Glasses Style Quotes

That's kind of a leap, but the Russian judge gave you a nine point five for style, so okay.

That’s kind of a leap, but the Russian judge gave you a nine point five for style, so OK.

Then I guess the rest of my life will be resigned to doggy style sex." The words were out of my mouth before I could think about them. "I mean however long...when we're...that wasn't a fucking proposal." "Okay." "Don't smile that. Smugness doesn't become you." "Okay." "Scoot the fuck over. You're hogging the bed." Austin and Peter. :')

The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless.

Style is all about how you carry yourself and project yourself to the world. More than what you're wearing, it's about an overall attitude and sense of ease with yourself.

an authentic personal style cannot be achieved without a solid technique at its base.

He pushes me onto my back and mounts me, missionary style, while using his hand to rub against my wetness, wiping it up and down his cock. My God, he has done that before and it is the most erotic maneuver I have ever witnessed.

Punctuation has been defined many ways. Some grammarians use the analogy of stitching: punctuation as the basting that holds the fabric of language in shape. Another writer tells us that punctuation marks are the traffic signals of language: they tell us to slow down, notice this, take a detour, and stop. I have even seen a rather fanciful reference to the full stop and comma as “the invisible servants in fairy tales – the ones who bring glasses of water and pillows, not storms of weather or love”. But best of all, I think, is the simple advice given by the style book of a national newspaper: that punctuation is “a courtesy designed to help readers to understand a story without stumbling”.

On the endive show, she offered a Yogi Berra-style malaprop: "Now don't wash endive-that is, unless it's dirty." And during an episode of forgetfulness: "I did not have my glasses on when I was thinking." Once, she sorted through a jungle of seaweed in search of a twenty-pound lobster lurking in its folds; another time, she lifted the veil over a platter hunting for the "big, bad artichoke" lying furtively underneath.

She's a bright girl. She learned in her thirteenth year that you can get old films of Mae West or Marlene Dietrich (who is a Vulcan; look at the eyebrows) after midnight on UHF if you know where to look, at fourteen that pot helps, at fifteen that reading's even better. She learned, wearing her rimless glasses, that the world is full of intelligent, attractive, talented women who manage to combine careers with their primary responsibilities as wives and mothers and whose husbands beat them. She's put a gold circle pin on her shirt as a concession to club day. She loves her father and once is enough. Everyone knows that much as women want to be scientists and engineers, they want foremost to be womanly companions to men (what?) and caretakers of childhood; everyone knows that a large part of a woman's identity inheres in the style of her attractiveness. Laur is daydreaming. She looks straight before her, blushes, smiles, and doesn't see a thing... Laur is daydreaming that she's Genghis Khan.

Jubal shrugged. "Abstract design is all right-for wall paper or linoleum. But art is the process of evoking pity and terror, which is not abstract at all but very human. What the self-styled modern artists are doing is a sort of unemotional pseudo-intellectual masturbation. . . whereas creative art is more like intercourse, in which the artist must seduce- render emotional-his audience, each time. These ladies who won't deign to do that- and perhaps can't- of course lost the public. If they hadn't lobbied for endless subsidies, they would have starved or been forced to go to work long ago. Because the ordinary bloke will not voluntarily pay for 'art' that leaves him unmoved- if he does pay for it, the money has to be conned out of him, by taxes or such." "You know, Jubal, I've always wondered why i didn't give a hoot for paintings or statues- but I thought it was something missing in me, like color blindness." "Mmm, one does have to learn to look at art, just as you must know French to read a story printed in French. But in general terms it's up to the artist to use language that can be understood, not hide it in some private code like Pepys and his diary. Most of these jokers don't even want to use language you and I know or can learn. . . they would rather sneer at us and be smug, because we 'fail' to see what they are driving at. If indeed they are driving at anything- obscurity is usually the refuge of incompetence. Ben, would you call me an artists?” “Huh? Well, I’ve never thought about it. You write a pretty good stick.” “Thank you. ‘Artist’ is a word I avoid for the same reasons I hate to be called ‘Doctor.’ But I am an artist, albeit a minor one. Admittedly most of my stuff is fit to read only once… and not even once for a busy person who already knows the little I have to say. But I am an honest artist, because what I write is consciously intended to reach the customer… reach him and affect him, if possible with pity and terror… or, if not, at least to divert the tedium of his hours with a chuckle or an odd idea. But I am never trying to hide it from him in a private language, nor am I seeking the praise of other writers for ‘technique’ or other balderdash. I want the praise of the cash customer, given in cash because I’ve reached him- or I don’t want anything. Support for the arts- merde! A government-supported artist is an incompetent whore! Damn it, you punched one of my buttons. Let me fill your glass and you tell me what is on your mind.

If you changed into a different style of clothes, and put on a hat and glasses, I might not recognize you. But no matter what I wear, my ducks always know who I am. Am I just a guy worth knowing, or do ducks just have superior intellects?

You go out into your world, and try and find the things that will be useful to you. Your weapons. Your tools. Your charms. You find a record, or a poem, or a picture of a girl that you pin to the wall and go, "Her. I'll try and be her. I'll try and be her - but here." You observe the way others walk, and talk, and you steal little bits of them - you collage yourself out of whatever you can get your hands on. You are like the robot Johnny 5 in Short Circuit, crying, "More input! More input for Johnny 5! as you rifle through books and watch films and sit in front of the television, trying to guess which of these things that you are watching - Alexis Carrington Colby walking down a marble staircase; Anne of Green Gables holding her shoddy suitcase; Cathy wailing on the moors; Courtney Love wailing in her petticoat; Dorothy Parker gunning people down; Grace Jones singing "Slave to the Rhythm" - you will need when you get out there. What will be useful. What will be, eventually, you? And you will be quite on your own when you do all this. There is no academy where you can learn to be yourself; there is no line manager slowly urging you toward the correct answer. You are midwife to yourself, and will give birth to yourself, over and over, in dark rooms, alone. And some versions of you will end in dismal failure - many prototypes won't even get out the front door, as you suddenly realize that no, you can't style-out an all-in-one gold bodysuit and a massive attitude problem in Wolverhampton. Others will achieve temporary success - hitting new land-speed records, and amazing all around you, and then suddenly, unexpectedly exploding, like the Bluebird on Coniston Water. But one day you'll find a version of you that will get you kissed, or befriended, or inspired, and you will make your notes accordingly, staying up all night to hone and improvise upon a tiny snatch of melody that worked. Until - slowly, slowly - you make a viable version of you, one you can hum every day. You'll find the tiny, right piece of grit you can pearl around, until nature kicks in, and your shell will just quietly fill with magic, even while you're busy doing other things. What your nature began, nature will take over, and start completing, until you stop having to think about who you'll be entirely - as you're too busy doing, now. And ten years will pass without you even noticing. And later, over a glass of wine - because you drink wine now, because you are grown - you will marvel over what you did. Marvel that, at the time, you kept so many secrets. Tried to keep the secret of yourself. Tried to metamorphose in the dark. The loud, drunken, fucking, eyeliner-smeared, laughing, cutting, panicking, unbearably present secret of yourself. When really you were about as secret as the moon. And as luminous, under all those clothes.

Sunlight triggers a cutoff of melatonin, bringing on wakefulness. (Indoor light—particularly the light from tablets and smartphones—can also suppress melatonin, but nowhere near as dramatically as sunlight.) This is why night shift workers who drive home in the morning through sunlight and then struggle to fall asleep may find relief by buying amber-lensed Bono-style glasses that block the sun’s blue light wavelengths. NSMRL

This light-shouldered boy could jitterbug, old style, and would; he was more precious than gold, yea, than much fine gold. We jitterbugged...Only the strenth in our fingertips kept us alive. If they weakened or slipped, his fingertips or mine, we'd fall spinning backward across the length of the room and out through the glass French doors to the snowy terrace, and if we were any good we'd make sure we fell on the downbeat, snow or no snow.

Before, I would have been powdered and perfumed, my hair done in an elaborate style by the patient fingers of servants. The household crake would have written lines in my honor, my dress would have been new, and I would have been as beautifully turned out as glass sculpture from House Canroth. And as empty.

The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless. OSCAR WILDE

Yet I have reflected on the fact that for most of use, there is a hard, impassable barrier between the most imaginatively detailed depravity and its real-life execution. It's the same solid steel wall that inserts itself between a kinife and my wrist even when I'm at my most disconsolate. So how was Kevin able to raise that crossbow, point it at Laura's breastbone, and then really, actually, in time and space, squeeze the release? I can only assume that he discovered what I never wish to. That there is no barrier. That like my trips abroad or this ludicrous scheme of bike locks and invitations on school stationaery, the very squeezing of that release can be broken down into a series of simple constituent parts. It may be no more miraculous to pull the trigger of a bow or a gun than it is to reach for a glass of water. I fear that crossing into the "unthinkable" turns out to be no more athletic than stepping across the threshold of an ordinary room; and that, if you will, is the trick. The secret. As ever, the secret is that there is no secret. He must almost have wanted to giggle, though that is not his style; those Columbine kids did giggle. And once you have found out that there is nothing to stop you—that the barrier, so seemingly uncrossable, is all in your head—it must be possible to step back and forth across that threshold again and again, shot after shot, as if an unintimidating pipsqueak has drawn a line across the carpet that you must not pass and you launch tauntingly over it, back and over it, in a mocking little dance.

A glass in style of diamond only gives you beauty, it's not going to be of any other benefit.

She reached into her pants pocket and pulled out a pair of gunmetal-framed reading glasses. She flicked them open, switchblade-style, with a snap of her wrist, and shoved them onto her nose.

It's the little things that make you want to kill someone, the way Milo drinks Diet Dr Pepper and ties his Jewfro in a bun and lifts his shirt to show off his stomach and wipes his glasses down even though they're not dirty. Yes, Milo got glasses, and seafoam green Topsiders, and a navy blue Polo-style shirt with a popped collar, and didn't I already kill this guy when he was schilling Home Soda and fucking Guinevere Beck?

He had chestnut brown hair that was short on the sides but longer on top and styled to look just a little messy. Behind stylish glasses with black plastic frames, his dark brown eyes appeared concerned and maybe even a little amused.

I think it was Asimov who once compared prose to windows. Some authors, he said— like Asimov himself— wrote in a style devoid of flourishes or lyricism, telling the story in a just the facts, ma’am kinda way. This is your standard clear-window prose; you don’t appreciate it, you don’t even notice it, but at least you’ve got a clear view of what’s going down on the other side. Others (Samuel Delany and China Miéville come to mind) write “stained-glass-window” prose: the words contain a kind of beauty in the way they’re put together, they draw attention to their own construction and invite whistles of admiration. The only problem with stained-glass windows is, the more ornate the pane, the tougher it is to see what’s on the other side.

I know my father blamed himself, since he is the one who discovered me pawing through his pornography in the basement as a child. Even then, I marveled at the strangeness of the women in the magazines, their hair feathered in a style I struggled to believe was ever in fashion.

At one point, Tommy wanted to have Scott Holmes (who’d been cast as Mike) also play Chris-R. Scott was supposed to pull this off by wearing what Tommy described as a “disguise”—a black Indiana Jones–style hat and horn-rimmed glasses—on the assumption that the audience wouldn’t notice.

Edward Lasco was on the screened porch of his rented house in a comfortable but not elegant older section of the town where he'd lived for the past fifteen years when his wife, Elise, who six months before had left him and moved to a nearby city to work in a psychiatric hospital, came around the side of the house and stood beside the screen looking in. She had on a business outfit—natural linen suit, knee-high boots, dark glasses with at least three distinguishable colors tiered top to bottom in the lenses—and she carried a slick briefcase, thin and shiny. Her hair was shorter than he'd seen it, styled in a peculiar way so that it seemed it spots to jerk away from her head, to say, "I'm hair, boy, and you'd better believe it." Edward had come outside with a one-pint carton of skim milk and a ninety-nine-cookie package of Oreos and a just-received issue of InfoWorld, and he was entirely content with the prospect of eating his cookies and drinking his milk and reading his magazine, but when he saw Elise he was filled with a sudden, very unpleasant sense that he didn't want to see her. It'd been a good two and a half months since he'd talked to her, and there she was looking like an earnest TV art director's version of the modern businesswoman; it made him feel that his life was fucked, and this was before she'd said a word.

Sam had dark curly hair that he wore parted in the middle and bluntly cut, just above his shoulders. He wore cheap John Lennon–style wire-rimmed glasses and one of those rough hemp striped parkas that are sold in Mexico. His blue jeans were holey and faded to almost white, and he paired his Teva sandals with thick white athletic socks.

