Gift Tags With Quotes

How can I give you nothing? Do you seriously expect me to buy nothing, wrap up nothing, stick a gift tag on nothing, send a card saying I really hope you like your nothing and lie awake worrying that the nothing I got you was the right color nothing you always anted? Have a heart!

Nein, die Schule hat keinen bestimmenden Einfluss auf meine Entwicklung gehabt. Die Schule hat von meinen besonderen Anlagen wohl instinktiv etwas gespürt, sie aber als obstinate Untauglichkeit gewertet und verworfen. Ein Lehrer drohte, zufällig nicht mir, sondern einem anderen Schüler, mit den Worten: "Ich werde dir deine Karriere schon verderben!" Am gleichen Tag las ich bei Storm den Spruch: "Was du immer kannst, zu werden, scheue Arbeit nicht und Wachen, aber hüte deine Seele vor dem Karrieremachen.

sex has a price tag. What price will you write on the tag? Is it something cheap, that can be given away with no commitment and short-term fulfilment. Or is it a precious, intimate gift, to be shared with one person under the covenant of marriage?

People can understand a price tag, no matter what it’s stuck on. But some can’t understand a messier exchange of asking and giving—the gift that stays in motion.

How many of us were tagged with “no ranking” in high school, or dismissed early in our careers, or are dismissed even now? What gifts and passions might we possess that haven’t yet been discovered but that could give us wings to fly?

No tricks, no tools, but talent makes a task truly top class.

Authentic affirmation doesn’t come with a price tag. It’s a gift without expecting anything in return.

Then came that terrible Christmas with its awful presents when our father, with the vanity I was to find typical, sent his photograph. My gift from Mother was a tea set—a teapot, four cups and saucers and tiny spoons-and a doll with blue eyes and rosy cheeks and yellow hair painted on her head. I didn't know what Bailey received, but after I opened my boxes I went out to the backyard behind the chinaberry tree. The day was cold and the air as clear as water. Frost was still on the bench but I sat down and cried. I looked up and Bailey was coming from the outhouse, wiping his eyes. He had been crying too. I didn't know if he had also told himself they were dead and had been rudely awakened to the truth or whether he was just feeling lonely. The gifts opened the door to questions that neither of us wanted to ask. Why did they send us away? and What did we do so wrong? So Wrong? Why at three and four, did we have tags put on our arms to be sent by train alone from Long Beach, California, to Stamps, Arkansas, with only the porter to look after us?

Some parents have taught their small children, “Go to the manager,” but this poses the same problem of identification as with the policeman: That small name tag is several feet above the child’s eye-line. I don’t believe in teaching inflexible rules because it’s not possible to know they’ll apply in all situations. There is one, however, that reliably enhances safety: Teach children that if they are ever lost, Go to a Woman. Why? First, if your child selects a woman, it’s highly unlikely that the woman will be a sexual predator. Next, as Jan’s story illustrates, a woman approached by a lost child asking for help is likely to stop whatever she is doing, commit to that child, and not rest until the child is safe. A man approached by a small child might say, “Head over there to the manager’s desk,” whereas a woman will get involved and stay involved.

