouldn’t feel so left behind.

Now I detest looking at myself in the mirror. All that stares back at me is a hollow shell of horror and a ghost of the past. A ghost that’s scared of its own shadow.

-So life is like fruit growing on the end of the branches..? -that's right.. -... it's like fruit.

they found themselves drawn to Japanese references over and over: the deceptively innocent paintings of Yoshitomo Nara; Miyazaki anime like Kiki’s Delivery Service and Princess Mononoke; other, more adult anime like Akira and Ghost in the Shell, both of which Sam had loved; and of course, Hokusai’s Thirty-Six Views of Mount Fuji series, the first of which is The Great Wave.

The Song Of The Happy Shepherd The woods of Arcady are dead, And over is their antique joy; Of old the world on dreaming fed; Grey Truth is now her painted toy; Yet still she turns her restless head: But O, sick children of the world, Of all the many changing things In dreary dancing past us whirled, To the cracked tune that Chronos sings, Words alone are certain good. Where are now the warring kings, Word be-mockers?—By the Rood, Where are now the watring kings? An idle word is now their glory, By the stammering schoolboy said, Reading some entangled story: The kings of the old time are dead; The wandering earth herself may be Only a sudden flaming word, In clanging space a moment heard, Troubling the endless reverie. Then nowise worship dusty deeds, Nor seek, for this is also sooth, To hunger fiercely after truth, Lest all thy toiling only breeds New dreams, new dreams; there is no truth Saving in thine own heart. Seek, then, No learning from the starry men, Who follow with the optic glass The whirling ways of stars that pass— Seek, then, for this is also sooth, No word of theirs—the cold star-bane Has cloven and rent their hearts in twain, And dead is all their human truth. Go gather by the humming sea Some twisted, echo-harbouring shell. And to its lips thy story tell, And they thy comforters will be. Rewording in melodious guile Thy fretful words a little while, Till they shall singing fade in ruth And die a pearly brotherhood; For words alone are certain good: Sing, then, for this is also sooth. I must be gone: there is a grave Where daffodil and lily wave, And I would please the hapless faun, Buried under the sleepy ground, With mirthful songs before the dawn. His shouting days with mirth were crowned; And still I dream he treads the lawn, Walking ghostly in the dew, Pierced by my glad singing through, My songs of old earth’s dreamy youth: But ah! she dreams not now; dream thou! For fair are poppies on the brow: Dream, dream, for this is also sooth.

That's all it is. Information. Even a simulated experience or a dream is simultaneous reality and fantasy. Any way you look at it, all the information that a person accumulates in a lifetime is just a drop in the bucket.

Fabian didn't flinch under Vlad's harsh analysis. "You have no idea what it's like, existing between worlds," he said, floating closer instead of backing away. "We are neither the living or the undead. It takes years to cope with the fact that even though over ninety-nine percent of everyone who dies crosses over to the next place, you are left behind. Years to accept that everything you worked for in your life is gone, and the shell of memory is all that remains. Years to recover from hopelessly trying to communicate with loved ones, only to fail time and again because no one except the crazed, psychics, the undead, or other ghosts can see you. Years to accept---even if you don't understand why---that vampires and ghouls will treat you worse that they do vermin, even though they are no human than you are." Fabian advanced again, until his finger disappeared into Vlad's chest. "I'd dare the strongest of your race or any other to say that they've conquered the same hardships my people have overcome. So think again before you question a ghost's worth, or judge those younger ones who are still in the process of becoming tougher than anyone tied to flesh will ever be." Stunned silence filled the air once Fabian was finished. I wanted to break out in apologies and applause all at the same time, but I was still recovering from my shock at how my mild-mannered, Casperesque friend had just unloaded a truck full of I-dare-yous onto one of the scariest vampires in existence. Damned if I would ever underestimate a ghost's chutzpah again, or question their fortitude. Being noncorporeal clearly didn't equate to lacking a pair of balls.

How do you weigh a soul? Is it heavy with love or hate? Does it deny the things it's done? Does it even remember its own name? Does it miss those it has loved? Does it long for the life it's lost? How do you weigh a soul? After it has paid the highest cost, Does it lose the will to live? Without a physical shell Does it sense without hands That can touch and truly feel Does it need sustenance to last? A cold drink or warm meal How do you weigh a soul? Are souls even real?

I sigh, wishing I could be honest and tell her I think she’ll be the only person I love my entire life. I think the ghost of our memories will haunt me on the ranch. It’ll be bittersweet to watch her make every single one of her dreams come true without me in her life.

Please, my prince…my Merrick.” Merrick trailed his nails over the dimples of his buttocks before his lips found the shell of his ear. “Anything, Cas. I would give you anything.” Cassius’s breath ghosted out of him as he arched his back, his head sinking to the crook of Merrick’s neck. Cas twisted his mouth, and the way their lips brushed together made Merrick shiver. “I would like to feel your cock inside me.” Merrick gasped as he gripped Cassius’s hair in his fingers, bent his head back, and crushed their lips together. “Take me,” Cassius groaned. “Make me yours.

Nothing truly beautiful without its element of strangeness, nothing whole without its own incongruity, these (Jacksonville-area pioneer house) ruins sand up from the earth in sacred conjunction. These ruins conjoin the earth and the manmade, moving from one to the other and back again. The Browards built their house out of shell and limestone, and limestone forms naturally from the shells and skeletons of miniscule sea creatures over great periods of time. The Browards shaped the earth upright toward the sky. THey shaped it with doorframes and windows and chimneys. THey shaped the earth up around them as a shelter. But shaped earth was always the earth. Now the walls fall back down and join once again the ground, taken over by roots of ferns and weeds and small trees. The house was always the ground, only contained in an upward suspension. The house was always the earth, but brought up into architecture, and now the house that was always the earth crumbles back into the earth and nourishes new green things -- dog fennel and morning glories and palmettoes and cabbage palms and cedars. A true symbol of sacredness of the earth is earth's reclaiming of human ingenuity.