I had a few glasses of wine at lunch. just the little bottle Sutter Home 4-pack from the party store. Kept it light. It's European, helps you relax, and lets you digest your food properly. Plus. I paired it with a new Artisan Bread sandwich from Quiznos. It's inspired by Europe. So good. Ate it in my car. Europeans love to dine outside.

Television cabinets are a poster boy example. They can be made locally of metal, glass fiberglass-glass composites, cast basalt, ceramic or combinations thereof. In doing so frontier industrial designers can determine the finish styling. But we challenge them to come up with cabinets and casings that can both stand as made, but also support after-market customization.

ORGANIC LIFE beneath the shoreless waves Was born and nurs'd in Ocean's pearly caves; First, forms minute, unseen by spheric glass, Move on the mud, or pierce the watery mass; These, as successive generations bloom, New powers acquire, and larger limbs assume; Whence countless groups of vegetation spring, And breathing realms of fin, and feet, and wing. Thus the tall Oak, the giant of the wood, Which bears Britannia's thunders on the flood; The Whale, unmeasured monster of the main, The lordly Lion, monarch of the plain, The Eagle soaring in the realms of air, Whose eye undazzled drinks the solar glare, Imperious man, who rules the bestial crowd, Of language, reason, and reflection proud, With brow erect, who scorns this earthy sod, And styles himself the image of his God; Arose from rudiments of form and sense, An embryon point, or microscopic ens!

The fairy- again, Wendy assumed- was an angry tinkling ball of light with the prettiest girl imaginable inside. Diminutive but... solid, with a scandalous lack of decorous dress. All she wore was a ragged green shift which barely covered her hips and thighs and breasts and was gathered dangerously over only one shoulder. This was both shocking and delightful; it made the tiny creature resemble statues of ancient nymphs and nereids Wendy had seen. Her hair was even done up in classical style, a goddess-like bun of hair so golden it glowed. Tiny pointed ears curved their way through the few dangling tresses. Her eyes were enormous and not even remotely human: they were far apart and glaring. The crowning glory was, of course, a pair of delicate iridescent wings sprouting from her back. Their shape was somewhere between butterfly and dragonfly. They were clear as glass and thin as onion skin.

It was raining and I had to walk on the grass. I’ve got mud all over my shoes. They’re brand-new, too.” “I’ll carry you across the grass on the return trip, if you like,” Colby offered with twinkling eyes. “It would have to be over one shoulder, of course,” he added with a wry glance at his artificial arm. She frowned at the bitterness in his tone. He was a little fuzzy because she needed glasses to see at distances. “Listen, nobody in her right mind would ever take you for a cripple,” she said gently and with a warm smile. She laid a hand on his sleeve. “Anyway,” she added with a wicked grin, “I’ve already given the news media enough to gossip about just recently. I don’t need any more complications in my life. I’ve only just gotten rid of one big one.” Colby studied her with an amused smile. She was the only woman he’d ever known that he genuinely liked. He was about to speak when he happened to glance over her shoulder at a man approaching them. “About that big complication, Cecily?” “What about it?” she asked. “I’d say it’s just reappeared with a vengeance. No, don’t turn around,” he said, suddenly jerking her close to him with the artificial arm that looked so real, a souvenir of one of his foreign assignments. “Just keep looking at me and pretend to be fascinated with my nose, and we’ll give him something to think about.” She laughed in spite of the racing pulse that always accompanied Tate’s appearances in her life. She studied Colby’s lean, scarred face. He wasn’t anybody’s idea of a pinup, but he had style and guts and if it hadn’t been for Tate, she would have found him very attractive. “Your nose has been broken twice, I see,” she told Colby. “Three times, but who’s counting?” He lifted his eyes and his eyebrows at someone behind her. “Well, hi, Tate! I didn’t expect to see you here tonight.” “Obviously,” came a deep, gruff voice that cut like a knife. Colby loosened his grip on Cecily and moved back a little. “I thought you weren’t coming,” he said. Tate moved into Cecily’s line of view, half a head taller than Colby Lane. He was wearing evening clothes, like the other men present, but he had an elegance that made him stand apart. She never tired of gazing into his large black eyes which were deep-set in a dark, handsome face with a straight nose, and a wide, narrow, sexy mouth and faintly cleft chin. He was the most beautiful man. He looked as if all he needed was a breastplate and feathers in his hair to bring back the heyday of the Lakota warrior in the nineteenth century. Cecily remembered him that way from the ceremonial gatherings at Wapiti Ridge, and the image stuck stubbornly in her mind. “Audrey likes to rub elbows with the rich and famous,” Tate returned. His dark eyes met Cecily’s fierce green ones. “I see you’re still in Holden’s good graces. Has he bought you a ring yet?” “What’s the matter with you, Tate?” Cecily asked with a cold smile. “Feeling…crabby?” His eyes smoldered as he glared at her. “What did you give Holden to get that job at the museum?” he asked with pure malice. Anger at the vicious insinuation caused her to draw back her hand holding the half-full coffee cup, and Colby caught her wrist smoothly before she could sling the contents at the man towering over her. Tate ignored Colby. “Don’t make that mistake again,” he said in a voice so quiet it was barely audible. He looked as if all his latent hostilities were waiting for an excuse to turn on her. “If you throw that cup at me, so help me, I’ll carry you over and put you down in the punch bowl!” “You and the CIA, maybe!” Cecily hissed. “Go ahead and try…!” Tate actually took a step toward her just as Colby managed to get between them. “Now, now,” he cautioned. Cecily wasn’t backing down an inch. Neither was Tate.

Grace cut across an Oriental rug done in a plum, navy, and cream geometric pattern. The colors in the carpet pulled the richness of the furniture together. She noticed that Cade walked the perimeter of the room, sticking to the hardwood floor. Off to the right, a glassed-in sunroom caught the first rays of sunshine from the overcast day. The forest-green wicker furniture, abundant greenery, and a small bookcase with monthly magazines and mystery novels offered peace and solitude.

The artist is the creator of beautiful things. To reveal art and conceal the artist is art’s aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only Beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. The nineteenth century dislike of Realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of Romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an im- perfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an un- pardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor’s craft is the Type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really Mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless.

It [the charcuterie] was almost on the corner of the Rue Pirouette and was a joy to behold. It was bright and inviting, with touches of brilliant colour standing out amidst white marble. The signboard, on which the name QUENU-GRADELLE glittered in fat gilt letter encircled by leaves and branches painted on a soft-hued background, was protected by a sheet of glass. On the two side panels of the shop front, similarly painted and under glass, were chubby little Cupids playing in the midst of boars' heads, pork chops, and strings of sausages; and these still lifes, adorned with scrolls and rosettes, had been designed in so pretty and tender a style that the raw meat lying there assumed the reddish tint of raspberry jam. Within this delightful frame, the window display was arranged. It was set out on a bed of fine shavings of blue paper; a few cleverly positioned fern leaves transformed some of the plates into bouquets of flowers fringed with foliage. There were vast quantities of rich, succulent things, things that melted in the mouth. Down below, quite close to the window, jars of rillettes were interspersed with pots of mustard. Above these were some boned hams, nicely rounded, golden with breadcrumbs, and adorned at the knuckles with green rosettes. Then came the larger dishes--stuffed Strasbourg tongues, with their red, varnished look, the colour of blood next to the pallor of the sausages and pigs' trotters; strings of black pudding coiled like harmless snakes; andouilles piled up in twos and bursting with health; saucissons in little silver copes that made them look like choristers; pies, hot from the oven, with little banner-like tickets stuck in them; big hams, and great cuts of veal and pork, whose jelly was as limpid as crystallized sugar. Towards the back were large tureens in which the meats and minces lay asleep in lakes of solidified fat. Strewn between the various plates and sishes, on the bed of blue shavings, were bottles of relish, sauce, and preserved truffles, pots of foie gras, and tins of sardines and tuna fish. A box of creamy cheeses and one full of snails stuffed with butter and parsley had been dropped in each corner. Finally, at the very top of the display, falling from a bar with sharp prongs, strings of sausages and saveloys hung down symmetrically like the cords and tassels of some opulent tapestry, while behind, threads of caul were stretched out like white lacework. There, on the highest tier of this temple of gluttony, amid the caul and between two bunches of purple gladioli, the alter display was crowned by a small, square fish tank with a little ornamental rockery, in which two goldfish swam in endless circles.

Because it was sexism, wasn’t it? Beatrice’s detractors never said it aloud, never authored op-eds that stated Beatrice shouldn’t rule because she’s a woman. They just criticized everything she did. If she wore a new dress, she was extravagant; if she recycled an old one, she had no style. If she was photographed holding a glass of wine, she was a lush; if she didn’t drink at an event, she was pregnant, or boring, or rude to her hosts. If she was caught in a photo unsmiling, then she wasn’t likable; if she smiled too broadly, she was trying too hard.

Terry Allen and a larger portion of his 1st Division descended on Oran from the sandstone hills above St. Cloud, a key crossroads east of the city, and the salt lakes farther south. Children in dirty kaftans shouted “Hi yo, Silver!” or flung stiff-arm Fascist salutes to liberators they presumed to be German. Veiled Berber women with indigo tattoos peered through casement shutters, and in cafés men wearing fezzes looked up from their tea glasses long enough to applaud the passing troops, African-style: arms extended, clapping hands hinged at the wrists, no pretense of sincerity. A war correspondent seeking adjectives to describe the locals settled on “scrofulous, unpicturesque, ophthalmic, lamentable.” Exhausted

LANKES: ….This is how I figure it. When this war is over — one way or another, it will be over some day — well, then, when the war is over, the pillboxes will still be here. These things were made to last. And then my time will come. The centuries […] start coming and going, one after another like nothing at all. But the pillboxes stay put just like the Pyramids stay put. And one fine day one of those archaeologist fellows comes along. And he says to himself: what an artistic void there was between the First and Seventh World Wars! Dull drab concrete; here and there, over a pillbox entrance, you find some clumsy amateurish in squiggles in the old-home style. And that’s all. Then he discovers Dora Five, Six, Seven; he sees my Structural Oblique Formations, and he says to himself, Say, take a look at that, Very, very interesting, magic, menacing, and yet shot through with spirituality. In these works a genius, perhaps the only genius of the twentieth century, has expressed himself clearly, resolutely, and for all time. I wonder, says our archaeologist to himself, I wonder if it’s got a name? A signature to tell us who the master was? Well, sir, if you look closely, sir, and hold your head on a slant, you’ll see between those Oblique Formations… BEBRA: My glasses. Help me, Lankes. LANKES: All right, here’s what it says: Herbert Lankes, anno nineteen hundred and forty-four. Title: BARBARIC, MYSTICAL, BORED. BEBRA: You have given our century its name.

You know how I…go through phases?” he asks, and his eyes flash up to Louis who blinks, confused. “Like the strawberries and the gingerbread?” “Exactly,” Harry smiles. “Like those. Well, I’ve always been that way, you see. I become fascinated by something, immerse myself in it…and then I’m done with it. Because, you see, once I’ve adored something, once I’ve found something perfectly beautiful, it is fleeting. It will never be perfect or wonderful to me again because I’ve already experienced it, already taken everything from it that I could.” Louis nods. That’s, maybe, the worst way in the world to think about things, but he nods. Because Harry’s not finished, and this all suddenly feels…very odd. He swallows his last mouthful and sets down his food, waiting for Harry to continue, skin beginning to prickle. “However,” Harry continues calmly, stubbing out his cigarette and setting full eyes on Louis. Full, empty eyes. Shit. “It’s not just objects that I feel that way about. I’m like that with people as well.” Louis shifts under Harry’s gaze, feeling a cold sense of dread spread from the center of his body to every extremity and crevice. “I find people who fascinate me. I play with them. I have fun. I enjoy them. And then?” Harry takes a sip of his sparkling water. “Then I’m done with them. I become bored. And I don’t want them around anymore.” His eyes bore into Louis’ as he sets down his glass. “Last night made me realize, Louis. You’re one of those people.

Maxwell D. Kalist is a receiving teller at a city bank, Orwell and Finch, where he runs an efficient department of twenty two clerks and twelve junior clerks. He carries a leather-bound vade mecum everywhere with him – a handbook of the most widely contravened banking rules. He works humourlessly (on the surface of it) in a private, perfectly square office on the third floor of a restored grain exchange midway along the Eastern flank of Květniv’s busy, modern central plaza. Behind his oblong slate desk and black leather swivel chair is an intimidating, three-storey wall made almost entirely of bevelled, glare-reducing grey glass in art-deco style; one hundred and thirty six rectangles of gleam stacked together in a dangerously heavy collage.