I’m not sure how the ponies happened, though I have an inkling: “Can I get you anything?” I’ll say, getting up from a dinner table, “Coffee, tea, a pony?” People rarely laugh at this, especially if they’ve heard it before. “This party’s ‘sposed to be fun,” a friend will say. “Really? Will there be pony rides?” It’s a nervous tic and a cheap joke, cheapened further by the frequency with which I use it. For that same reason, it’s hard to weed it out of my speech – most of the time I don’t even realize I’m saying it. There are little elements in a person’s life, minor fibers that become unintentionally tangled with your personality. Sometimes it’s a patent phrase, sometimes it’s a perfume, sometimes it’s a wristwatch. For me, it is the constant referencing of ponies. I don’t even like ponies. If I made one of my throwaway equine requests and someone produced an actual pony, Juan-Valdez-style, I would run very fast in the other direction. During a few summers at camp, I rode a chronically dehydrated pony named Brandy who would jolt down without notice to lick the grass outside the corral and I would careen forward, my helmet tipping to cover my eyes. I do, however, like ponies on the abstract. Who doesn’t? It’s like those movies with the animated insects. Sure, the baby cockroach seems cute with CGI eyelashes, but how would you feel about fifty of her real-life counterparts living in your oven? And that’s precisely the manner in which the ponies clomped their way into my regular speech: abstractly. “I have something for you,” a guy will say on our first date. “Is it a pony?” No. It’s usually a movie ticket or his cell phone number. But on our second date, if I ask again, I’m pretty sure I’m getting a pony. And thus the Pony drawer came to be. It’s uncomfortable to admit, but almost every guy I have ever dated has unwittingly made a contribution to the stable. The retro pony from the ‘50s was from the most thoughtful guy I have ever known. The one with the glitter horseshoes was from a boy who would later turn out to be straight somehow, not gay. The one with the rainbow haunches was from a librarian, whom I broke up with because I felt the chemistry just wasn’t right, and the one with the price tag stuck on the back was given to me by a narcissist who was so impressed with his gift he forgot to remover the sticker. Each one of them marks the beginning of a new relationship. I don’t mean to hint. It’s not a hint, actually, it’s a flat out demand: I. Want. A. Pony. I think what happens is that young relationships are eager to build up a romantic repertoire of private jokes, especially in the city where there’s not always a great “how we met” story behind every great love affair. People meet at bars, through mutual friends, on dating sites, or because they work in the same industry. Just once a coworker of mine, asked me out between two stops on the N train. We were holding the same pole and he said, “I know this sounds completely insane, bean sprout, but would you like to go to a very public place with me and have a drink or something...?” I looked into his seemingly non-psycho-killing, rent-paying, Sunday Times-subscribing eyes and said, “Sure, why the hell not?” He never bought me a pony. But he didn’t have to, if you know what I mean.

The gift of your trust. Nothing is more valuable than that, and you can't put a price tag on that kind of gift. I'd spend all my time catching up, because hell not it's not equal. What you'd give me far surpasses anything I could give you.

The old man raised both hands, palms toward her. “No, miss, don’t you give it a second thought. The kind of ‘present’ I have in mind is not something tangible, not something with a price tag. To put it simply”—he placed his hands on the desk and took one long, slow breath—”what I would like to do for a lovely young fairy such as you is to grant a wish you might have, to make your wish come true. Anything. Anything at all that you wish for—assuming that you do have such a wish.

EVERY WEDNESDAY, I teach an introductory fiction workshop at Harvard University, and on the first day of class I pass out a bullet-pointed list of things the students should try hard to avoid. Don’t start a story with an alarm clock going off. Don’t end a story with the whole shebang having been a suicide note. Don’t use flashy dialogue tags like intoned or queried or, God forbid, ejaculated. Twelve unbearably gifted students are sitting around the table, and they appreciate having such perimeters established. With each variable the list isolates, their imaginations soar higher. They smile and nod. The mood in the room is congenial, almost festive with learning. I feel like a very effective teacher; I can practically hear my course-evaluation scores hitting the roof. Then, when the students reach the last point on the list, the mood shifts. Some of them squint at the words as if their vision has gone blurry; others ask their neighbors for clarification. The neighbor will shake her head, looking pale and dejected, as if the last point confirms that she should have opted for that aseptic-surgery class where you operate on a fetal pig. The last point is: Don’t Write What You Know. The idea panics them for two reasons. First, like all writers, the students have been encouraged, explicitly or implicitly, for as long as they can remember, to write what they know, so the prospect of abandoning that approach now is disorienting. Second, they know an awful lot. In recent workshops, my students have included Iraq War veterans, professional athletes, a minister, a circus clown, a woman with a pet miniature elephant, and gobs of certified geniuses. They are endlessly interesting people, their lives brimming with uniquely compelling experiences, and too often they believe those experiences are what equip them to be writers. Encouraging them not to write what they know sounds as wrongheaded as a football coach telling a quarterback with a bazooka of a right arm to ride the bench. For them, the advice is confusing and heartbreaking, maybe even insulting. For me, it’s the difference between fiction that matters only to those who know the author and fiction that, well, matters.