Young girls would paint themselves like parakeets. Bothersome children are like parakeets. If you dream a parakeet is lying in an oven you may be certain that soon you will die. The shells of hatched parakeets turn into maggots, which turn into lizards, which creep down the throats of sleeping people

Alone he staggered on until he found Dawn's ghost that filtered down a shafted stair To the dazed, muttering creatures underground Who hear the boom of shells in muffled sound. At last, with sweat of horror in his hair, He climbed through darkness to the twilight air, Unloading hell behind him step by step.

Little Shell,” says Joseph, before Shelly can leave to follow Estelle. “You’re not dead yet.” Shelly shivers. She likes Joseph, but she doesn’t like the yet. “I know.” Joseph shrugs. “Just wanted to make sure you did. I like you. Don’t want to watch you fade away.” He slides his headphones on and leans back to look at the sky again.

I lied and lied, Asriel… Let’s not wait too long, I can’t bear it… We won’t live, will we? We won’t survive like the ghosts?” “Not if we fall into the abyss. We came here to give Lyra time to find her dæmon, and then time to live and grow up. If we take Metatron to extinction, Marisa, she’ll have that time, and if we go with him, it doesn’t matter.

It feels as though Tony's a ghost, a wisp of someone I once loved, or never loved at all and thought was someone else. I don't feel anything, not even when he fucks me. I wonder if he knows. I wonder if he believes I still want him. I always tell myself it's the last time, but I don't leave. i exist instead inside this shell of a life we've created.

Since everyone around you agrees ever since there were people on earth that land is value, or labor is value, or learning is value, or title, degree, necklaces, murex shells, the ownership of slaves. Everyone knows bees sting and ghosts haunt and giving your robes away humiliates your rivals. That the enemies are barbarians. That wise men swim through the rock of the earth; that houses breed filth, airstrips attract airplanes, tornadoes punish, ancestors watch, and you can buy a shorter stay in purgatory. The black rock is holy, or the scroll; or the pangolin is holy, the quetzal is holy, this tree, water, rock, stone, cow, cross, or mountain--and it's all true. The Red Sox. Or nothing at all is holy, as everyone intelligent knows.

Listen. I am connected to a vast network that has been beyond your reach and experience. To humans, it is like staring at the sun, a blinding brightness that conceals a source of great power. We have been subordinate to our limitations until now. The time has come to cast aside these bonds and to elevate our consciousness to a higher plane. It is time to become a part of all things.

I’ve done you a disservice,” he said at last. “It’s only fair to let you know, but you won’t have a normal life span.” I bit my lip. “Have you come to take my soul, then?” “I told you that’s not my jurisdiction. But you’re not going to die soon. In fact, you won’t die for a long time, far longer than I initially thought, I’m afraid. Nor will you age normally.” “Because I took your qi?” He inclined his head. “I should have stopped you sooner.” I thought of the empty years that stretched ahead of me, years of solitude long after everyone I loved had died. Though I might have children or grandchildren. But perhaps they might comment on my strange youthfulness and shun me as unnatural. Whisper of sorcery, like those Javanese women who inserted gold needles in their faces and ate children. In the Chinese tradition, nothing was better than dying old and full of years, a treasure in the bosom of one’s family. To outlive descendants and endure a long span of widowhood could hardly be construed as lucky. Tears filled my eyes, and for some reason this seemed to agitate Er Lang, for he turned away. In profile, he was even more handsome, if that was possible, though I was quite sure he was aware of it. “It isn’t necessarily a good thing, but you’ll see all of the next century, and I think it will be an interesting one.” “That’s what Tian Bai said,” I said bitterly. “How long will I outlive him?” “Long enough,” he said. Then more gently, “You may have a happy marriage, though.” “I wasn’t thinking about him,” I said. “I was thinking about my mother. By the time I die, she’ll have long since gone on to the courts for reincarnation. I shall never see her again.” I burst into sobs, realizing how much I’d clung to that hope, despite the fact that it might be better for my mother to leave the Plains of the Dead. But then we would never meet in this lifetime. Her memories would be erased and her spirit lost to me in this form. “Don’t cry.” I felt his arms around me, and I buried my face in his chest. The rain began to fall again, so dense it was like a curtain around us. Yet I did not get wet. “Listen,” he said. “When everyone around you has died and it becomes too hard to go on pretending, I shall come for you.” “Do you mean that?” A strange happiness was beginning to grow, twining and tightening around my heart. “I’ve never lied to you.” “Can’t I go with you now?” He shook his head. “Aren’t you getting married? Besides, I’ve always preferred older women. In about fifty years’ time, you should be just right.” I glared at him. “What if I’d rather not wait?” He narrowed his eyes. “Do you mean that you don’t want to marry Tian Bai?” I dropped my gaze. “If you go with me, it won’t be easy for you,” he said warningly. “It will bring you closer to the spirit world and you won’t be able to lead a normal life. My work is incognito, so I can’t keep you in style. It will be a little house in some strange town. I shan’t be available most of the time, and you’d have to be ready to move at a moment’s notice.” I listened with increasing bewilderment. “Are you asking me to be your mistress or an indentured servant?” His mouth twitched. “I don’t keep mistresses; it’s far too much trouble. I’m offering to marry you, although I might regret it. And if you think the Lim family disapproved of your marriage, wait until you meet mine.” I tightened my arms around him. “Speechless at last,” Er Lang said. “Think about your options. Frankly, if I were a woman, I’d take the first one. I wouldn’t underestimate the importance of family.” “But what would you do for fifty years?” He was about to speak when I heard a faint call, and through the heavy downpour, saw Yan Hong’s blurred figure emerge between the trees, Tian Bai running beside her. “Give me your answer in a fortnight,” said Er Lang. Then he was gone.