Teddy Roosevelt?" I suggested. Sadie and I had been trying to figure out the second mathlete's costume for a few minutes. He was wearing a 1930's-style suit,had his hair slicked down carefully, and was sporting a fake mustache. "No glasses. And I can't even begin to imagine the connection between Davy Jone's Locker and Teddy Roosevelt." Sadie pulled a long gold hair from her pumpkin-orange punch and sighed. Maybe her mother hadn't topped her Sleepy Hollow triumph, but it wasn't from lack of determination. What Mrs. Winslow hadn't achieved in creativity (she'd gone the mermaid route), she'd made up in the details. The tailed skirt was intricately beaded and embroidered in a dozen shades of blue and green. It was pretty amazing.The problem was the bodice: not a bikini, but not much better as far as Sadie was concerned. It was green, plunging, and edged with itchy-looking scallops. She was managing to stay covered by the wig, but that was an issue in itself. It was massive,made up of hundreds of trailing corkscrew curls in a metallic blonde. To top it all off, the costume included a glittering, three point crown, and a six-foot trident, complete with jewels and trailing silk seaweed. "Sadie," I'd asked quietly when she'd appeared at my house, shivering and tangled in her wig, "why don't you..." Just tell her where she can shove her trident? But that would just have been mean. Sadie gives in and wears the costumes because it's infinitely easier than fighting. "...come next door and we'll see if Sienna has a shawl you can borrow?

A small bathroom was attached to the room. Hassan was very proud of it, because he had recently installed a flush tank and western-style potty. I complimented him on the potty and said it looked very comfortable. But what really took my fancy was the bathroom window. It hadn’t been opened for some time, and the glass panes were caked with dirt. But when finally we got it open, the view was remarkable. Below the window was a sheer drop of two or three hundred feet. Ahead, an open vista, a wide valley, and then the mountains striding away towards the horizon. I don’t think any hotel in town had such a splendid view. And this little bathroom had it all. I could see myself sitting for hours on that potty, enraptured, enchanted, having the valley and the mountains all to myself. Almost certain constipation of course, but I would take that risk.

The overhead lights hit the Serch Bythol sculpture on the utmost tier, the sugar crystals shimmering and dancing like a cascade of diamonds. The planes of the cake beneath were clean and crisp, and the sugar-stained glass panels caught every light on the ceiling, throwing back shimmering rainbow rays. Sylvie was most proud of the silhouette that circled the middle stained-glass tiers--the skylines of London and Johnny's family estate in Lancashire. Only when viewed at close range did a second, hidden skyline emerge from within the reflective depths---the fantasy lands of I, Slayer, complete with a tiny, flying dragon. It was a work of art---and even now, she was taken aback by the level of harmony they had achieved, twinning together two very different styles. In honor of the union of two very different people, whose lives would hopefully interlock just as successfully.

Then, suddenly, a shadowy flash came to me. Tiffany, taking an order, arguing with a girl. Shockingly, not me. Another flash, of Detective Toscano walking into Yummy’s minutes ago. Tiffany nervously kneading a coaster between her fingers. The coaster I held in my hands right now. Tiffany was scared. Why was she scared of the cop? “Hey! Space shot! You want your Coke or not?” I tried to ignore Tiffany’s screeching and hold on to the vision, but it blurred and disappeared. I grabbed my new glass from her outstretched hand. “I heard you got into an argument last night,” I said. Tiffany paled, which I never thought possible since her skin was so fake-and-bake tan. She nervously twirled a lock of her bleach blond hair around her finger. “Where did you hear that?” “Doesn’t matter where I heard it.” I took a chance and added, “But it was pretty juicy gossip, considering who she was.” Tiffany’s pale face turned to green and I involuntarily took a step back ,half expecting an Exorcist-style stream of vomit to shoot out of her gaping mouth. Instead, she narrowed her eyes and leaned closer. “Get away from me,” she growled. And then it became clear. My flash of her argument. Her fear of the detective. She’d argued with the girl who was murdered last night. And she did not want Detective Toscano to find out about it. I stepped away from the bar, giddy with my new knowledge. I had the upper hand on Tiffany Desposito. I could torture her with this. Drag it out. Hold it over her head for days, even weeks. “It’s too bad you’re not with Justin anymore,” she said to my back. “He’s a cutie. And such a good kisser.” And that was my limit. I spun around and dumped my brand-new Coke over her head. She shrieked and flailed her hands as the liquid streamed over her face and down between her giant boobs. She peeled her sticky hair off her eyes and snarled, “I’ll get you for this.” I merely smiled, then sauntered over to the two Toscanos, who had apparently been watching this whole display with entertained grins on their faces. “You’re the new detective?” I asked the elder Toscano. He nodded. Either his mouth was too full with French fries or he was too scared of me to speak at the moment. “Tiffany Desposito, the wet and sticky waitress over there? She had a fight with the girl who was murdered. Last night, at this restaurant. You should question her right away. I wouldn’t even give her a chance to go home and shower first. I think she’s a flight risk.” I strolled back to my booth, sat down, and tore into my pancakes, happy as a kid on Christmas. Nate and Perry stared at me in silence for a few moments. Then Perry said, “Maybe you should have let me go over.” Nate shook his head. “Nah. She did just fine.

You're serious." "As serious as an accountant at an IRS audit." His face closed off, reminding her of the ruthlessness she had first noticed about him on the front steps. "You have no business opening a restaurant." "Says who?" "Says the guy who watched you try to extricate yourself from a burger suit with a knife." Her mouth fell open. "Burger suits and restaurants are two different kettles of fish." "Kettles of fish? Now there's great business terminology." "Yep, Texas style." "You're in New York, sweetheart." "I am not your sweetheart, thank my lucky stars." "Another of your quaint Texas sayings? What was the last one I heard you use? 'Bless your heart'?" She sliced him a tooth-grinding smile. "While you might not like them, you can bet your backside that a cafe that serves the kind of fare we create in Texas would have people lined up around the corner. Or, as we say in Texas, till the cows come home.

Life cannot offer many places finer to stand at eight-thirty on a summery weekday morning than Circular Quay in Sydney. To begin with, it presents one of the world’s great views. To the right, almost painfully brilliant in the sunshine, stands the famous Opera House with its jaunty, severely angular roof. To the left, the stupendous and noble Harbour Bridge. Across the water, shiny and beckoning, is Luna Park, a Coney Island–style amusement park with a maniacally grinning head for an entrance. (It’s been closed for many years, but some heroic soul keeps it spruce and gleaming.) Before you the spangly water is crowded with the harbor’s stout and old-fashioned ferries, looking for all the world as if they have been plucked from the pages of a 1940s children’s book with a title like Thomas the Tugboat, disgorging streams of tanned and lightly dressed office workers to fill the glass and concrete towers that loom behind.

The influences of his solitary hut-life were upon him besides, and gave him a savage air that no dress could tame; added to these were the influences of his subsequent branded life among men, and, crowning all, his consciousness that he was dodging and hiding now. In all his ways of sitting and standing, and eating and drinking,—of brooding about in a high-shouldered reluctant style,—of taking out his great horn-handled jackknife and wiping it on his legs and cutting his food,—of lifting light glasses and cups to his lips, as if they were clumsy pannikins,—of chopping a wedge off his bread, and soaking up with it the last fragments of gravy round and round his plate, as if to make the most of an allowance, and then drying his finger-ends on it, and then swallowing it,—in these ways and a thousand other small nameless instances arising every minute in the day, there was Prisoner, Felon, Bondsman, plain as plain could be.

LAST NIGHT IN THE CITY Written in the style of Andrew Fusek Peters…… by Charlotte Eden Aged 9. My granddaughter Last night I saw the city boasting. Fat and ugly office blocks gloated over poor and empty parking lots, and conceited takeaways mocked the fish and chip shops Last night I saw the city sleeping. The sun, as hot as an oven, began to rest its brightness, and the moon awoke from his deep slumber. Last night I saw the city breathing. Airports inhaled the landing planes, while cars wheezed in the Cold, frosty night. Last night I saw the city crying. The gleaming stars poured from the night sky, and landed in a cracked, glass puddle. Last night I saw the city chuckling. Owls laughed at the bats’ jokes, while hedgehogs made fun of the hibernating squirrels. Last night I saw the city performing. The thin trees danced in the puffing wind, and the stars put on a show in the moonlight. Charlotte Eden June 2016. Copyright

But your lolas took offense at being called witches. That is an Amerikano term, they scoff, and that they live in the boroughs of an American city makes no difference to their biases. Mangkukulam was what they styled themselves as, a title still spoken of with fear in their motherland, with its suggestions of strange healing and old-world sorcery. Nobody calls their place along Pepper Street Old Manila, either, save for the women and their frequent customers. It was a carinderia, a simple eatery folded into three food stalls; each manned by a mangkukulam, each offering unusual specialties: Lola Teodora served kare-kare, a healthy medley of eggplant, okra, winged beans, chili peppers, oxtail, and tripe, all simmered in a rich peanut sauce and sprinkled generously with chopped crackling pork rinds. Lola Teodora was made of cumin, and her clients tiptoed into her stall, meek as mice and trembling besides, only to stride out half an hour later bursting at the seams with confidence. But bagoong- the fermented-shrimp sauce served alongside the dish- was the real secret; for every pound of sardines you packed into the glass jars you added over three times that weight in salt and magic. In six months, the collected brine would turn reddish and pungent, the proper scent for courage. unlike the other mangkukulam, Lola Teodora's meal had only one regular serving, no specials. No harm in encouraging a little bravery in everyone, she said, and with her careful preparations it would cause little harm, even if clients ate it all day long. Lola Florabel was made of paprika and sold sisig: garlic, onions, chili peppers, and finely chopped vinegar-marinated pork and chicken liver, all served on a sizzling plate with a fried egg on top and calamansi for garnish. Sisig regular was one of the more popular dishes, though a few had blanched upon learning the meat was made from boiled pigs' cheeks and head.

He carefully poured the juice into a bowl and rinsed the scallops to remove any sand caught between the tender white meat and the firmer coral-colored roe, wrapped around it like a socialite's fur stole. Mayur is the kind of cook (my kind), who thinks the chef should always have a drink in hand. He was making the scallops with champagne custard, so naturally the rest of the bottle would have to disappear before dinner. He poured a cup of champagne into a small pot and set it to reduce on the stove. Then he put a sugar cube in the bottom of a wide champagne coupe (Lalique, service for sixteen, direct from the attic on my mother's last visit). After a bit of a search, he found the crème de violette in one of his shopping bags and poured in just a dash. He topped it up with champagne and gave it a swift stir. "To dinner in Paris," he said, glass aloft. 'To the chef," I answered, dodging swiftly out of the way as he poured the reduced champagne over some egg yolks and began whisking like his life depended on it. "Do you have fish stock?" "Nope." "Chicken?" "Just cubes. Are you sure that will work?" "Sure. This is the Mr. Potato Head School of Cooking," he said. "Interchangeable parts. If you don't have something, think of what that ingredient does, and attach another one." I counted, in addition to the champagne, three other bottles of alcohol open in the kitchen. The boar, rubbed lovingly with a paste of cider vinegar, garlic, thyme, and rosemary, was marinating in olive oil and red wine. It was then to be seared, deglazed with hard cider, roasted with whole apples, and finished with Calvados and a bit of cream. Mayur had his nose in a small glass of the apple liqueur, inhaling like a fugitive breathing the air of the open road. As soon as we were all assembled at the table, Mayur put the raw scallops back in their shells, spooned over some custard, and put them ever so briefly under the broiler- no more than a minute or two. The custard formed a very thin skin with one or two peaks of caramel. It was, quite simply, heaven. The pork was presented neatly sliced, restaurant style, surrounded with the whole apples, baked to juicy, sagging perfection.