The last week of shooting, we did a scene in which I drag Amanda Wyss, the sexy, blond actress who played Tina, across the ceiling of her bedroom, a sequence that ultimately became one of the most visceral from the entire Nightmare franchise. Tina’s bedroom was constructed as a revolving set, and before Tina and Freddy did their dance of death, Wes did a few POV shots of Nick Corri (aka Rod) staring at the ceiling in disbelief, then we flipped the room, and the floor became the ceiling and the ceiling became the floor and Amanda and I went to work. As was almost always the case when Freddy was chasing after a nubile young girl possessed by her nightmare, Amanda was clad only in her baby-doll nightie. Wes had a creative camera angle planned that he wanted to try, a POV shot from between Amanda’s legs. Amanda, however, wasn’t in the cameramen’s union and wouldn’t legally be allowed to operate the cemera for the shot. Fortunately, Amy Haitkin, our director of photography’s wife, was our film’s focus puller and a gifted camera operator in her own right. Being a good sport, she peeled off her jeans and volunteered to stand in for Amanda. The makeup crew dapped some fake blood onto her thighs, she lay down on the ground, Jacques handed her the camera, I grabbed her ankles, and Wes called, “Action.” After I dragged Amy across the floor/ceiling, I spontaneously blew her a kiss with my blood-covered claw; the fake blood on my blades was viscous, so that when I blew her my kiss of death, the blood webbed between my blades formed a bubble, a happy cinematic accident. The image of her pale, slender, blood-covered legs, Freddy looming over her, straddling the supine adolescent girl, knife fingers dripping, was surreal, erotic, and made for one of the most sexually charged shots of the movie. Unfortunately it got left on the cutting-room floor. If Wes had left it in, the MPAA - who always seemed to have it out for Mr. Craven - would definitely have tagged us with an X rating. You win some, you lose some.

I remember the time I went to my first rare-book fair and saw how the first editions of Thoreau and Whitman and Crane had been carefully packaged in heat-shrunk plastic with the price tags on the inside. Somehow the simple addition of air-tight plastic bags had transformed the books from vehicles of liveliness into commodities, like bread made with chemicals to keep it from perishing. In commodity exchange it’s as if the buyer and the seller where both in plastic bags; there’s none of the contact of a gift exchange. There is neither motion nor emotion because the whole point is to keep the balance, to make sure the exchange itself doesn’t consume anything or involve one person with another. Consumer goods are consumed by their owners, not by their exchange. The desire to consume is a kind of lust. We long to have the world flow through us like air or food. We are thirsty and hungry for something that can only be carried inside bodies. But consumer goods merely bait this lust, they do not satisfy it. The consumer of commodities is invited to a meal without passion, a consumption that leads to neither satiation nor fire. He is a stranger seduced into feeding on the drippings of someone else’s capital without benefit of its inner nourishment, and he is hungry at the end of the meal, depressed and weary as we all feel when lust has dragged us from the house and led us to nothing.

The tulips are too excitable, it is winter here. Look how white everything is, how quiet, how snowed-in. I am learning peacefulness, lying by myself quietly As the light lies on these white walls, this bed, these hands. I am nobody; I have nothing to do with explosions. I have given my name and my day-clothes up to the nurses And my history to the anesthetist and my body to surgeons. They have propped my head between the pillow and the sheet-cuff Like an eye between two white lids that will not shut. Stupid pupil, it has to take everything in. The nurses pass and pass, they are no trouble, They pass the way gulls pass inland in their white caps, Doing things with their hands, one just the same as another, So it is impossible to tell how many there are. My body is a pebble to them, they tend it as water Tends to the pebbles it must run over, smoothing them gently. They bring me numbness in their bright needles, they bring me sleep. Now I have lost myself I am sick of baggage—— My patent leather overnight case like a black pillbox, My husband and child smiling out of the family photo; Their smiles catch onto my skin, little smiling hooks. I have let things slip, a thirty-year-old cargo boat stubbornly hanging on to my name and address. They have swabbed me clear of my loving associations. Scared and bare on the green plastic-pillowed trolley I watched my teaset, my bureaus of linen, my books Sink out of sight, and the water went over my head. I am a nun now, I have never been so pure. I didn’t want any flowers, I only wanted To lie with my hands turned up and be utterly empty. How free it is, you have no idea how free—— The peacefulness is so big it dazes you, And it asks nothing, a name tag, a few trinkets. It is what the dead close on, finally; I imagine them Shutting their mouths on it, like a Communion tablet. The tulips are too red in the first place, they hurt me. Even through the gift paper I could hear them breathe Lightly, through their white swaddlings, like an awful baby. Their redness talks to my wound, it corresponds. They are subtle : they seem to float, though they weigh me down, Upsetting me with their sudden tongues and their color, A dozen red lead sinkers round my neck. Nobody watched me before, now I am watched. The tulips turn to me, and the window behind me Where once a day the light slowly widens and slowly thins, And I see myself, flat, ridiculous, a cut-paper shadow Between the eye of the sun and the eyes of the tulips, And I have no face, I have wanted to efface myself. The vivid tulips eat my oxygen. Before they came the air was calm enough, Coming and going, breath by breath, without any fuss. Then the tulips filled it up like a loud noise. Now the air snags and eddies round them the way a river Snags and eddies round a sunken rust-red engine. They concentrate my attention, that was happy Playing and resting without committing itself. The walls, also, seem to be warming themselves. The tulips should be behind bars like dangerous animals; They are opening like the mouth of some great African cat, And I am aware of my heart: it opens and closes Its bowl of red blooms out of sheer love of me. The water I taste is warm and salt, like the sea, And comes from a country far away as health. --"Tulips", written 18 March 1961