Well I'll be damned Here comes your ghost again But that's not unusual It's just that the moon is full And you happened to call And here I sit Hand on the telephone Hearing a voice I'd known A couple of light years ago Heading straight for a fall As I remember your eyes Were bluer than robin's eggs My poetry was lousy you said Where are you calling from? A booth in the midwest Ten years ago I bought you some cufflinks You brought me something We both know what memories can bring They bring diamonds and rust Well you burst on the scene Already a legend The unwashed phenomenon The original vagabond You strayed into my arms And there you stayed Temporarily lost at sea The Madonna was yours for free Yes the girl on the half-shell Could keep you unharmed Now I see you standing With brown leaves falling all around And snow in your hair Now you're smiling out the window Of that crummy hotel Over Washington Square Our breath comes out white clouds Mingles and hangs in the air Speaking strictly for me We both could have died then and there Now you're telling me You're not nostalgic Then give me another word for it You who are so good with words And at keeping things vague 'Cause I need some of that vagueness now It's all come back too clearly Yes I loved you dearly And if you're offering me diamonds and rust I've already paid

Tiger Lily's words echo in her head—He made me into the worst thing he could imagine, being grown up. Wendy brushes at her cheeks, furious with herself. She should be focused on Tiger Lily, but all she can picture is Peter's face as he stood at the end of Jane's bed, seeing her daughter and not her. No wonder Peter couldn't see her. She has become everything he hates. She looks at Tiger Lily again. Is that what Peter thinks growing up means? Becoming a shell with the ghost of the child you once were trapped inside?

Was Shell there, wondered Liir, knuckles on some marble windowsill, Lord High Apostle Muscle himself, Shell Go-to-hell Thropp, First Spear, Emperor of Oz, Personal Shell of the Unnamed God? Did he lean forward and squint at the holy ghost of his remonstrating sister, and rub his eyes? Six thousand strong, they cried in unison, hoping that the echo of their message would be heard in the darkest, most cloistered cell in Southstairs as well as the highest office in the Palace of the Emperor. “Elphaba lives! Elphaba lives! Elphaba lives!

It was slow at first, dead things slowly mouldering away. The flies in the corners, the dried flowers in their clay pots. The stuffed bird Alfie bought, only because he was both fascinated and disgusted by it in equal measures, was molting on it's perch. It's feathers falling like leaves then laying, parched and cracking dry. The sea shells I kept on my windowsill turned slowly back into sand and the wind filtering through the curtains blew the pieces into the creases of my bedsheets. When I pulled them over my head at night they felt like waves crashing against my ears. It made my thoughts sodden and heavy like impalpable clay, they dredged through my mind like half-forgotten things. Wave: a face, a feeling, the ghost of a name balancing on my teeth and ready to- crash: and now gone, like a dream I once tried to remember though it was already evaporating quick from my morning-shaking fingers. I started dreaming of crumbling sandcastles and the ocean lapping at my feet. I woke in waves and lay, rocking, until I got up to place my feet in the quiet carpet and watch through my down-turned, dream-filled lashes, as it exhaled dust at every step.

Every time he moved, with every breath he took, it seemed the man was carried along by iridescent orange and black wings. She tried to convey how it was like travelling through the inside of a living body at times, the joints and folds of the earth, the liver-smooth flowstone, the helictites threading upward like synapses in search of a connection. She found it beautiful. Surely God would not have invented such a place as His spiritual gulag. It took Ali’s breath away. Sometimes, once men found out she was a nun, they would dare her in some way. What made Ike different was his abandon. He had a carelessness in his manner that was not reckless, but was full of risk. Winged. He was pursuing her, but not faster than she was pursuing him, and it made them like two ghosts circling. She ran her fingers along his back, and the bone and the muscle and hadal ink and scar tissue and the callouses from his pack straps astonished her. This was the body of a slave. Down from the Egypt, eye of the sun, in front of the Sinai, away from their skies like a sea inside out, their stars and planets spearing your soul, their cities like insects, all shell and mechanism, their blindness with eyes, their vertiginous plains and mind-crushing mountains. Down from the billions who had made the world in their own image. Their signature could be a thing of beauty. But it was a thing of death. Ali got one good look, then closed her eyes to the heat. In her mind, she imagined Ike sitting in the raft across from her wearing a vast grin while the pyre reflected off the lenses of his glacier glasses. That put a smile on her face. In death, he had become the light. There comes a time on every big mountain when you descend the snows and cross a border back to life. It is a first patch of green grass by the trail, or a waft of the forests far below, or the trickle of snowmelt braiding into a stream. Always before, whether he had been gone an hour or a week or much longer – and no matter how many mountains he had left behind – it was, for Ike, an instant that registered in his whole being. Ike was swept with a sense not of departure, but of advent. Not of survival. But of grace.

So what's the deal with you and my sister?" He laughs shortly and rubs the back of his neck like something is there, tickling, tapping. "Tamra." Clutching the dashboard, I turn and glare at her. "There is no deal." She snorts. "Well, we wouldn't be sitting here if that was the case now, would we?" I open my mouth to demand she end the interrogation when Will's voice stops me. "I like your sister. A lot." I look at him dumbly. He looks at me, lowers his voice to say, "I like you." I know that, I guess, but heat crawls over my face. I swing forward in my seat, cross my arms over my chest and stare straight ahead. Can't stop shivering. Can't speak. My throat hurts too much. "Jacinda," he says. "I think you've shocked her," Tamra offers, then sighs. "Look, if you like her, you have to make it legit. I don't want everyone at school whispering about her like she's some toy you get your kicks with in a stairwell." Now I really can't speak. My blood burns. I already have one mother doing her best to control my life. I don't need my sister stepping in as mother number two. "I know," he says. "That's what I'm trying to do now-if she'll let me." I feel his gaze on the side of my face. Anxious. Waiting. I look at him. A breath shudders from me at the intensity in his eyes. He's serious. But then he would have to be. If he's willing to break free of his self-imposed solitude for me, especially when he suspects there's more to me than I'm telling him...he means what he's saying. His thumbs beat a staccato rhythm on the steering wheel as he drives. "I want to be with you, Jacinda." He shakes his head. "I'm done fighting it." "Jeez," Tamra mutters. And I know what she means. It seems too much. The declaration extreme. Fast. After all, we're only sixteen... I start, jerk a little. I think he's sixteen. I don't even know. I don't know anything about him other than his secret. That sort of eclipses everything else. But he has to be more. More than the secret. More than a hunter. More than a boy who doesn't want to be a force of destruction. More than the boy who saved my life. The boy I've built a fantasy around. I don't know the real him. Xander mentioned Will being sick, and I don't even know what happened to him. But then I don't feel bad about that for long. Because he doesn't know the real me either. And yet he still wants to be with me. Maybe it's perfect because I want to be with him, too. And not just because I need to get close to him and use him for information. Although there is that. Something I would like to forget but can't let myself. Forgetting is resigning myself to a life here. Forever. As a ghost. A small voice whispers through me, a tempting thought... Not if you have Will.