Mathilde watched as down the street came a little girl in a red snowsuit with purple racing stripes. Mittens, a cap too big for her head. Disoriented, the girl turned around and around and around. She began to climb the snow mountain that blocked her from the street. But she was so weak. Halfway up, she’d slip back down. She’d try again, digging her feet deeper into the drift. Mathilde held her breath each time, let it out when the girl fell. She thought of a cockroach in a wineglass, trying to climb up the smooth sides. When Mathilde looked across the street at a long brick apartment complex taking up the whole block, ornate in its 1920s style, she saw, in scattered windows, three women watching the little girl’s struggles. Mathilde watched the women as they watched the girl. One was laughing over her bare shoulder at someone in the room, flushed with sex. One was elderly, drinking her tea. The third, sallow and pinched, had crossed her skinny arms and was pursing her lips. At last, the girl, exhausted, slid down and rested, her face against the snow. Mathilde was sure she was crying. When Mathilde looked up again, the woman with crossed arms was staring angrily through all the glass and cold and snow directly at her. Mathilde startled, sure she’d been invisible. The woman disappeared. She reappeared on the sidewalk in inside clothes, tweedy and thin. She chucked her body into the snowdrift in front of the apartment building, crossed the street, grabbed the girl by the mittens and swung her over the mountain. Carried her across the street and did it again. Both mother and daughter were powdered with white when they went inside. Long after they were gone, Mathilde thought of the woman. What she was imagining when she saw her little girl fall and fall and fall. She wondered at the kind of anger that would crumple your heart up so hard that you could watch a child struggle and fail and weep for so long, without moving to help. Mothers, Mathilde had always known, were people who abandoned you to struggle alone. It occurred to her then that life was conical in shape, the past broadening beyond the sharp point of the lived moment. The more life you had, the more the base expanded, so that the wounds and treasons that were nearly imperceptible when they happened stretched like tiny dots on a balloon slowly blown up. A speck on the slender child grows into a gross deformity in the adult, inescapable, ragged at the edges. A

5236 rue St. Urbain The baby girl was a quick learner, having synthesized a full range of traits of both of her parents, the charming and the devious. Of all the toddlers in the neighbourhood, she was the first to learn to read and also the first to tear out the pages. Within months she mastered the grilling of the steaks and soon thereafter presented reasons to not grill the steaks. She was the first to promote a new visceral style of physical comedy as a means of reinvigorate the social potential of satire, and the first to declare the movement over. She appreciated the qualities of movement and speed, but also understood the necessity of slowness and leisure. She quickly learned the importance of ladders. She invented games with numerous chess-boards, matches and glasses of unfinished wine. Her parents, being both responsible and duplicitous people, came up with a plan to protect themselves, their apartment and belongings, while also providing an environment to encourage the open development of their daughter's obvious talents. They scheduled time off work, put on their pajamas and let the routines of the apartment go. They put their most cherished books right at her eye-level and gave her a chrome lighter. They blended the contents of the fridge and poured it into bowls they left on the floor. They took to napping in the living room, waking only to wipe their noses on the picture books and look blankly at the costumed characters on the TV shows. They made a fuss for their daughter's attention and cried when she wandered off; they bit or punched each other when she out of the room, and accused the other when she came in, looking frustrated. They made a mess of their pants when she drank too much, and let her figure out the fire extinguisher when their cigarettes set the blankets smoldering. They made her laugh with cute songs and then put clothes pins on the cat's tail. Eventually things found their rhythm. More than once the three of them found their faces waxened with tears, unable to decide if they had been crying, laughing, or if it had all been a reflex, like drooling. They took turns in the bath. Parents and children--it is odd when you trigger instinctive behaviour in either of them--like survival, like nurture. It's alright to test their capabilities, but they can hurt themselves if they go too far. It can be helpful to imagine them all gorging on their favourite food until their bellies ache. Fall came and the family went to school together.

ALL POST-COMMUNIST SOCIETIES ARE uprooted ones because Communism uprooted traditions, so nothing fits with anything else,” explained the philosopher Patapievici. Fifteen years earlier, when I had last met him, he had cautioned: “The task for Romania is to acquire a public style based on impersonal rules, otherwise business and politics will be full of intrigue, and I am afraid that our Eastern Orthodox tradition is not helpful in this regard. Romania, Bulgaria, Serbia, Macedonia, Russia, Greece—all the Orthodox nations of Europe—are characterized by weak institutions. That is because Orthodoxy is flexible and contemplative, based more on the oral traditions of peasants than on texts. So there is this pattern of rumor, lack of information, and conspiracy….”11 Thus, in 1998, did Patapievici define Romanian politics as they were still being practiced a decade and a half later. Though in 2013, he added: “No one speaks of guilt over the past. The Church has made no progress despite the enormous chance of being separated from the state for almost a quarter century. The identification of religious faith with an ethnic-national group, I find, is a moral heresy.” Dressed now in generic business casual and wearing fashionable glasses, Patapievici appeared as a figure wholly of the West—more accurately of the global elite—someone you might meet at a fancy

Where do you even start with Cinderella? Let's ignore Cinderella's victim status and total lack of self-determination and head straight for the prince who was, let's face it, a bit of a jerk. Despite being captivated by Cinderella's radiant beauty for half the night, come the cold light of day he has completely forgotten what she looks like and only has her shoe size to go on. Either he was suffering from some sort of early onset Alzheimer's disease or else he was completely off his face during the big ball. the end result is that he goes trawling through the kingdom in some sort of perverted foot-fetish style quest for someone, anyone, who fits the glass slipper. Just how superficial is this guy? What if Cinderella had turned up at the ball looking exactly like she did only with a mole on her face and that had a couple of twelve-centimetre hairs sticking out of it? What if a bearded troll just happened to have the same shoe size as Cinderella? 'Ah, well. Pucker up, bushy cheeks, it's snog time.' And no one ever bothers to question the sheer impracticality of Cinderella's footwear. Glass might be good for many things but it's not exactly malleable in its cooled state. If everyone turned and gaped when Cinderella made her big entrance into the ball, it's only because she'd have come staggering in like a drunken giraffe on rollerblades. Bit of a head turner.

For those who live in Kashmir, the expectations of justice, rarely fulfilled in the Indian subcontinent, are more than optimistic; they belong to fantasy. It makes it all the more difficult for the victims to bear their human losses. At Dalal's house, the once carefully tended plants and hedges were already running wild just a few weeks after his murder, the fish in the pond were mostly dead, and few men sat slumped on the floor in a bare hall under the Islamic calendar of mourning. His mother, persuaded by her male relatives to emerge from the dark room where she had taken to since her son's death, broke down as soon as she noticed the photos of Dalal I had been studying. The pictures showed a young man in dark glasses and trendy clothes, a happy, contented man, someone who had managed to find, amid the relentless violence of the insurgency, a new style and identity for himself, and when Dalal's mother, still crying, while her mother, Dalal's grandmother, sat beside her, quietly wiping her tears with the frayed end of her headscarf, asked what was the point of talking to the press, of speaking about her son to me- he was gone and wouldn't come back; the people who had killed him were too powerful- it was hard not to feel pierced by the truth of what she was saying, hard not to be moved by her grief, and the pain, amid the great human waste of Kashmir, of her helplessness.

Marcelina loved that miniscule, precise moment when the needle entered her face. It was silver; it was pure. It was the violence that healed, the violation that brought perfection. There was no pain, never any pain, only a sense of the most delicate of penetrations, like a mosquito exquisitely sipping blood, a precision piece of human technology slipping between the gross tissues and cells of her flesh. She could see the needle out of the corner of her eye; in the foreshortened reality of the ultra-close-up it was like the stem of a steel flower. The latex-gloved hand that held the syringe was as vast as the creating hand of God: Marcelina had watched it swim across her field of vision, seeking its spot, so close, so thrillingly, dangerously close to her naked eyeball. And then the gentle stab. Always she closed her eyes as the fingers applied pressure to the plunger. She wanted to feel the poison entering her flesh, imagine it whipping the bloated, slack, lazy cells into panic, the washes of immune response chemicals as they realized they were under toxic attack; the blessed inflammation, the swelling of the wrinkled, lined skin into smoothness, tightness, beauty, youth. Marcelina Hoffman was well on her way to becoming a Botox junkie. Such a simple treat; the beauty salon was on the same block as Canal Quatro. Marcelina had pioneered the lunch-hour face lift to such an extent that Lisandra had appropriated it as the premise for an entire series. Whore. But the joy began in the lobby with Luesa the receptionist in her high-collared white dress saying “Good afternoon, Senhora Hoffman,” and the smell of the beautiful chemicals and the scented candles, the lightness and smell of the beautiful chemicals and the scented candles, the lightness and brightness of the frosted glass panels and the bare wood floor and the cream-on-white cotton wall hangings, the New Age music that she scorned anywhere else (Tropicalismo hippy-shit) but here told her, “you’re wonderful, you’re special, you’re robed in light, the universe loves you, all you have to do is reach out your hand and take anything you desire.” Eyes closed, lying flat on the reclining chair, she felt her work-weary crow’s-feet smoothed away, the young, energizing tautness of her skin. Two years before she had been to New York on the Real Sex in the City production and had been struck by how the ianqui women styled themselves out of personal empowerment and not, as a carioca would have done, because it was her duty before a scrutinizing, judgmental city. An alien creed: thousand-dollar shoes but no pedicure. But she had brought back one mantra among her shopping bags, an enlightenment she had stolen from a Jennifer Aniston cosmetics ad. She whispered it to herself now, in the warm, jasmine-and vetiver-scented sanctuary as the botulin toxins diffused through her skin. Because I’m worth it.

It had been years since he'd seen a woman handle a crowd of admirers so deftly- not since Lily in her gambling days. Fascinated, he wondered where the hell she had come from. He knew about all the new arrivals in London, and he'd never seen her before. She must be some diplomat's wife, or some exclusive courtesan. Her lips were red and pouting, her pale white shoulders enticingly bare above the blue velvet of her gown. She laughed frequently, tossing her head back in a way that caused her chestnut curls to dance. Like the other men present, Derek was captivated by her figure, the luscious round breasts, the tiny waist, all revealed by a well-fitted gown that was unlike the shapeless Grecian styles of the other women. "A toast to the loveliest bosom in London!" Lord Bromley, a rakish ne'er-do-well, exclaimed. Titillated and excited, the crowd raised their glasses with a cheer. Waiters rushed to bring more liquor. "Miss," one of them begged, "I entreat you to cast my dice for me." "Whatever good luck I have is yours," she assured him, and shook the dice in the box so vigorously that her breasts quivered beneath their shallow covering. The temperature in the room escalated rapidly as a host of admiring sighs greeted the display. Derek decided to intervene before the crowd's mood became too highly charged. Either the vixen didn't realize the lust she was inciting, or she was doing it deliberately. Either way, he wanted to meet her.

We end up at an outdoor paintball course in Jersey. A woodsy, rural kind of place that’s probably brimming with mosquitos and Lyme disease. When I find out Logan has never played paintball before, I sign us both up. There’s really no other option. And our timing is perfect—they’re just about to start a new battle. The worker gathers all the players in a field and divides us into two teams, handing out thin blue and yellow vests to distinguish friend from foe. Since Logan and I are the oldest players, we both become the team captains. The wide-eyed little faces of Logan’s squad follow him as he marches back and forth in front of them, lecturing like a hot, modern-day Winston Churchill. “We’ll fight them from the hills, we’ll fight them in the trees. We’ll hunker down in the river and take them out, sniper-style. Save your ammo—fire only when you see the whites of their eyes. Use your heads.” I turn to my own ragtag crew. “Use your hearts. We’ll give them everything we’ve got—leave it all on the field. You know what wins battles? Desire! Guts! Today, we’ll all be frigging Rudy!” A blond boy whispers to his friend, “Who’s Rudy?” The kid shrugs. And another raises his hand. “Can we start now? It’s my birthday and I really want to have cake.” “It’s my birthday too.” I give him a high-five. “Twinning!” I raise my gun. “And yes, birthday cake will be our spoils of war! Here’s how it’s gonna go.” I point to the giant on the other side of the field. “You see him, the big guy? We converge on him first. Work together to take him down. Cut off the head,” I slice my finger across my neck like I’m beheading myself, “and the old dog dies.” A skinny kid in glasses makes a grossed-out face. “Why would you kill a dog? Why would you cut its head off?” And a little girl in braids squeaks, “Mommy! Mommy, I don’t want to play anymore.” “No,” I try, “that’s not what I—” But she’s already running into her mom’s arms. The woman picks her up—glaring at me like I’m a demon—and carries her away. “Darn.” Then a soft voice whispers right against my ear. “They’re already going AWOL on you, lass? You’re fucked.” I turn to face the bold, tough Wessconian . . . and he’s so close, I can feel the heat from his hard body, see the small sprigs of stubble on that perfect, gorgeous jaw. My brain stutters, but I find the resolve to tease him. “Dear God, Logan, are you smiling? Careful—you might pull a muscle in your face.” And then Logan does something that melts my insides and turns my knees to quivery goo. He laughs. And it’s beautiful. It’s a crime he doesn’t do it more often. Or maybe a blessing. Because Logan St. James is a sexy, stunning man on any given day. But when he laughs? He’s heart-stopping. He swaggers confidently back to his side and I sneer at his retreating form. The uniformed paintball worker blows a whistle and explains the rules. We get seven minutes to hide first. I cock my paintball shotgun with one hand—like Charlize Theron in Fury fucking Road—and lead my team into the wilderness. “Come on, children. Let’s go be heroes.” It was a massacre. We never stood a chance. In the end, we tried to rush them—overpower them—but we just ended up running into a hail of balls, getting our hearts and guts splattered with blue paint. But we tried—I think Rudy and Charlize would be proud

HEART OF TEA DEVOTION rc t c//'VI/~ L tLP /'V to/ a My dear, ifyou couldgive me a cup of tea to clear my muddle of a head I should better understand your affairs. CHARLES DICKENS If teacups could talk, my house would be full of conversation ... because my house is full of teacups. My collection of china cups-begun many years ago, when I set up housekeeping as a child bride-has long since outgrown its home in the glass-front armoire and spread out to occupy side tables and shelves and hooks in the kitchen or find safe harbor in the dining-room hutch. Some of these cups I inherited from women I love-my mother and my aunties. Some are gifts from my husband, Bob, or from my children or from special friends. A few are delightful finds from elegant boutiques or dusty antique shops. One cup bears telltale cracks and scars; it was the only one I could salvage when a shelf slipped and 14 cups fell and shattered. Three other cups stand out for their intense color-my aunt was always attracted to that kind of dramatic decoration. Yet another cup, a gift, is of a style I've never much cared for, but now it makes me smile as I remember the houseguest who "rescued" it from a dark corner of the armoire because it looked "lonely." Each one of my teacups has a history, and each one is precious to me. I have gladly shared them with guests and told their stories to many people. Recently, however, I have been more inclined to listen. I've been wondering what all those cups, with their history and long experience, are trying to say to me. What I hear from them, over and over, is an invitation-one I want to extend to you: When did you last have a tea party? When was the last time you enjoyed a cup of tea with someone you care about? Isn't it time you did it again?