My internal dialogue went something like this: leave it open!… but that would be strange if someone walks by… who cares? I care! Why do I care? Just close it! You can’t close it; you’re in your underwear!! and if the door is closed you might… do… something… Here is the situation: I’m in my underwear in my room with Quinn and my alcohol laden inhibitions are low, low, low. It’s like closing yourself up in a Godiva chocolate shop, of course you’re going to sample something… Don’t sample anything!! Don’t even smell anything!! If you smell it you’ll want to try it. Don’t smell him anymore. No. More. Smelling. I hope he doesn’t see the empty bottle of wine… Put some clothes on. Is it weird if I dress in front of him? I want some chocolate. Ah! Clothes!! Finally the door closed even though I hadn’t made a conscious decision to do so. I took a steadying breath then turned and followed, trailing some distance behind him and crossing to the opposite side of the room from where he was currently standing. I spotted my workout shirt on the bed and attempted to surreptitiously put it on. Quinn’s back was to me and he seemed to be meandering around the space; he didn’t appear to be in any hurry. He paused for a short moment next to my laptop and stared at the screen. He looked lost and a little vulnerable. Smash, smash, smash I took this opportunity to rapidly pull on some sweatpants and a sweatshirt from my suitcase. The sweatshirt was on backwards, with the little ‘V’ in the back and the tag in the front, but I ignored it and grabbed my jacket from the closet behind me and soundlessly slipped it on too. He walked to the window and surveyed the view as I hurriedly pushed my feet into socks and hand knit slippers, given to me by Elizabeth last Christmas. I was a tornado of frenzied activity, indiscriminately and quietly pulling on clothes. I may have been overcompensating for my earlier state of undress. However, it wasn’t until he, with leisurely languid movements, turned toward me that I finally stopped dressing; my hands froze on my head as I pulled on a white cabled hat, another hand knit gift from Elizabeth. Quinn sighed, “I need to talk to you about your sist-” but