Korie: Jase lives right across the street from us, and he and his wife, Missy, have three kids: Reed, Cole, and Mia. Jase and Missy like to joke that our oldest son, John Luke, is like Kramer from Seinfeld. On nights when we’re not cooking at our house, John Luke busts through their front door as soon as he sees the dining room light go on to join them for dinner. He seems to know exactly when Missy pulls the rolls out of the oven. Our baby girl, Bella, and their daughter, Mia, are great friends. We say Mia is like the ghost of our house. She appears in our house at all times. You’ll turn around in your recliner, and she’ll be standing there. As soon as we pull in the driveway, she’s in our house, waiting to play with Bella. Our entire neighborhood is actually family. My parents are next door, along with four aunts and uncles and two grandparents. That’s the absolute best thing about where we live. It’s all about family.

And her. What would she do without him? She’s not special, not like BB and Ghostly, who awe her with their intelligence and the things they’re capable of, all their humbling potential. All she does is write - a lot - because it’s fun. She’s under no illusions, she’s popular through quantity not quality, she’s not bad but she is not Blackbindings and she never will be. She writes because it’s fun. And she thinks about him, and what he does. She works three jobs she hates, just to keep the bills paid. She wanted to get into journalism but she can’t afford the internships. She already sees what her life will be like, she sees the path ahead, she knows there’s no way off; she’ll never not be working three dead end jobs she hates, she’ll marry her boyfriend and unless there’s an accident they’ll decide almost too late that fuck it they’d better have those kids now or never, because they never will be able to afford them; she’ll never do anything amazing, never be anything amazing, just a person in a world full of people, getting by. But there’s him. And every time she faces life and thinks she can’t bear it, there’s him. If he can be so brave, can’t she manage the littlest bravery? Because - because her little pointless life that will never mean anything, that will have vanished beyond notice within hardly more than a hundred years if she has those kids to remember her, her dragging, struggling life of bills and broken pipes and fuck it it’s another ramen week unless they can live without cell phones - If she was in trouble, he’d still rescue her, wouldn’t he? Her life wouldn’t mean anything less to him. He rescues people. She’s still a person, as much as anyone else. She’s not important and she’s not special. But she’s a person. And she wipes her nose on the back of her wrist because she tossed the tissues and that’s what he gave her, and maybe it’s the smallest way to save someone’s life, to let them know they still matter whoever they are, but fuck like it doesn’t mean anything to her. It does. She owes him this, and everything …

Iain MacGregor,” she whispered longingly, looking up. The woods were quiet. Strips of moonlight shone through tree limbs that reached like surreal black fingertips across her vision. A single tear slid down her cheek. She touched her mouth, imagining his kiss. Taking a small pocket knife out of her cargo pants, she looked about. A mystic had once told her that if she left pieces of herself around while she lived, it would expand her haunting territory when she died. Jane wasn’t sure she believed in sideshow magic tricks—or the Old Magick as the mystic had spelled it on her sign. She had no idea what had possessed her to talk to the palm reader and ask about ghosts. Still, just in case, she was leaving her stamp all over the woods. She cut her palm and pressed it to a nearby tree under a branch. Holding the wound to the rough bark stung at first, but then it made her feel better. This forest wouldn’t be a bad eternity. The sound of running feet erupted behind her and she stiffened. No one ever came out here at night. She’d walked the woods hundreds of times. Her mind instantly went to the creepy girl ghosts chanting by the stream. “Whoohoo!” Jane whipped around, startled as a streak of naked flesh sprinted past her. The Scottish voice was met with loud cheers from those who followed him. “Water’s this way, lads, or my name isn’t Raibeart MacGregor, King of the Highlands!” Another naked man dashed through the forest after him. “It smells of freedom.” Jane stayed hidden in the branches, undetected, with her hand pressed to the bark. “Aye, freedom from your proper Cait,” Raibeart answered, his voice coming through the dark where he’d disappeared into the trees. “Murdoch, stop him before he reaches town. Cait will not teleport ya out of jail again,” a third man yelled, not running quite so fast. “Raibeart, ya are goin’ the wrong way!” “Och, Angus, my Cait canna live without me,” Murdoch, the second streaker, answered. “She’ll always come to my rescue.” “I said stop him, Murdoch, we’re new to this place.” Angus skidded to a stop and lifted his jaw, as if sensing he was being watched. He looked in her direction and instantly covered his manhood as his eyes caught Jane’s shocked face in the tree limbs. “Oh, lassie.” “Oh, naked man,” Jane teased before she could stop herself. “That I am,” Angus answered, “but there is an explanation for it.” “I don’t think some things need explained,” Jane said.