The artist is the creator of beautiful things. To reveal art and conceal the artist is art's aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest, as the lowest, form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only Beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. The nineteenth century dislike of Realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of Romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor's craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless.

I kept my head down and my mouth full. I didn't want Frankie's sharp eyes or tongue focused on me any more than necessary. It was a lot easier with Daniel taking up half of the food and most of the air. "What about it, Ella?" he asked when everything was gone except the parsley garnish. "When do we get the pleasure of your vocal stylings?" "I don't sing." "You mean you won't sng," Sadie corrected. I tried to be charitable about her treason; she goes pretty brainless around Daniel. "Ella sings really well." "I'm sure she does." Daniel tipped his beer glass in my direction. "In fact, I bet she could totally murder 'Don't Stop Believin'." A song that is actually one of my guilty pleasures. I think he probably knew that. I think he probably had himself a lovely chuckle over it.Then he whispered, "Coward." In another story, the plucky little heroine would have slapped both hands onto the table, making it wobble a little on its predicatbly uneven fourth leg. She would then have taken both hands, ripped the long scarf from around her neck and, chin high and scar spotlit, stalked to the dais, leaped up, and slayed the audience with her kick-ass version of "Respect." Or maybe "Single Ladies," for the sheer Yay factor. In this version,I gave Daniel what I hoped was a slayer look and busied myself refolding my napkin. He was,not surprisingly, unfazed. "Can I ask you a question?" I sighed. "Will my answer to that one make any difference?" "None whatsoever." "Fine," I grumbled. "Ask." I didn't have to answer.He wasn't my Hobbes. "Why are there interstate highways in Hawaii?" I gaped at him. "That's your question?" "Nope." He leaned back in his chair, propping one foot on the other knee. "That's a question. My question is this: What's the one thing you should ask yourself before getting involved with someone?" "Seriously?" "Do I look serious?" Maybe not serious, but vaguely deadly. Still,it was an interesting question, especially coming from Daniel Hobbes. I thought for a second. "'Will he make me happy?'" "You think?" Daniel asked, the unfolded himself and got to his feet. "I'm outta here. Who's coming?

The population, who are, ultimately, indifferent to public affairs and even to their own interests, negotiate this indifference with an equally spectral partner and one that is similarly indifferent to its own will: the government [Ie pouvoir] . This game between zombies may stabilize in the long term. The Year 2000 will not take place in that an era of indifference to time itself - and therefore to the symbolic term of the millennium - will be ushered in by negotiation. Nowadays, you have to go straight from money to money, telegraphically so to speak, by direct transfer (that is the viral side of the matter). A viral revolution, then, more akin to the Glass Bead Game than to the steam engine, and admirably personified in Bernard Tapie's playboy face. For the look of money is reflected in faces. Gone are the hideous old capitalists, the old-style industrial barons wearing the masks of the suffering they have inflicted. Now there are only dashing playboys, sporty and sexual, true knights of industry, wearing the mask of the happiness they spread all around themselves. The world put on a show of despair after 1968. It's been putting on a big show of hope since 1980. No more tears, alright? Reaganite optimism, the pump ing up of the dollar. Fabius's glossy new look. Patriotic conviviality. Reluctance prohibited. The old pessimism was produced by the idea that things were getting worse and worse. The new pessimism is produced by the fact that everything is getting better and better. Supercooled euphoria. Controlled anaesthesia. I should like to see the equivalent of Bernard Tapie in the world of business emerge in the world of concepts. Buying up failing concepts, swallowing them up, dusting them off (firing all the deadbeats who are in the way), putting them back into circulation with a dynamic virginity, sending them shooting up on the Stock Exchange and then abandoning them afterwards like dogs. Some people do this very well. It is perhaps better to save tired concepts by maintaining them in a super cooled state like unemployed labour, or locking them away in interactive data banks kept alive on a respirator.

Come here, you flea-ridden hair wad. You’ll have all the sugar biscuits you want, if you’ll give your new toy to me.” He whistled softly and clicked. But the blandishments did not work. Dodger merely regarded him with bright eyes and stayed at the threshold, clutching the vial in his tiny paws. “Give him one of your garters,” Leo said, still staring at the ferret. “I beg your pardon?” Miss Marks asked frostily. “You heard me. Take off a garter and offer it to him as a trade. Otherwise we’ll be chasing this damned animal all through the house. And I doubt Rohan will appreciate the delay.” The governess gave Leo a long-suffering glance. “Only for Mr. Rohan’s sake would I consent to this. Turn your back.” “For God’s sake, Marks, do you think anyone really wants a glance at those dried-up matchsticks you call legs?” But Leo complied, facing the opposite direction. He heard a great deal of rustling as Miss Marks sat on a bedroom chair and lifted her skirts. It just so happened that Leo was positioned near a full-length looking glass, the oval cheval style that tilted up or down to adjust one’s reflection. And he had an excellent view of Miss Marks in the chair. And the oddest thing happened—he got a flash of an astonishingly pretty leg. He blinked in bemusement, and then the skirts were dropped. “Here,” Miss Marks said gruffly, and tossed it in Leo’s direction. Turning, he managed to catch it in midair. Dodger surveyed them both with beady-eyed interest. Leo twirled the garter enticingly on his finger. “Have a look, Dodger. Blue silk with lace trim. Do all governesses anchor their stockings in such a delightful fashion? Perhaps those rumors about your unseemly past are true, Marks.” “I’ll thank you to keep a civil tongue in your head, my lord.” Dodger’s little head bobbed as it followed every movement of the garter. Fitting the vial in his mouth, the ferret carried it like a miniature dog, loping up to Leo with maddening slowness. “This is a trade, old fellow,” Leo told him. “You can’t have something for nothing.” Carefully Dodger set down the vial and reached for the garter. Leo simultaneously gave him the frilly circlet and snatched the vial.

I have some questions for you.” Serious, indeed. He brushed her hair back from her forehead with his thumb. “I will answer to the best of my ability.” “You know about changing nappies.” “I do.” “You know about feeding babies.” “Generally, yes.” “You know about bathing them.” “It isn’t complicated.” She fell silent, and Vim’s curiosity grew when Sophie rolled to her back to regard him almost solemnly. “I asked Papa to procure us a special license.” He’d wondered why the banns hadn’t been cried but hadn’t questioned Sophie’s decision. “I assumed that was to allow your brothers to attend the ceremony.” “Them? Yes, I suppose.” She was in a quiet, Sophie-style taking over something, so he slid his arm around her shoulders and kissed her temple. “Tell me, my love. If I can explain my youthful blunders to you over a glass of eggnog, then you can confide to me whatever is bothering you.” She ducked her face against his shoulder. “Do you know the signs a woman is carrying?” He tried to view it as a mere question, a factual inquiry. “Her menses likely cease, for one thing.” Sophie took Vim’s hand and settled it over the wonderful fullness of her breast then shifted, arching into his touch. “What else?” He thought back to his stepmother’s confinements, to what he’d learned on his travels. “From the outset, she might be tired at odd times,” he said slowly. “Her breasts might be tender, and she might have a need to visit the necessary more often than usual.” She tucked her face against his chest and hooked her leg over his hips. “You are a very observant man, Mr. Charpentier.” With a jolt of something like alarm—but not simply alarm—Vim thought back to Sophie’s dozing in church, her marvelously sensitive breasts, her abrupt departure from the room when they’d first gathered for dinner. “And,” he said slowly, “some women are a bit queasy in the early weeks.” She moved his hand, bringing it to her mouth to kiss his knuckles, then settling it low on her abdomen, over her womb. “A New Year’s wedding will serve quite nicely if we schedule it for the middle of the day. I’m told the queasiness passes in a few weeks, beloved.” To Vim’s ears, there was a peculiar, awed quality to that single, soft endearment. The feeling that came over him then was indescribable. Profound peace, profound awe, and profound gratitude coalesced into something so transcendent as to make “love”—even mad, passionate love—an inadequate description. “If you are happy about this, Sophie, one tenth as happy about it as I am, then this will have been the best Christmas season anybody ever had, anywhere, at any time. I vow this to you as the father of your children, your affianced husband, and the man who loves you with his whole heart.” She

You don’t like feeling powerless? Then change your definition of power. Do not fix unfixable problems. Do not devote yourself to things you cannot control. You cannot make this world respect you. You cannot make it dignify you. It will never bend to you. This world does not belong to door. She tied her long hair away from her face, meticulously turning on specific track lights and not others, perhaps to highlight the beauty of her Scandinavian-style furniture choices or the incomparable city view. Then she poured herself a glass of wine from a previously opened bottle, joining Reina on the sofa with an air of hospitably withheld dread. “I was born here in Tokyo,” Reina commented. “Not far from here, actually. There was a fire the day I was born. People died. My grandmother always thought it meant something that I was—” She broke off. “What I was.” “People often search for meaning where there is none,” said Aiya placidly. Perhaps in a tone of sympathy, though Reina wasn’t sure what to think anymore. “Just because you can see two points does not mean anything exists between them.” “In other words, fate is a lie we tell ourselves?” asked Reina drolly. Aiya shrugged. Despite the careful curation of her lighting, she looked tired. “We tell ourselves many stories. But I don’t think you came here just to tell me yours.” No. Reina did not know why she was there, not really. She had simply wanted to go home, and when she realized home was an English manor house, she had railed against the idea so hard it brought her here, to the place she’d once done everything in her power to escape. “I want,” Reina began slowly, “to do good. Not because I love the world, but because I hate it. And not because I can,” she added. “But because everyone else won’t.” Aiya sighed, perhaps with amusement. “The Society doesn’t promise you a better world, Reina. It doesn’t because it can’t.” “Why not? I was promised everything I could ever dream of. I was offered power, and yet I have never felt so powerless.” The words left her like a kick to the chest, a hard stomp. She hadn’t realized that was the problem until now, sitting with a woman who so clearly lived alone. Who had everything, and yet at the same time, Reina did not see anything in Aiya Sato’s museum of a life that she would covet for her own. Aiya sipped her wine quietly, in a way that made Reina feel sure that Aiya saw her as a child, a lost little lamb. She was too polite to ask her to leave, of course. That wasn’t the way of things and Reina ought to know it. Until then, Aiya would simply hold the thought in her head. “So,” Aiya said with an air of teacherly patience. “You are disappointed in the world. Why should the Society be any better? It is part of the same world.” “But I should be able to fix things. Change things.” “Why?” “Because I should.” Reina felt restless. “Because if the world cannot be fixed by me, then how can it be fixed at all?” “These sound like questions for the Forum,” Aiya said with a shrug. “If you want to spend your life banging down doors that will never open, try their tactics instead, see how it goes. See if the mob can learn to love you, Reina Mori, without consuming or destroying you first.” Another reflective sip. “The Society is no democracy. In fact, it chose you because you are selfish.” She looked demurely at Reina. “It promised you glory, not salvation. They never said you could save others. Only yourself.” “And that is power to you?” Aiya’s smile was so polite that Reina felt it like the edge of a weapon. “You don’t like feeling powerless? Then change your definition of power. Do not fix unfixable problems. Do not devote yourself to things you cannot control. You cannot make this world respect you. You cannot make it dignify you. It will never bend to you. This world does not belong to you, Reina Mori, you belong to it, and perhaps when it is ready for a revolution it will look to you for leadership.