When we are sold perfume, we are accustomed to also being sold the idea of a life we will never have. Coty's Chypre enabled Guerlain to create Mitsouko; Coty's Emeraude of 1921 was the bedrock on which Shalimar was built and Coty's L'Origan become the godmother of L'heure bleue, also by Guerlain. Some people dedicate themselves to making life beautiful. With instinctual good taste, magpie tendencies and a flair for color, they weave painfully exquisite tableaux, defining the look of an era. Paul Poiret was one such person. After his success, he went bust in 1929 and had to sell his leftover clothing stock as rags. Swept out of the picture by a new generation of designers, his style too ornate and Aladdinesque, Poiret ended his days as a street painter and died in poverty. It was Poiret who saw that symbolic nomenclature could turn us into frenzied followers, transforming our desire to own a perfume into desperation. The beauty industry has always been brilliant at turning insecurities into commercial opportunities. Readers could buy the cologne to relax during times of anxiety or revive themselves from strain. Particularly in the 1930s, releases came thick and fast, intended to give the impression of bounty, the provision of beauty to all women in the nation. Giving perfumes as a gift even came under the Soviet definition of kulturnost or "cultured behavior", including to aunts and teachers on International Women's Day. Mitsouko is a heartening scent to war when alone or rather, when not wanting to feel lonely. Using fragrance as part of a considered daily ritual, the territorial marking of our possessions and because it offers us a retrospective sense of naughtiness. You can never tell who is going to be a Nr. 5 wearer. No. 5 has the precision of well-cut clothes and that special appeal which comes from a clean, bare room free of the knick-knacks that would otherwise give away its age. Its versatility may well be connected to its abstraction. Gardenia perfumes are not usually the more esoteric or intellectual on the shelves but exist for those times when we demand simply to smell gorgeous. You can depend on the perfume industry to make light of the world's woes. No matter how bad things get, few obstacles can block the shimmer and glitz of a new fragrance. Perfume became so fashionable as a means of reinvention and recovery that the neurology department at Columbia University experimented with the administration of jasmine and tuberose perfumes, in conjunction with symphony music, to treat anxiety, hysteria and nightmares. Scent enthusiasts cared less for the nuances of a composition and more for the impact a scent would have in society. In Ancient Rome, the Stoics were concerned about the use of fragrance by women as a mask for seducing men or as a vehicle of deception. The Roman satirist Juvenal talked of women buying scent with adultery in mind and such fears were still around in the 1940s and they are here with us today. Similarly, in crime fiction, fragrance is often the thing that gives the perpetrator away. Specifically in film noir, scent gets associated with misdemeanors. With Opium, the drugs tag was simply the bait. What YSL was really marketing, with some genius, was perfume as me time: a daily opportunity to get languid and to care sod-all about anything or anyone else.

I groaned, seeing what was causing the smell. Inside the gift box was a very dead cat. A gray one, wearing a name tag and collar. This was someone's pet. Fucking hell.

Confetti Fun Center in New Springfield, OH, is the premier destination for family fun and kids' parties. With attractions like Toddler Town, inflatable bounce houses, climbing walls, a 3-story playground, and a full arcade, it offers endless entertainment. Stress-free party planning with customizable themes, a cafe, and various activities like mini-golf and laser tag ensures memorable experiences for all ages. Located in the historic Hummel Gift Shop, it's the go-to place for joyous celebrations and adventures.

How many books do we read from which the writer lacked courage to tie off the umbilical cord? How many gifts do we open from which the writer neglected to remove the price tag? Is it pertinent, is it courteous, for us to learn what it cost the writer personally?

it began to seem even more important that they also come to appreciate the value and the beauty of ordinary things, gifts that come with no price tags attached but that can nevertheless seem increasingly out of reach in our noisy, fast-paced, overcrowded world—

Roz put his hands on his hips and stared over the ruins with disfavor. “I don’t see any treasures.” “They’re not going to be out on tables with gift tags,” said Penric, not sharing his pessimism.

A strong woman is one who feels deeply and loves fiercely. Her tears flow just as abundantly as her laughter. She is both soft and powerful. She is practical and spiritual. She is a gift to her family and the world... tag and appreciate the strong women in your life who keep you going...

The reason why people do not have price tags is because life is priceless.

The Hen Going through the entire collection, I finally saw an egg that was simple in design and style, possessing clean lines that were modern and contemporary. I pointed out the "Hen" to mu'allmi, not expecting that he would ask the saleslady to release it from under the locked display case. As soon as the "Hen" was out of its display case I could see that it was even more beautiful and elegant than it first appeared. Ramiz held it in his hands, looking closely at this costly luxury item. “How much is it?" The signora looked at the price tag. "It is US $3,800.00." That was a lot of money in 1966. My professor held up the egg, examining its simple contents before replying, "Please wrap this for me. It is a gift for someone very dear to me.