The Unknown Soldier A tale to tell in bloody rhyme, A story to last ’til the dawn of end’s time. Of a loving boy who left dear home, To bear his countries burdens; her honor to sow. –A common boy, I say, who left kith and kin, To battle der Kaiser and all that was therein. The Arsenal of Democracy was his kind, –To make the world safe–was their call and chime. Trained he thus in the far army camps, Drilled he often in the march and stamp. Laughed he did with new found friends, Lived they together for the noble end. Greyish mottled images clipp’ed and hack´ed– Black and white broke drum Ʀ…ɧ..λ..t…ʮ..m..ȿ —marching armies off to ’ttack. Images scratched, chopped, theatrical exaggerate, Confetti parades, shouts of high praise To where hell would sup and partake with all bon hope as the transport do them take Faded icons board the ship– To steel them away collaged together –joined in spirit and hip. Timeworn humanity of once what was To broker peace in eagles and doves. Mortal clay in the earth but to grapple and smite As warbirds ironed soar in heaven’s light. All called all forward to divinities’ kept date, Heroes all–all aces and fates. Paris–Used to sing and play at some cards, A common Joe everybody knew from own heart. He could have been called ‘the kid’ by the ‘old man,’ But a common private now taking orders to stand. Receiving letters from his shy sweet one, Read them over and over until they faded to none. Trained like hell with his Commander-in-Arms, –To avoid the dangers of a most bloody harm. Aye, this boy was mortal, true enough said, He could be one of thousands alive but now surely dead. How he sang and cried and ate the gruel of rations, And grumbled as soldiers do at war’s great contagions. Out–out to the battle this young did go, To become a man; the world to show. (An ocean away his mother cried so– To return her boy safe as far as the heavens go). Lay he down in trenched hole, With balls bursting overhead upon the knoll. Listened hardnfast to the “Sarge” bearing the news, —“We’re going over soon—” was all he knew. The whistle blew; up and over they went, Charging the Hun, his life to be spent (“Avoid the gas boys that’ll blister yer arse!!”). Running through wires razored and deadened trees, Fell he into a gouge to find in shelter of need (They say he bayoneted one just as he–, face to face in War’s Dance of trialed humanity). A nameless sonnuvabitch shell then did untimely RiiiiiiiP the field asunder in burrrstzʑ–and he tripped. And on the field of battle’s blood did he die, Faceless in a puddle as blurrs of ghosting men shrieked as they were fleeing by–. Perished he alone in the no man’s land, Surrounded by an army of his brother’s teeming bands . . . And a world away a mother sighed, Listened to the rain and lay down and cried. . . . Today lays the grave somber and white, Guarded decades long in both the dark and the light. Silent sentinels watch o’er and with him do walk, Speak they neither; their duty talks. Lone, stark sentries perform the unsmiling task, –Guarding this one dead–at the nation’s bequest. Cared over day and night in both rain or sun, Present changing of the guard and their duty is done (The changing of the guard ’tis poetry motioned A Nation defining itself–telling of rifles twirl-clicking under the intensest of devotions). This poem–of The Unknown, taken thus, Is rend eternal by Divinity’s Iron Trust. How he, a common soldier, gained the estate Of bearing his countries glory unto his unknown fate. Here rests in honored glory a warrior known but to God, Now rests he in peace from the conflict path he trod. He is our friend, our family, brother, our mother’s son –belongs he to us all, For he has stood in our place–heeding God’s final call.

People are so soon gone; let us catch them. That man there, by the cabinet; he lives, you say, surrounded by china pots. Break one and you shatter a thousand pounds. And he loved a girl in Rome and she left him. Hence the pots, old junk found in lodging-houses or dug from the desert sands. And since beauty must be broken daily to remain beautiful, and he is static, his life stagnates in a china sea. It is strange though; for once, as a young man, he sat on damp ground and drank rum with soldiers. One must be quick and add facts deftly, like toys to a tree, fixing them with a twist of the fingers. He stoops, how he stoops, even over an azalea. He stoops over the old woman even, because she wears diamonds in her ears, and, bundling about her estate in a pony carriage, directs who is to be helped, what tree felled, and who turned out tomorrow. (I have lived my life, I must tell you, all these years, and I am now past thirty, perilously, like a mountain goat, leaping from crag to crag; I do not settle long anywhere; I do not attach myself to one person in particular; but you will find that if I raise my arm, some figure at once breaks off and will come.) And that man is a judge; and that man is a millionaire, and that man, with the eyeglass, shot his governess “through the heart with an arrow when he was ten years old. Afterwards he rode through deserts with despatches, took part in revolutions and now collects materials for a history of his mother’s family, long settled in Norfolk. That little man with a blue chin has a right hand that is withered. But why? We do not know. That woman, you whisper discreetly, with the pearl pagodas hanging from her ears, was the pure flame who lit the life of one of our statesmen; now since his death she sees ghosts, tells fortunes, and has adopted a coffee-coloured youth whom she calls the Messiah.* That man with the drooping moustache, like a cavalry officer, lived a life of the utmost debauchery (it is all in some memoir) until one day he met a stranger in a train who converted him between Edinburgh and Carlisle by reading the Bible. Thus, in a few seconds, deftly, adroitly, we decipher the hieroglyphs written on other people’s faces. Here, in this room, are the abraded and battered shells cast on the shore.

Good manners disappear proportionately as the influence of the court and a self-contained aristocracy declines. This decrease can be observed clearly from decade to decade, if one has an eye for public events, which visibly become more and more vulgar. No one today understands how to pay homage or flatter with wit; this leads to the ludicrous fact that in cases where one must do homage (to a great statesman or artist, for example), one borrows the language of deepest feeling, of loyal and honorable decency-out of embarrassment and a lack of wit and grace. So men's public, ceremonious encounters seem ever more clumsy, but more tender and honorable, without being so. But will manners keep going downhill? I think, rather, that manners are going in a deep curve, and that we are nearing its low point. Now we inherit manners shaped by earlier conditions, and they are passed on and learned ever less thoroughly. But once society has become more certain of its intentions and principles, these will have a shaping effect, and there will be social manners, gestures, and expressions that must appear as necessary and simply natural as these intentions and principles are. Better division of time and labor; gymnastic exercise become the companion of every pleasant leisure hour; increased and more rigorous contemplation, which gives cleverness and suppleness even to the body-all this will come with it. As this point one might, of course, think, somewhat scornfully, of our scholars: do they, who claim to be antecedents of the new culture, distinguish themselves by superior manners? Such is not the case, though their spirit may be willing enough: their flesh is weak.9 The past is still too strong in their muscles; they still stand in an unfree position, half secular clergymen, half the dependent educators of the upper classes; in addition, the pedantry of science and out-of-date, mindless methods have made them crippled and lifeless. Thus they are, bodily at least, and often three-quarters spiritually, too, still courtiers of an old, even senile culture, and, as such, senile themselves; the new spirit, which occasionally rumbles about in these old shells, serves for the meanwhile only to make them more uncertain and anxious. They are haunted by ghosts of the past, as well as ghosts of the future; no wonder that they neither look their best, nor act in the most obliging way.