In 1972, Bayber's work underwent another metamorphosis, yet refused to be defined by or adhere to any specific style. Elements of abstract expressionism, modernism, surrealism, and neo-expressionism combine with figurative art to create works which remain wholly original and highly complex, both delighting and terrifying at a subconscious level. There is nothing fragile here, nothing dreamlike. No protections are offered, not for the artist himself and not for those viewing his work. All is called forth in a raw state, human values finessed on the canvas, softened and sharpened, separated and made aggregate. While there are certain motifs in these works- often a suggestion of water, the figure of a bird- and various elements are repeated, aside from an introverted complexity, the context in which they appear is never the same from one piece to the next. What ties these works together is the suggestion of loss, of disappearance, and of longing ( see figs. 87-95)" The figure of a bird. He had forgotten his own writing. Finch took the book back to his desk and pulled a magnifying glass from the top drawer to study the color plates. Thomas had completed six paintings in 1972, four of them after July. In each of those four, Finch managed to find what he had seen long ago, the figure of a bird. Was it Alice, flown away from him?

Catty and Vanessa were vamping it up on the corner of Fairfax and Beverly, in bell-bottoms with exaggerated lacy bells that they must have pulled from Catty's mother's closet. Vanessa gave them the peace sign. "Feeling' groovy." She winked. She had gorgeous skin, movie-star blue eyes, and flawless blond hair. She was wearing a headband and blue-tinted glasses. Catty was forever getting Vanessa into trouble, but they remained best friends. "Love and peace," Catty greeted them. Catty was stylish in an artsy sort of way. Right now, she wore a hand-knit cap with pom-pom ties that hung down to her waist, and her puddle-jumping Doc Martens were so wrong with the bell-bottoms that they looked totally right. Her curly brown hair poked from beneath the fuchsia cap and her brown eyes were framed by granny glasses, probably another steal from her mother. "You like our retro look?" Vanessa giggled at all the cars honking at them.

It should be platform-free. It’s just, what are our best stories?” he said. And so Baquet changed the structure of the meeting to match a new purpose. He changed the venue and physical environment of the meeting. The storied King Arthur–style table was removed, and plans were made to construct a new Page One meeting room with glass walls and red couches—a more relaxed environment to facilitate a broader discussion about the news.

At their invitation we crowded into the spacious control cabin of the great airship, where scientific gear occupied every available cubic—perhaps hypercubic—inch. Among the fantastical glass envelopes and knottings of gold wire as unreadable to us as the ebonite control panels scrupulously polished and reflecting the Arctic sky, we were able here and there to recognize more mundane items—here Manganin resistance-boxes and Tesla coils, there Leclanché cells and solenoidal magnets, with electrical cables sheathed in commercial-grade Gutta Percha running everywhere. Inside, the overhead was much higher than expected, and the bulkheads could scarcely be made out in the muted light through three hanging Fresnel lenses, the mantle behind each glowing a different primary color, from sensitive-flames which hissed at different frequencies. Strange sounds, complex harmonies and dissonances, resonant, sibilant, and percussive at once, being monitored from someplace far Exterior to this, issued from a large brass speaking-trumpet, with brass tubing and valvework elaborate as any to be found in an American marching band running back from it and into an extensive control panel on which various metering gauges were ranked, their pointers, with exquisite Breguet-style arrowheads, trembling in their rise and fall along the arcs of italic numerals. The glow of electrical coils seeped beyond the glass cylinders which enclosed them, and anyone’s hands that came near seemed dipped in blue chalk-dust. A Poulsen’s Telegraphone, recording the data being received, moved constantly to and fro along a length of shining steel wire which periodically was removed and replaced. “Ætheric impulses,” Dr. Counterfly was explaining. “For vortex stabilization we need a membrane sensitive enough to respond to the slightest eddies. We use a human caul—a ‘veil,’ as some say.” “Isn’t a child born with a veil believed to have powers of second sight?” Dr. Vormance inquired. “Correct. And a ship with a veil aboard it will never sink—or, in our case, crash.” “Things have been done to obtain a veil,” darkly added a junior officer, Mr. Suckling, “that may not even be talked about.

The windows of the church were tall, arched in gothic style. But from the outside, the colours and patterns of the stained-glass were dimmed. He knew that to appreciate their jewel-like beauty one had to view them from within, the light of day streaming through the colours and throwing lozenges of ruby and sapphire and emerald onto worn flagstones. Perhaps this was symbolic. Perhaps, isolated from the church, there were other delights, pleasures, comforts, that, because of his present state of mind, he deliberately denied himself.

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Hugh Collins wasn’t exactly what Perdita had visualised as a northern landlord. An elegant man with beautifully styled white hair, he was dressed in a red velvet waistcoat and smelled distinctly of whisky. It looked like James had long since made himself comfortable and was lounging in front of a roaring open fire, with what looked like a single malt in his glass. Perdita felt her temper rise but stifled it and decided to direct what little energy she had left elsewhere. She followed, dumbed by fatigue, to a back room where Hugh had laid a table in front of another huge fire.

Suddenly ravenous, April reached for a piece of bread and spared no caution in slathering it with a thick coat of butter. She’d just proved Luc’s theory, that Americans loved their snacking, but April didn’t much care. It was worth it. Along with her memories of every café, every midnight dinner, the thousands of glasses of wine, April remembered the butter. It was creamier in Paris, saltier. “Tell me more about the grand-mère,” April said and sat on her hands so she couldn’t physically take another bite. The thought of leaning over and lapping her baguette and beurre cat-style briefly occurred to her.

So,” Josh starts, looking at Lauren. “I hear congratulations are in order. You’re back in the work force now.” He continues in that annoyingly nasal voice of his, “How does this weekend sound?” He blushes and looks down to his hands. What a putz. “Oh, um, she can’t do it this weekend,” Kaleigh answers for Lauren. “She’s having her bikini area waxed and styled,” she explains, nodding her head. “What?” He looks confused. “Well,”—Kaleigh leans in and whispers—“it’s like the Amazon down there.” Noah spits water from his mouth, while their mother puts her hand to her mouth and Lauren throws her fork down on the plate, the clatter hushing the whispers at our table. “Kaleigh,” she grates out, her jaw ticking. “What?” she asks. “Was it a secret?” She shrugs. “So sorry.” She brings her glass of wine to her mouth in an attempt to hide her smirk. “Dear,

Developing the courage to think negatively allows us to look at ourselves as we really are. There is a remarkable consistency in people’s coping styles across the many diseases we have considered: the repression of anger, the denial of vulnerability, the “compensatory hyperindependence.” No one chooses these traits deliberately or develops them consciously. Negative thinking helps us to understand just what the conditions were in our lives and how these traits were shaped by our perceptions of our environment. Emotionally draining family relationships have been identified as risk factors in virtually every category of major illness, from degenerative neurological conditions to cancer and autoimmune disease. The purpose is not to blame parents or previous generations or spouses but to enable us to discard beliefs that have proved dangerous to our health. “The power of negative thinking” requires the removal of rose-coloured glasses. Not blame of others but owning responsibility for one’s relationships is the key. It is no small matter to ask people with newly diagnosed illness to begin to examine their relationships as a way of understanding their disease. For people unused to expressing their feelings and unaccustomed to recognizing their emotional needs, it is extemely challenging to find the confidence and the words to approach their loved ones both compassionately and assertively. The difficulty is all the greater at the point when they have become more vulnerable and more dependent than ever on others for support. There is no easy answer to this dilemma but leaving it unresolved will continue to create ongoing sources of stress that will, in turn, generate more illness. No matter what the patient may attempt to do for himself, the psychological load he carries cannot be eased without a clear-headed, compassionate appraisal of the most important relationships in his life. “Most of our tensions and frustrations stem from compulsive needs to act the role of someone we are not,” wrote Hans Selye. The power of negative thinking requires the strength to accept that we are not as strong as we would like to believe. Our insistently strong self-image was generated to hide a weakness — the relative weakness of the child. Our fragility is nothing to be ashamed of. A person can be strong and still need help, can be powerful in some areas of life and helpless and confused in others. We cannot do all that we thought we could. As many people with illness realize, sometimes too late, the attempt to live up to a self-image of strength and invulnerability generated stress and disrupted their internal harmony.

By the time Columbus discovered America, the Indians were already using beads for decoration. Beads were made from shells, bones, claws, stones, and minerals. The Algonquin and Iroquois tribes of the eastern coast made beads from clam, conch, periwinkle, and other seashells. These beads were used as a medium of exchange by the early Dutch and English colonists. They were called “wampum,” a contraction of the Algonquin “wampumpeak” or “wamponeage,” meaning string of shell beads. The purple beads had twice the value of the white ones. The explorer, followed by the trader, missionary and settler, soon discovered that he had a very good trade item in glass beads brought from Europe. The early beads that were used were about 1/8 inch in diameter, nearly twice as large as beads in the mid-1800’s. They were called pony beads and were quite irregular in shape and size. The colors most commonly used were sky-blue, white, and black. Other less widely used colors were deep bluff, light red, dark red, and dark blue. The small, round seed beads, as they are called, are the most generally used for sewed beadwork. They come in a variety of colors. Those most commonly used by the Indians are red, orange, yellow, light blue, dark blue, green, lavender, and black. The missionaries’ floral embroidered vestments influenced the Woodland tribes of the Great Lakes to apply beads in flower designs. Many other tribes, however, are now using flower designs. There are four main design styles used in the modern period. Three of the styles are largely restricted to particular tribes. The fourth style is common to all groups. It is very simple in pattern. The motifs generally used are solid triangles, hourglasses, crosses, and oblongs. This style is usually used in narrow strips on leggings, robes, or blankets. Sioux beadwork usually is quite open with a solid background in a light color. White is used almost exclusively, although medium or light blue is sometimes seen. The design colors are dominated by red and blue with yellow and green used sparingly. The lazy stitch is used as an application. The Crow and Shoshoni usually beaded on red trade or blanket cloth, using the cloth itself for a background. White was rarely used, except as a thin line outlining other design elements. The most common colors used for designs are pale lavender, pale blue, green, and yellow. On rare occasions, dark blue was used. Red beads were not used very often because they blended with the background color of the cloth and could not be seen. The applique stitch was used. Blackfoot beadwork can be identified by the myriad of little squares or oblongs massed together to make up a larger unit of design such as triangles, squares, diamonds, terraces, and crosses. The large figure is usually of one color and the little units edging it of many colors. The background color is usually white, although other light colors such as light blue and green have been used. The smallness of the pattern in Blackfoot designs would indicate this style is quite modern, as pony trading beads would be too large to work into these designs. Beadwork made in this style seems to imitate the designs of the woven quill work of some of the northwestern tribes with whom the Blackfoot came in contact.

Italians stand up a lot at bars,” I comment, taking the glass of water Luca’s pushing toward me. It’s fizzy, with ice and lime in it, and I drink it very gratefully. He smiles. I notice that one corner of his mouth lifts higher than the other when he does so, in a little quirk that sets off his handsomeness precisely because of its irregularity. “Italians like to show off their clothes,” he says. “They like clothes that are signed.” He hits his brow theatrically with one hand. “Firmati,” he says. “That is how we say ‘designer.’ They like designer clothes. If you stand up, people see them better.” Ha! I bet every single piece of clothing Elisa was wearing today is designer. “But your style, it’s very English,” Luca observes, and he reaches across the table to snag his index finger under the big strands of fake pearls around my neck, lifting them for a moment, then letting them fall back to my collarbone again. For a split second, his finger touches my skin, and he might as well have brushed me with a lit match. “Very…” He snaps his fingers, searching for the word. “Eccentrica,” he says finally. “Oh God!” My face drops. “It’s that bad?” “Cosa?” He looks confused. “Bad?” “In English, ‘eccentric’ is sort of like ‘mad,’” I explain. “If you’re really posh, especially. You could be a raving loony who eats bats for breakfast, and as long as you have a title, they’d call you eccentric and think it was charming.” Luca, clearly, hasn’t understood all of this. But he’s thrown his head back and is laughing so hard that I see people beyond us turning to look in curiosity. He looks absolutely gorgeous when he laughs, his mouth curving up, tiny lines creasing around his eyes; his usual cool demeanor is wiped away, and he looks younger, sweeter, much more approachable.