Guilt is a tag we attach to gifts, when we give to get something back

Some businesses take a unique approach to this. Footwear brand Toms, already beloved thanks to its renowned blend of “social purpose” and product, forgoes splashy celebrity marketing campaigns. Instead, they engage and elevate real customers. During the summer of 2016, Toms engaged more than 3.5 million people in a single day using what they call tribe power. The company tapped into its army of social media followers for its annual One Day Without Shoes initiative to gather millions of Love Notes on social media. However, Toms U.K. marketing manager Sheela Thandasseri explained that their tribe’s Love Notes are not relegated to one day. “Our customers create social content all the time showing them gifting Toms or wearing them on their wedding day, and they tag us because they want us to be part of it.”2 Toms uses customer experience management platform Sprinklr to aggregate interactions on Facebook, Instagram, and Twitter. Toms then engages in a deep analysis of the data generated by its tribe, learning what customers relish and dislike about its products, stores, and salespeople so they can optimize their Complete Product Experience (CPE). That is an aggressive, all-in approach that extracts as much data as possible from every customer interaction in order to see patterns and craft experiences. Your approach might differ based on factors ranging from budget limitations to privacy concerns. But I can attest that earning love does not necessarily require cutting-edge technology or huge expenditures. What it does require is a commitment to delivering the building blocks of lovability that I reviewed in the previous chapter. Lovability begins with a mindset that makes it a priority. The building blocks are feelings — hope, confidence, fun. If you stack them up over and over again, eventually you will turn those feelings into a tower of meaningful benefits for everyone with a stake in your business, including owners, investors, employees, and customers. Now let’s look more closely at those benefits and the groups they affect.

One of the reasons Kay laughs so much now is because in the beginning, when Phil was drinking and they didn’t have much money, there wasn’t a lot of laughing going on. But now we laugh at almost everything together. On our birthdays, Kay likes to send us very random cards, like Earth Day or graduation cards. Her favorite thing to do at Christmas is to give us gag gifts. After we’ve exchanged gifts as a family, she’ll give everybody a joke gift. Kay will often forget why she thought it was funny when she bought it. She’ll give someone salt and pepper shakers and won’t even remember why she gave them! Of course, Kay’s gift always say they’re from her dogs. If you get a present from her rat terriers-or some random famous person whose name is on the tag-you know it’s actually one of Kay’s gag gifts. Every one of Kay’s rat terriers has been named Jesse James or some version of his name, because if one dies she’ll still have another one with her. Somehow, that helps her cope with the trauma of losing one of her pets. She’s had like twenty of those dogs and they’ve all been named Jesse, JJ, or Jesse James II. She calls one of her dogs Bo-Bo, but his real name is Jesse James.

Merrett suddenly didn’t look at ease anymore. “Lydia . . . what did you write on the name tag?” She tilted her head at him as she answered. “I wrote Watkins’ name on it.

Comanche Heart Quotes Read My rating: 1 of 5 stars2 of 5 stars3 of 5 stars[ 4 of 5 stars ]5 of 5 stars Comanche Heart (Comanche, #2)Comanche Heart by Catherine Anderson 4,139 ratings, 4.05 average rating, 326 reviews Open Preview Comanche Heart Quotes Showing 1-8 of 8 “Do you think courage means being fearless? Or daring? Courage, real courage, is taking three steps when it terrifies you.” ― Catherine Anderson, Comanche Heart tags: courage, fear, fearless, inspirational29 likesLike Goodreads recommends Questions about Goodreads? Questions about Goodreads? Visit our Help section to find the answers you’re looking for, or let us know about your ideas to improve Goodreads. Learn More “Ask me to cut off my right arm for you, and I'll do it. Ask me to lay down my life for you, and I'll do it. But Please don't ask me to give you up now that I've found you again. Don't ask that, Amy” ― catherine anderson, Comanche Heart 20 likesLike “That's an L, as in love, and I love you more than I'll ever be able to tell you with words. I want to tell you in other ways. In the way I kiss you. In the way I touch you. In the way I hold you. Won't you let me say it my way, just once? - Swift to Amy” ― Catherine Anderson, Comanche Heart 17 likesLike “The sadness in your heart is a yesterday you can no longer see, so put it behind you and walk always forward. Swift Antelope to Amy” ― Catherine Anderson, Comanche Heart tags: forgetting-the-past, the-past-looking-to-the-future10 likesLike “A man whose yesterdays rest on his horizon travels forward into his past. The result is that he goes a very long way to nowhere.” ― Catherine Anderson, Comanche Heart 10 likesLike “¿Crees que ser valiente significa no tener miedo? ¿O atreverse? El coraje, en realidad, significa dar tres pasos cuando eso te aterra” ― Catherine Anderson, Corazón comanche 7 likesLike “This was how God had intended it to be. A precious gift. A sacred oneness. I love you. He said the words in the way he held her, his rock hard arms so gentle they felt like air around her. I love you. His hands told her-not merely touching her, but worshiping her.” ― Catherine Anderson, Comanche Heart 5 likesLike “I know, but this one is important.” He cupped his hand to her chin and looked deep into her eyes. “When you lie down tonight and close your eyes to fall asleep, take me with you. If the nightmares come, dream that I’m there.” He pressed his cheek to hers. She felt wetness touch her skin. “Don’t face them alone anymore.