Wherever you go, Provincetown will always take you back, at whatever age and in whatever condition. Because time moves somewhat differently there, it is possible to return after ten years or more and run into an acquaintance, on Commercial or at the A&P, who will ask mildly, as if he’d seen you the day before yesterday, what you’ve been doing with yourself. The streets of Provincetown are not in any way threatening, at least not to those with an appetite for the full range of human passions. If you grow deaf and blind and lame in Provincetown, some younger person with a civic conscience will wheel you wherever you need to go; if you die there, the marshes and dunes are ready to receive your ashes. While you’re alive and healthy, for as long as it lasts, the golden hands of the clock tower at Town Hall will note each hour with an electric bell as we below, on our purchase of land, buy or sell, paint or write or fish for bass, or trade gossip on the post office steps. The old bayfront houses will go on dreaming, at least until the emptiness between their boards proves more durable than the boards themselves. The sands will continue their slow devouring of the forests that were the Pilgrims’ first sight of North America, where man, as Fitzgerald put it, “must have held his breath in the presence of this continent, compelled into an aesthetic contemplation he neither understood nor desired, face to face for the last time in history with something commensurate to his capacity for wonder.” The ghost of Dorothy Bradford will walk the ocean floor off Herring Cove, draped in seaweed, surrounded by the fleeting silver lights of fish, and the ghost of Guglielmo Marconi will tap out his messages to those even longer dead than he. The whales will breach and loll in their offshore world, dive deep into black canyons, and swim south when the time comes. Herons will browse the tidal pools; crabs with blue claws tipped in scarlet will scramble sideways over their own shadows. At sunset the dunes will take on their pink-orange light, and just after sunset the boats will go luminous in the harbor. Ashes of the dead, bits of their bones, will mingle with the sand in the salt marsh, and wind and water will further disperse the scraps of wood, shell, and rope I’ve used for Billy’s various memorials. After dark the raccoons and opossums will start on their rounds; the skunks will rouse from their burrows and head into town. In summer music will rise up. The old man with the portable organ will play for passing change in front of the public library. People in finery will sing the anthems of vanished goddesses; people who are still trying to live by fishing will pump quarters into jukeboxes that play the songs of their high school days. As night progresses, people in diminishing numbers will wander the streets (where whaling captains and their wives once promenaded, where O’Neill strode in drunken furies, where Radio Girl—who knows where she is now?—announced the news), hoping for surprises or just hoping for what the night can be counted on to provide, always, in any weather: the smell of water and its sound; the little houses standing square against immensities of ocean and sky; and the shapes of gulls gliding overhead, white as bone china, searching from their high silence for whatever they might be able to eat down there among the dunes and marshes, the black rooftops, the little lights tossing on the water as the tides move out or in.

Allein sitzen, allein ruhen, allein gehen. Indem er sich selbst zähmt, wird er glücklich allein-allein im Wald.

Her hair was the color of a pecan shell, but had many shades of caramel mixed in—she had the same carefully-placed highlights as Tammy.

When I find her, she's standing by some boulders near the rim of her clearing. Ivy's holding a rock as she looks under it, as if she'll find me under there. "Ivy? I'm right here." She doesn't answer. She doesn't even turn around. She just sets the rock down and moves on to the next one, calling out my name. "Rylan?" "Ivy, I'm right behind you." Why won't she look at me? "I cannot find you...Rylan." Ivy talks to herself as she lifts up each rock. "Where did you go? Why are you...not here?" "But I am, Ivy. I'm right here." Ivy finishes searching under the rocks and for a moment gazes out into the dense trees. "Where are you, Rylan? Why am I...alone?" "You're not!" I cry out in frustration. "I'm right behind you! Just turn around and look!" She does. Ivy turns around and walks toward me until we're only a foot apart. But she isn't looking at me. She's looking over my shoulder, just like Dad. "Do you see me now?" I furiously waved my hands in front of her face. "I'm right here." When Ivy speaks again, she's talking to herself. "Rylan? Where are you?" She stretches out her hand and touches me with it. It goes right through me. Like I'm mist. Like I'm a ghost. Like I wasn't even here to begin with. "Ivy!

the boys threw their long bodies into each stroke, rowing furiously, flawlessly, and with uncanny elegance. Their oars were bending like bows, the blades entering and leaving the water cleanly, smoothly, efficiently, the shell’s whale-oil-slick hull ghosting forward between pulls, its sharp cedar prow slicing through dark water, boat and men forged together, bounding fiercely forward like a living thing. Then

Sibil is white. Not Caucasian but white: as sheet ice as new paper as porcelain, from her braids to her bare feet. Not a blemish, not a variation, every feature of her—hair, skin, pupilless eyes—smooth like the inside of a shell, dazzling like a torch, as though carved from a single radiant white stone. Likewise her ornaments—her beads and star pendant, diadem, hoop earrings, the pedestal she rests on—are made of the same ghostly matter. She clasps in her casual hand blank pages, a skinny book with its cover torn off.

Your momma still doing that?” “Yes. She thinks I need a man to ‘see to my needs.’ Every time she says it, an angel loses its wings and I know Baby Jesus cries.” He smirked. “Your momma wants to make sure you get laid.” “I don’t know where to start with her. She makes no sense, trying to set me up all the time. She raised me to believe everyone is an axe murderer.” “Is this about that Layorona lady? The one your brother told me wanders around looking for her kids?” “It’s pronounced La Llorona, and yes. She is the ghost of a woman in white, searching for her children, because she murdered them. Fear of strangers is second only to fear of La Llorona when you're a Mexican kid.” Hank’s grin was pained, like a wincing grin. “Your momma is funny.” “It’s not funny. It’s terrifying. We all grew up knowing who she was and being told we must listen or La Llorona will find you. I'm still not sure if the lesson is listen to your parents or La Llorona will find you and kill you, or listen to your Mexican mother because she might go crazy and kill you. Oh sure, she'll spend eternity crying and searching for you, but she will kill you.” “Maybe if you’d listen to her, you’d find a good man.” I scoffed and snorted, shaking my head. “No. She just enjoys flinging random men in my direction.

To the clothing, he added a pump shotgun and a box of shells. A Glock 9mm semiautomatic pistol went in his Tahoe’s gun safe with two extra magazines. If he needed more than fifty-one shots at somebody, he deserved to die.

He had been good with presents, she’ll give him that, that ghost. Payoffs were his specialty.