The door opened to reveal a room with walls consisting mostly of inset mahogany bookcases covered by leaded glass doors. Intricate plasterwork adorned the ceiling in a flowered medallion style that matched the thick Aubusson carpet on the floor. "Are all of these books for sale?" Amanda asked in a hushed voice, feeling as if she had entered a king's treasure room. Fretwell nodded. "You'll find everything from antiques to zoology. We have a wide selection of antique maps and celestial charts, original folios and manuscripts..." He gestured around them, as if the extensive rows of books were self-explanatory. "I would love to lock myself in here for a week," she said impulsively.

Polly parked the van and peered through the windshield at the house. Well, good thing it was isolated here on the cliff because she was pretty sure there were zoning laws against this sort of eyesore. It was a massive, blocky structure, all white concrete, steel, and glass walls everywhere. She’d been expecting something more traditional, like an English-style brick building or a beachfront villa. Not a modern architect’s wet dream.

What then is this thing called Design if it is neither style nor applied art? It is planning: the planning as objectively as possible of everything that goes to make up the surroundings and atmosphere in which men live today. This atmosphere is created by all the objects produced by industry, from glasses to houses and even cities. It is planning done without preconceived notions of style, attempting only to give each thing its logical structure and proper material, and in consequence its logical form.

Nick relaxed as he and Jordan settled into the last two open chairs at the bar. This kind of wine tasting was much more his style. Mike slid two empty glasses in front of them. “Where do you guys want to start?” Nick thought about this. “Do you have anything in a pink?” Mike eagerly grabbed a bottle from the back bar. “Actually, we have a gorgeous Rosato. Predominantly made from cabernet and Sangiovese grapes, fermented in stainless steel, then briefly in French oak, it’s a lush, aromatic blend of wild strawberries and blood oranges, full in the mouth without being too heavy. Perfect for a sunny, spring day like this.” “Sounds delicious,” Nick said. “I’ll take everything but that one.

David and Neil were MBA students at the Wharton School when the cash-strapped David lost his eyeglasses and had to pay $700 for replacements. That got them thinking: Could there be a better way? Neil had previously worked for a nonprofit, VisionSpring, that trained poor women in the developing world to start businesses offering eye exams and selling glasses that were affordable to people making less than four dollars a day. He had helped expand the nonprofit’s presence to ten countries, supporting thousands of female entrepreneurs and boosting the organization’s staff from two to thirty. At the time, it hadn’t occurred to Neil that an idea birthed in the nonprofit sector could be transferred to the private sector. But later at Wharton, as he and David considered entering the eyeglass business, after being shocked by the high cost of replacing David’s glasses, they decided they were out to build more than a company—they were on a social mission as well. They asked a simple question: Why had no one ever sold eyeglasses online? Well, because some believed it was impossible. For one thing, the eyeglass industry operated under a near monopoly that controlled the sales pipeline and price points. That these high prices would be passed on to consumers went unquestioned, even if that meant some people would go without glasses altogether. For another, people didn’t really want to buy a product as carefully calibrated and individualized as glasses online. Besides, how could an online company even work? David and Neil would have to be able to offer stylish frames, a perfect fit, and various options for prescriptions. With a $2,500 seed investment from Wharton’s Venture Initiation Program, David and Neil launched their company in 2010 with a selection of styles, a low price of $95, and a hip marketing program. (They named the company Warby Parker after two characters in a Jack Kerouac novel.) Within a month, they’d sold out all their stock and had a 20,000-person waiting list. Within a year, they’d received serious funding. They kept perfecting their concept, offering an innovative home try-on program, a collection of boutique retail outlets, and an eye test app for distance vision. Today Warby Parker is valued at $1.75 billion, with 1,400 employees and 65 retail stores. It’s no surprise that Neil and David continued to use Warby Parker’s success to deliver eyeglasses to those in need. The company’s Buy a Pair, Give a Pair program is unique: instead of simply providing free eyeglasses, Warby Parker trains and equips entrepreneurs in developing countries to sell the glasses they’re given. To date, 4 million pairs of glasses have been distributed through Warby Parker’s program. This dual commitment to inexpensive eyewear for all, paired with a program to improve access to eyewear for the global poor, makes Warby Parker an exemplary assumption-busting social enterprise.

Penny’s house was a standard three-bedroom postwar suburban home. The décor wasn’t what I would call gaudy, but it was definitely froofy. Kind of like a ten-year-old had been allowed to order anything she wanted from the Sears catalog. Everything had a damn ruffle on it. It didn’t suit my idea of Penny. When we got to the doorway of her room, I noticed how dramatically different it was from the rest of the house. Her bed was covered in a simple black comforter, and everything projected a modern aesthetic—sharp angles, cold, and minimalist. “Do you live in here with a vampire?” “Ha-ha, very funny. You can sit there and wait for me.” I sat at her glass desk in an office-style chair as she tossed clothes out of her bag and into a hamper. “Some of this furniture is from my dad’s old office, so it’s pretty sterile.” “Seems like you have different tastes from the rest of your family. No ruffles and flowers?” “I like flowers,” she said absently. “What, like Venus flytraps?” “If you grew up with all this frilly shit, you’d be over it, too. I mean, do you know any other families who still use doilies? Every surface is literally covered in them.

They had left the buckets of stemmed flowers and now found themselves in the center of the indoor succulent section, an array of miniature plants with whimsical names such as burro's tail and flaming katy. Olive slowed her pace, taking her time perusing metal racks of each variety. She stooped down and plucked a container of a sweet, blossom-shaped plant. "What's that one?" Julia asked. She liked the look of its pink-edged tips, whose color reminded her of a radish. "This guy here is called roseum. It likes the sun, so I'd have to think of a spot near a window. But it's a nice touch of color among all the green. At different times of year, it develops clusters of light-pink star-shaped flowers. I like it because it adds texture next to something like, say, that jade plant, which is more like a stocky little tree. If I place them together, it adds interest." "Wow. That sounds great." Olive brightened. "Thanks. And then, see these here?" She pointed to a miniature plant with chubby, rosette-style leaves. "Yes?" Julia leaned closer and squinted to read the sign. "The one that says 'Sedum Golden Glow'?" "Yes. That one. I'm thinking of getting a few of those guys and placing them on the dining table in these cool little glass-and-gold terrariums I found online. They have delicate little panes of glass set against metal frames that catch your eye, and they're fancy enough for Mom's taste. She's okay if I do rustic, but she always wants a touch of something expensive mixed in. The terrariums do the trick, I think.

Y'all know that little gal Kelly Crawford that works down at Tuckers?" Tuckers Jiffy Lube was the only gas station and mechanical shop in town. Jena Lynn's face contorted in disapproval. "You referring to that scantily clad girl who runs the register?" I asked as Jena Lynn hopped up to retrieve the coffeepot. "That's the one." Betsy curled up her lip in disgust. "That girl is barely legal!" I was outraged. "I know! I'm going to tell her granny. She'll take a hickory switch to the girl when she finds out what she's been up to. She was all over Darnell." Betsy wiped her nose with the back of her hand. She was right about that. Her granny wasn't the type to spare the rod; she parented old-school style. Jena Lynn's tone rose as she stirred raw sugar into her coffee. "You caught them?" "Well, I called him after what happened with poor Mr. Ledbetter---" We shook our heads. "---told him I was going to be late 'cause I was taking that extra shift. Guess he thought late meant real late 'cause when I got home, they we're rootin' around on my couch, the one my meemaw gave me last spring when she had her house redecorated." We sat in stunned silence. "I threw his junk out last night. And when he still didn't budge from the TV"---she paused for effect---"I set it all on fire, right there in the front yard." She leaned back and crossed her arms over her expansive chest. "That's harsh." Sam stacked his empty plates. "Maybe it wasn't Darnell's fault." Jena Lynn and I gave him a disapproving glare. He appeared oblivious to his offense, and the moron had the audacity to reach into the container for a cream cheese Danish. "Sam, if you value that scrawny hand of yours, I'd pull it out real slow or you'll be drawing back a nub," Betsy warned. "Sheesh!" Sam jerked backward. It was obvious he didn't doubt her for a second. He marched toward the kitchen and dropped the plates in the bus tub with a loud thud. "He should know better. You don't touch a gal's comfort food in a time of crisis," I said, and my sister nodded in agreement. Jena Lynn patted Betsy on the arm. "Ignore him, Bets. He's a man." I stood. "And if I may be so bold as to speak for all the women of the world who have been unfortunate enough to be in your shoes, we applaud you." A satisfied smile spread across Betsy's lips. "Thank you." She took a little bow. "That's why my eyes look like they do. Smoke got to me." She leaned in closer. "I threw all his high school football trophies into the blaze while he was hollering at me. The whole neighborhood came out to watch." I chuckled. The thought of Darnell Fryer running around watching all his belongings go up in smoke was hilarious. I wished I'd been there. "Did anyone try to step in and help Darnell?" "Hell nah. He owes his buddies so much money from borrowing to pay his gambling debts, the ones that came out brought their camping chairs and watched the show while tossing back a few cold ones." She got up from the counter to scoop a glass full of ice and filled it with Diet Coke from the fountain. "Y'all, I gotta lose this weight now I'm back on the market." Betsy was one of a kind.

Seeing the Worm Instead of the Apple Another thought pattern that makes you keep your partner at a distance is “seeing the worm instead of the apple.” Carole had been with Bob for nine months and had been feeling increasingly unhappy. She felt Bob was the wrong guy for her, and gave a multitude of reasons: He wasn’t her intellectual equal, he lacked sophistication, he was too needy, and she didn’t like the way he dressed or interacted with people. Yet, at the same time, there was a tenderness about him that she’d never experienced with another man. He made her feel safe and accepted, he lavished gifts on her, and he had endless patience to deal with her silences, moods, and scorn. Still, Carole was adamant about her need to leave Bob. “It will never work,” she said time and again. Finally, she broke up with him. Months later she was surprised by just how difficult she was finding things without him. Lonely, depressed, and heartbroken, she mourned their lost relationship as the best she’d ever had. Carole’s experience is typical of people with an avoidant attachment style. They tend to see the glass half-empty instead of half-full when it comes to their partner. In fact, in one study, Mario Mikulincer, dean of the New School of Psychology at the Interdisciplinary Center in Israel and one of the leading researchers in the field of adult attachment, together with colleagues Victor Florian and Gilad Hirschberger, from the department of psychology at Bar-Ilan University in Israel, asked couples to recount their daily experiences in a diary. They found that people with an avoidant attachment style rated their partner less positively than did non-avoidants. What’s more, they found they did so even on days in which their accounts of their partners’ behavior indicated supportiveness, warmth, and caring. Dr. Mikulincer explains that this pattern of behavior is driven by avoidants’ generally dismissive attitude toward connectedness. When something occurs that contradicts this perspective—such as their spouse behaving in a genuinely caring and loving manner—they are prone to ignoring the behavior, or at least diminishing its value. When they were together, Carole used many deactivating strategies, tending to focus on Bob’s negative attributes. Although she was aware of her boyfriend’s strengths, she couldn’t keep her mind off what she perceived to be his countless flaws. Only after they broke up, and she no longer felt threatened by the high level of intimacy, did her defense strategies lift. She was then able to get in touch with the underlying feelings of attachment that were there all along and to accurately assess Bob’s pluses.

It was something of a stylistic experiment, pushing the time-tested vaporwave aesthetic more toward stained glass and dark wood.

What’s your favorite part of the trip?” “I don’t have one.” “C’mon, there must’ve been something.” “I took a weekend trip to Caño Cristales. I liked seeing the different colors of the river. It was like a liquid rainbow.” Many of the students had spent their time traveling around Colombia on the weekends. No one had a car, but we could hop on a plane for fairly cheap and fly into different areas such as Bogotá, the country’s official capital city, or Cali, the salsa-dancing capital of the world. Amanda had even convinced me to fly with her to the seductive, sizzling city of Cartagena. We climbed the fortified walls that had once protected the city from pirate attacks and watched the sunset. The entire city had a Miami-style skyline and, after the sun went down, infatuation seemed to bloom into fever and take hold of the city. At night we could hear the clink of rum bottles and mojito glasses in cafés on almost every street as moonlight picked out the silhouettes of softly swaying couples. We walked for hours along the coastal city streets. Candle flames beckoned from the dimness of nearby baroque churches.