eggs and curried chicken salad and double fudge brownies. That was all she was good at: eating. In the summer the Castles, the Alistairs, and the Randolphs all went to the beach together. When they were younger, they would play flashlight tag, light a bonfire, and sing Beatles songs, with Mr. Randolph playing the guitar and Penny’s voice floating above everyone else’s. But at some point Demeter had stopped feeling comfortable in a bathing suit. She wore shorts and oversized T-shirts to the beach, and she wouldn’t go in the water, wouldn’t walk with Penny to look for shells, wouldn’t throw the Frisbee with Hobby and Jake. The other three kids always tried to include Demeter, which was more humiliating, somehow, than if they’d just ignored her. They were earnest in their pursuit of her attention, but Demeter suspected this was their parents’ doing. Mr. Randolph might have offered Jake a twenty-dollar bribe to be nice to Demeter because Al Castle was an old friend. Hobby and Penny were nice to her because they felt sorry for her. Or maybe Hobby and Penny and Jake all had a bet going about who would be the one to break through Demeter’s Teflon shield. She was a game to them. In the fall there were football parties at the Alistairs’ house, during which the adults and Hobby and Jake watched the Patriots, Penny listened to music on her headphones, and Demeter dug into Zoe Alistair’s white chicken chili and topped it with a double spoonful of sour cream. In the winter there were weekends at Stowe. Al and Lynne Castle owned a condo near the mountain, and Demeter had learned to ski as a child. According to her parents, she used to careen down the black-diamond trails without a moment’s hesitation. But by the time they went to Vermont with the Alistairs and the Randolphs, Demeter refused to get on skis at all. She sat in the lodge and drank hot chocolate until the rest of the gang came clomping in after their runs, rosy-cheeked and winded. And then the ski weekends, at least, had stopped happening, because Hobby had basketball and Penny and Jake were in the school musical, which meant rehearsals night and day. Demeter thought back to all those springs, summers, falls, and winters with Hobby and Penny and Jake, and she wondered how her parents could have put her through such exquisite torture. Hobby and Penny and Jake were all exceptional children, while Demeter was seventy pounds overweight, which sank her self-esteem, which led to her getting mediocre grades when she was smart enough for A’s and killed her chances of landing the part of Rizzo in Grease, even though she was a gifted actress. Hobby was in a coma. Her mother was on the phone. She kept

It would be one thing if such scorekeeping worked, but it never has and never will, not where the heart is concerned. When one person’s gain equals the other’s loss, the relationship between them always suffers. We become competitors rather than teammates. Moreover, like a husband pointing out the dishes he’s done in order to leverage some gratitude from his wife, the second we harness our good deeds for credit is the second they become less good. All of a sudden, a price tag is dangling off of what was supposed to be a gift. “If I knew that you’d require a ton of affirmation and thanks, or that you’d hold it over my head, I would’ve done the dishes myself!” And that’s just the petty stuff. The language of scorekeeping is the language of conditionality. “I’ll do this for you because you do that for me.” “I’ll hold up my end of the bargain as long as you hold up yours,” we say. However egalitarian our intention, that kind of nonassurance sets us up for a life of accounting. But what works at the office runs out of gas at home.

Dear Daughter, Never ever put a price tag on the life you have. Remember that money cannot buy breath.

Dear Daughter, Never ever put a price tag on the life you have. Remember that money cannot buy you breath.

Never ruin an apology with an excuse. Sincerity ends where excuses begin. True remorse demands acceptance, not excuses. An apology with an excuse is like a gift with a price tag. Apologies are the salve for broken trust—excuses only delay the healing, excuses turn an apology into a justification. A sincere apology acknowledges fault; excuses only muddy the waters.

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