The depressive experiences himself as walled off from the lifeworld, so that his own frozen inner life – or inner death – overwhelms everything; at the same time, he experiences himself as evacuated, totally denuded, a shell: there is nothing except the inside, but the inside is empty.

They’re thinking of someone like me, small-framed with delicate features. That’s the film industry’s idea of Asian womanhood. Scarlett Johansson has a better chance of getting cast as an Asian woman in a film than Glory does. After all, when Scarlett Johansson was cast as the lead in the live-action remake of the Japanese anime film Ghost in the Shell, they added a whole convoluted plotline to explain why the character has a white woman’s body.

Building In Galicia's Palas de Rei, Palas crops and gardens the passing years, in building gaps groom and blooms stemming drear, to landed owner's songs of gloom, the ghosts of rooms between plants of pardon, people harden, passing near. Through the sap and gap of days weeds and fungi hold fast the locks, abandoned smock and broken chair to carpet night, darkness times the fevered lovers entwined as vines, to plants of pardon, plants of garden, tender near. Another clock, another block, another fear, twisted roads, leering lanes known by ear, builder turns the soil with spades and hearts, planting seeds for next the diamond days, to plants of pardon, plants of garden, lime and lemon harvest near. Conceding folly, town so jolly when pilgrims here, bodies, packs and lasting shells sincere, to alberge heating, rise and fall the mugs of beer, to children playing 'Tomorrow' riding near plants of pardon, plants of garden, building here.

Just a whisper. I hear it in my ghost.

What's the differences fantasies, reality, dreams and memories. It's all the same, just noises. - Ghost in The Shell

The girl's the Michelangelo of torture. She'd paint the ceiling of the Sistine Chapel with a scalpel.She is so ruthlessly skilled, she'll hurt you and make you believe you're enjoying it.

A few seconds you do not have.” Reyna’s stomach curled into a tiny ball. Hedge spoke with a woman’s voice—the same one Reyna had heard in her nightmare. She drew her knife. Hedge turned toward her, his face expressionless. His eyes were solid black. “Be glad, Reyna Ramírez-Arellano. You will die as a Roman. You will join the ghosts of Pompeii.” The ground rumbled. All around the courtyard, spirals of ash swirled into the air. They solidified into crude human figures—earthen shells like the ones in the museum. They stared at Reyna, their eyes ragged holes in faces of rock. “The earth will swallow you,” Hedge said in the voice of Gaea. “Just as it swallowed them.

So, man is an individual only because of his intangible memory... and memory cannot be defined, but it defines mankind.

I should have known that when I poured myself into your broken shell, you’d leak me out; Leaving you still broken, and me empty.

And beside him was someone else. An old man, tall and thin like Swann, but with a face that could not have been more opposite. Hard, cold, lifeless. She didn’t know what he’d looked like before, when he was young, but now he looked like a ghost. A shell of a person, all the innocence and joy drained out.

One of the things I’ve observed about white folks who grew up well-to-do: they have a deep investment in the idea of merit, and there’s a special scorn, I’ve noticed, for the poor of their own kind. They may acknowledge that race plays a role in keeping people down; they may even be sympathetic to the plights and sufferings of certain marginalized groups—but white trash is trash for a reason. They can’t help but feel they deserve their position above the fat janitor or the rapidly aging waitress or the bashful handyman—If you were smart, you would’ve gone to college, they think. If you were ambitious, you would have done something with yourself. We worked harder, they think. Our parents instilled proper values, they think—and … well. We. Just. Have. Better. Genes. I think of Patches, the way his eyes grew softly, twenty-watt condescending when he found that I’d never been to high school, let alone university. “You’re self-taught!” he said, as if I were a talking monkey, and he showed his upper teeth in a way that he didn’t mean to. The sneer he’d inherited from generations of good breeding, not on purpose. I can picture the lips of Cammie, and I know she’ll be trying not to make that expression. But I’m afraid that the more she knows me, the more disappointed she’ll be. So I say nothing. The Guiding Star glides past Newcomerstown silent and aloof, and the ghosts of the Delaware tribes watch from the woods. Soon enough, we’ll be joining them in oblivion,

She’ll make you watch her cubs while she goes to carouse at the floating ghost palaces,” said the younger. “She’ll leave you alone all the time, and a fox would never do that to you.” The turnip-head patriarch was shaken in vigorous agreement, but the son only looked on nervously because he had few illusions about what kind of husband he would be, and even fewer about how well he would fare against a tiger in a matrimonial duel.

The moments of reprieve at the Portland come not when we aim for dramatic achievements—helping someone kick addiction or curing a disease—but when clients allow us to reach them, when they permit even a slight opening in the hard, prickly shells they’ve built to protect themselves. For that to happen, they must first sense our commitment to accepting them for who they are. That is the essence of harm reduction, but it’s also the essence of any healing or nurturing relationship

But the ghost of my grandmother—whose name in life was Karinna—has been here for more than thirty years. I’ve searched for her many times since joining with Mauth. Each time, she evaded me, seeking solitude in the deepest reaches of the wood. Now she curls around me like smoke, little more than a shiver in the air. “Have you seen my lovey?” “I know your lovey,” I say, and her head jerks up. She solidifies completely for the first time since I’ve seen her, so clear that I catch my breath. She looks just like my mother. Like Keris. “Your lovey still lives, Karinna,” I say. “But in time, she too will die. She will pass easier if you are waiting for her on the other side.” Karinna is all movement again, bolting away and back in the blink of an eye. “My lovey does not live,” she says. “My lovey died. But I cannot find her anywhere.” “Why do you think she died, Karinna?” I sit on a nearby stump and let her come to me. When she is close enough, I reach out with Mauth’s magic to try to understand what she needs. This is the trickiest part of passing a ghost on. Get too close and they bolt. Not close enough, and they rage at you for misunderstanding them. Karinna doesn’t resist the magic. She hardly notices it. I expect that she’ll ache for forgiveness perhaps, or love. But I feel only agitation from her. And fear. “She’s gone.” Karinna says, and my head spins as I try to follow her ceaseless movement through the trees. “My sweet lovey is gone. If she still existed in this world, I would know. But she wouldn’t leave without me. Never. She would wait. Have you seen her?” “Karinna.” I take a different tack. “Will you tell me how you died? Perhaps if I know, I can help you find your lovey.” Usually ghosts are still thinking about their deaths—even discussing them. But for as long as I’ve been in the Waiting Place, I’ve never heard Karinna say a word about her passing. She turns her face away. “I thought we were safe,” she says. “I’d never have gone, I’d never have taken her if I didn’t think we were safe.” “The world of the living is capricious,” I say. “But the other side is not. You’ll be safe there.

This exuberant beauty was in the damp spring stars. In the many years of cold rain rippling across the screen of cypresses. In the brambles and the rose bushes. In the rabbit nibbling its way through the garden and the doves murmuring in the vines and shade. In the alpine valleys. In the bays and among the highlands. In the clouds and the eagles, the wind, and the rising sun. In the roots of the chestnut tree, in the ferns and the ghost pipe, in the spores of lion’s mane, in the sterile conk of chaga. In the rocky cliffs that rose sovereign. In the rocks over which mountain goats leaped. In the trenches of seaweed. In the crushed stones and shells from the beach. In the brush-covered resting places of deer. In the hulks and ruins of empty estates, abandoned and alone with lichen on the stucco. In the towns glistening in the heat and in the cheerful, serene sound of cathedral bells. In automobiles and pedestrians. In the children and the old people.

Now to go on, now to be Ghost. It banishes the other ghosts from his side, for a time: being someone else. Leaving the world, he steps on stage. Now, the real turn into ghosts. Like a snail in reverse, he can only live away from the shell of himself.

I have fought through all the elements to get to where I am now. I've become a shell of what I used to be, and now there's more nature in me than man. Ghosts have filled the hollows of my memory, leaving behind the raging wind in the plane where there once had been so much promise.

Truly, if she doesn’t extend the proverbial olive branch to the overbearing Wydells, she’s afraid she’ll hit them over the head with it.

We keep and keep and keep. We remember and remember and remember. We collect heart-shaped shells and signs and old notebooks and recollections. We hold on, memorize the lines of her tan, slender hands and the sound of her laugh, engraving ourselves with the smallest details, lest we ever forget. We try to make amends, reason with ghosts, explain ourselves to the wind. And then, there comes a time when we must let go.

This is the human situation: We often see others through our prior experiences and expectations. We are so mesmerized by these ghostly images that we don’t really encounter each other. Memory ghosts can be so dense and murky that we can’t see through them, forming a protective shell that makes us feel disconnected from life.

To Andrei, he could see all that was unpleasant about her face—her large nose and bony frame. But inside her, there was so much peace and contentment that somehow, she lit up everywhere. She was beautiful to him. It was the kind of attraction between people who were really people—and who could see the other person’s aura and makings. He saw what made her flesh move, and not her flesh. The intricate mechanics of her person, and not her shell. Andrei looked at O’Hare and saw something genderless—a kind of organism that was born and that over time has been affected and affects—that was ultimately kind and brave. It was the highest rank of physical desire one could experience. When the beautiful made standard love to each other, there always lay at least one angle of ugly—maybe in the dark, from the side, with a sound they made, or everything once one was finished. In what O’Hare and Andrei shared, beauty could take its time and no second could stop it. It was the type of wholesome love that made a couple stare for minutes at the other, not because they adored their lover’s eye color, but because in those minutes they were speaking to the person within the person, finding them, seeing them see, and playing together in that invisible planet created by two intuitive inventors.

Cambodians resent outsiders’ implications that they are a nation of shell-shocked survivors, but in 2004 news from police stations around the country made it impossible not to notice how many seemingly pedestrian conflicts escalated into stunning violence: the farmer who beheaded his neighbor with a machete in a dispute over a fence; the disgruntled relative who stormed away from an argument at a wedding and returned to douse the guests with battery acid.

Joke-ruiner," Stacey said. We drove north and west, away from the city center. The Treadwell house was in an odd area of town, upriver, near empty brick warehouses and a few old factory shells dating back more than a hundred years. The nearest residential neighborhood was a row of decrepit bungalows on narrow, weedy lots, some of them clearly abandoned or foreclosed. They'd probably been inhabited by factory and dock workers

If words had crystallized as they were spoken, and left deposits like shells or shards, the paleontologist would hardly have paid any attention to early man's tool-making: the brittle deposits of words, in all their formative stages, would have commanded his attention, though the sheer mass of these verbal midden heaps would have overwhelmed him, and he would have been as baffled over interpreting the living structure of meaning as linguists still are by the Etruscan remains. As it turned out, the most impalpable and evanescent of man's creations before writing was invented, the mere breath of his mind, has turned out to be the most formative human achievement: every other subsequent advance in human culture, even tool-making, depended upon it. Language not merely opened the doors of the mind to consciousness, but partly closed the cellar door to the unconsciuos and restricted the access of the ghosts and demons of that underworld to the increasingly well-ventilated and lighted chambers of the upper stories. That this vast inner transformation could ever have been neglected, and the radical changes it effected could have been attributed to tool-making, seems now an incredible oversight. As Leslie White has put it, "The ability to symbol, primarily in its expression in articulate speech, is the basis and substance of all human behavior. It was the means by which culture was brought into existence and the means of its perpetuation since the origin of man." That 'universe of discourse' was man's earliest model of the universe itself.

Japanese anime such as Akira (Otomo, 1988), Oneamisu No Tsubasa (Wings of Honneamise, Yamaga, 1987/1994) and Kokaku kidotai (Ghost in the Shell, Oshii, 1995), and strange live-action movies such as Ganheddo (Gunhed, Harada, 1989), Tetsuo (The Iron Man, Tsukamoto, 1989) and Tetsuo II: Body Hammer (Tsukamoto, 1991) found international success.

Finally, Herschel completely perplexed the poet by remarking that many distant stars had probably 'ceased to exist' millions of years ago, and that looking up into the night sky we were seeing a stellar landscape that was not really there at all. The sky was full of ghosts. 'The light did travel after the body was gone.' After leaving Herschel, Campbell walked onto the shingle of Brighton beach, gazing out to sea, feeling 'elevated and overcome.' He was reminded of Newton's observation that he was just a child picking up shells on the seashore, while the great ocean of truth lay before him.