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Impressionists, Cubists, and Surrealists who had stunned the world between 1870 and 1960 by entirely redefining art. VAN GOGH… SEURAT… PICASSO… MUNCH… MATISSE… MAGRITTE… KLIMT… KANDINSKY… JOHNS… HOCKNEY… GAUGUIN… DUCHAMP… DEGAS… CHAGALL… CÉZANNE… CASSATT… BRAQUE… ARP… ALBERS… This section terminated at one last architectural rib, and Langdon moved past it, finding himself in the final section of the library. The volumes here appeared to be dedicated to the group of artists that Edmond, in Langdon’s presence, liked to call “the school of boring dead white guys”—essentially, anything predating the modernist movement of the mid-nineteenth century. Unlike Edmond, it was here that Langdon felt most at home, surrounded by the Old Masters. VERMEER… VELÁZQUEZ… TITIAN… TINTORETTO… RUBENS… REMBRANDT… RAPHAEL… POUSSIN… MICHELANGELO… LIPPI… GOYA… GIOTTO… GHIRLANDAIO… EL GRECO… DÜRER… DA VINCI… COROT… CARAVAGGIO… BOTTICELLI… BOSCH… The last few feet of the final shelf were dominated by a large glass cabinet, sealed with a heavy lock. Langdon peered through the glass and saw an ancient-looking leather box inside—a protective casing for a massive antique book. The text on the outside of the box was barely legible, but Langdon could see enough to decrypt the title of the volume inside. My God, he thought, now realizing why this book had been locked away from the hands of visitors. It’s probably worth a fortune. Langdon knew there were precious few early editions of this legendary artist’s work in existence. I’m not surprised Edmond invested in this, he thought, recalling that Edmond had once referred to this British artist as “the only premodern with any imagination.” Langdon disagreed, but he could certainly understand Edmond’s special affection for this artist. They are both cut from the same cloth. Langdon crouched down and peered through the glass at the box’s gilded engraving: The Complete Works of William Blake. William Blake, Langdon mused. The Edmond Kirsch of the eighteen hundreds. Blake had been an idiosyncratic genius—a prolific luminary whose painting style was so progressive that some believed he had magically glimpsed the future in his dreams. His symbol-infused religious illustrations depicted angels, demons, Satan, God, mythical creatures, biblical themes, and a pantheon of deities from his own spiritual hallucinations

He turned off the canoreo and helped himself to the brandy stored behind a sliding panel, drinking from the bottle, because all three glasses were filthy. He felt surrounded by crashing great trees, and the monstrous beasts of unachieved, perhaps unachievable tasks. One such task was Ada whom he knew he would never give up; to her he would surrender the remnants of his self at the first trumpet blast of destiny. Another was his philosophic work, so oddly impeded by his own virtue—by that originality of literary style which constitutes the only real honesty of a writer. He had to do it his own way, but the cognac was frightful, and the history of thought bristled with clichés, and it was that history he had to surmount.

Chapter 18: The Power of Negative Thinking (pages 254-255) Developing the courage to think negatively allows us to look at ourselves as we really are. There is a remarkable consistency in people's coping styles across the many diseases we have considered: the repression of anger, the denial of vulnerability, the "compensatory hyperindependence." No one chooses these traits deliberately or develops them consciously. Negative thinking helps us understand just what the conditions were in our lives and how these traits were shaped by our perceptions of our environment. Emotionally draining family relationships have been identified as risk factors in virtually every category of major illness, from degenerative neurological conditions to cancer and autoimmune disease. The purpose is not to blame parents or previous generations or spouses but to enable us to discard beliefs that have proved dangerous to our health. "The power of negative thinking" requires the removal of rose-coloured glasses. Not blame of others but owning responsibility for one's responsibility is the key.

Strong women are the architects of their destinies, the CEOs of their lives, and the superheroes of their own stories. They don't just break glass ceilings; they shatter them with style. Their sass is their superpower, and their laughter is their battle cry. From juggling responsibilities to sparkling kindness like glitter, they do it all with flair and finesse. So, here's to the strong women; you make the world a better place!

Everything on this platter is hamo eel or ayu sweetfish: two essential parts of Kyoto summer cuisine," explained Nagare. "Starting from the top left: miniature hamo sushi rolls. One teriyaki-style, and one shirayaki--- without any seasoning, that is. Next to that, in the small bowl, is shredded hamo eel skin, pickled and served with okra. On top of the bamboo grass leaf are two little ayu, caught in the Katsura River--- salted and grilled. In the glass sake cup is a delicacy known as uruka--- basically the salted entrails and roe of the ayu. Similar to shiokara, if you've had that. The deep-fried dish in the middle on the right is ayu fry. They're sprinkled with sansho pepper salt, so you can enjoy them as they are. Bottom right, on the perilla leaf, is hamo no otoshi: boiled slices of the eel, served with pickled plum paste and myoga ginger. Bottom left, meanwhile, is hamo no hasamiyaki, which is seasoned with white miso and fried between slices of Yamashina eggplant.

AMERICAN WHEAT OR RYE BEER Refreshing wheat or rye beers can display more hop character and less yeast character than their German cousins. This is a beginner-level style that can be brewed by extract or all-grain methods. Ferments at 65° F (18° C). OG FG IBU Color Alcohol 1.040-1.055 (10-13.6 °P) 1.008-1.013 (2.1-3.3 °P) 15-30 3-6 SRM 6-12 EBC 4-5.5% ABV 3.2-4.3% ABW Keys to Brewing American Wheat or Rye Beer: This easy-drinking beer style usually has a subtly grainy wheat character, slightly reminiscent of crackers. The hop flavor and aroma are more variable, with some versions having no hop character, while others have a fairly noticeable citrus or floral flair. Even when the hops are more prominent, they should not be overwhelming, and the hop bitterness should be balanced. The rye version of this style has a slight spicy, peppery note from the addition of rye in place of some or all of the wheat. The key mistake many brewers make is in assuming that American wheat beer should be similar to German hefeweizen. However, this style should not have the clove and banana character of a hefeweizen. This beer should not be as malty (bready) as a German hefeweizen, either, so all-grain brewers will want to use a less malty American two-row malt. To get the right fermentation profile, it is important to use a fairly neutral yeast strain, one that doesn’t produce a lot of esters like the German wheat yeasts do. While you can substitute yeast like White Labs WLP001 California Ale, Wyeast 1056 American Ale, or Fermentis Safale US-05, a better choice is one that provides some crispness, such as an altbier or Kölsch yeast, and fermentation at a cool temperature. RECIPE: KENT'S HOLLOW LEG It was the dead of winter and I was in Amarillo, Texas, on a business trip with Kent, my co-worker. That evening at dinner I watched as Kent drank a liter of soda, several glasses of water, and three or four liters of American wheat beer. I had a glass of water and one liter of beer, and I went to the bathroom twice. Kent never left the table. When I asked Kent about his superhuman bladder capacity, he thought it was due to years of working as a programmer glued to his computer and to the wonderful, easy-drinking wheat beer. This recipe is named in honor of Kent’s amazing bladder capacity. This recipe has a touch more hop character than many bottled, commercial examples on the market, but a lot less than some examples you might find. If you want less hop character, feel free to drop the late hop additions. If you really love hops and want to make a beer with lots of hop flavor and aroma, increase the late hop amounts as you see fit. However, going past the amounts listed below might knock it out of consideration in many competitions for being “too hoppy for style,” no matter how well it is brewed. OG: 1.052 (12.8 °P) FG: 1.012 (3.0 °P) ADF: 77% IBU: 20 Color: 5 SRM (10 EBC) Alcohol: 5.3% ABV (4.1% ABW) Boil: 60 minutes Pre-Boil Volume: 7 gallons (26.5L) Pre-Boil Gravity: 1.044 (11.0 °P) Extract Weight Percent Wheat LME (4 °L) 8.9 lbs. (4.03kg) 100 Hops   IBU Willamette 5.0% AA, 60 min. 1.0 oz. (28g) 20.3 Willamette 5.0% AA, 0 min. 0.3 oz. (9g) 0 Centennial 9.0% AA, 0 min. 0.3 oz. (9g) 0 Yeast White Labs WLP320 American Hefeweizen, Wyeast 1010 American Wheat, or Fermentis Safale US-05 Fermentation and Conditioning Use 10 grams of properly rehydrated dry yeast, 2 liquid yeast packages, or make a starter. Ferment at 65° F (18° C). When finished, carbonate the beer to approximately 2.5 volumes. All-Grain Option Replace the wheat extract with 6 lbs. (2.72kg) American two-row malt and 6 lbs. (2.72kg) wheat malt. Mash at 152° F (67° C). Rye Option This beer can also be made with a portion of malted rye. The rye gives the beer a slightly spicy note and adds a certain creamy mouthfeel. Replace the wheat extract with 6 lbs. (2.72kg) American two-row malt, 3.75 lbs. (1.70kg) rye malt, and 3 lbs. (1.36kg) wheat malt. Mash at 152° F (67° C).

The cop checked one more time that he was carrying his police ID, even though he sincerely doubted it would be of much use here, and plunged into the lion’s den. He was immediately assailed by a heady odor of hashish, mixed with the smells of mint and mu‘assel from the hookahs. The light was muted; the powerful air conditioner rumbled. The thick wooden tables, old Vienna-style lamps, bronze art objects hanging on the wall, and large steins of beer made the place look like an English pub. A waitress, Caucasian and scantily clad, threaded between the shapes, her tray loaded with glasses brimful of alcohol. Sharko had expected to find faces eaten away by syphilis, drugs, or drink. Instead, he was amazed at how attractive the clientele looked, mostly young and flamboyantly dressed.

A deep shout resounded from inside the café, a muffled demand. I shouldn’t have been surprised, still my heart made a mad leap for my throat. People screamed, the sound noticeable even through the thick glass windows. I wouldn’t turn back. I stepped off the curb, glanced left, then right and darted across the street. I had five minutes to make it home in time and couldn’t be late…again or Grandma would worry. I focused on the long road that led to our small Cape Cod style cottage, focused on the crunch of brittle leaves under my sneakers, focused on breathing. I would not react to the scene around me. I couldn’t. As Grandma repeatedly warned, my very life

Mai found me in our apartment hours after the magistrates dismissed me. I was curled up on our old brocade couch wearing Eeyore pajamas with a melting pint of Ben & Jerry’s Chocolate Therapy on my lap. She walked through the door as episode fourteen in season eight of Supernatural ended, just in time to catch me wiping drool off my chin from watching Dean slide on his Clark Kent-style glasses. Life didn’t get better than this. How had I forgotten Netflix was my soul mate?

TINY CRAB CAKES 1 egg 1½ cups fresh breadcrumbs (see Note) ¼ cup finely chopped scallions (2–3 scallions) 1 tablespoon mayonnaise 1 teaspoon lemon juice (juice of about ⅙ medium lemon) ½ teaspoon Worcestershire sauce ¼ teaspoon seafood seasoning mix, such as Old Bay 8 ounces fresh lump-style crabmeat, picked over 2–3 tablespoons vegetable oil Scallion brushes for garnish (optional; see page 19) MAKES ABOUT 24 MINI CAKES (4–6 SERVINGS) 1. To make the Curry-Orange Mayo, whisk together the mayonnaise, curry powder, orange zest, orange juice, and Tabasco in a small bowl. Refrigerate for at least 2 hours or up to 3 days. When ready to serve, transfer to a pretty bowl and sprinkle with the scallions. 2. To make the crab cakes, lightly beat the egg in a large bowl. Add ¾ cup of the breadcrumbs, the scallions, mayonnaise, lemon juice, Worcestershire sauce, and seasoning mix. Stir well to blend. Add the crabmeat and mix gently, being careful not to shred the crabmeat entirely. 3. Spread the remaining ¾ cup of breadcrumbs onto a plate. Form the crab mixture into 24 cakes, using a scant tablespoon for each one, and dredge lightly in the crumbs. Arrange on a wax paper-lined baking sheet. 4. Heat 2 tablespoons of the oil in one or two large skillets over medium heat. Cook the cakes until golden brown and crisp on one side, about 2 to 2½ minutes. Flip and repeat. The cakes should be hot inside. Repeat with any remaining cakes, adding more oil as necessary. Serve immediately, or place on a foil-lined baking sheet, wrap well, and refrigerate for up to 24 hours, or freeze for up to 2 weeks. 5. If you make the cakes ahead, remove from the refrigerator or freezer 30 minutes prior to reheating. Preheat the oven to 375°F. Bake the cakes until hot and crisp, 10 to 15 minutes. 6. Arrange on a platter with the sauce for dipping, and garnish with the scallion brushes, if desired. Note: Tear 3 slices of good-quality bread into pieces and whir in a food processor to make breadcrumbs. Portland Public Market The Portland Public Market, which opened in 1998, continues Maine’s long tradition of downtown public markets, dating back to the 19th century. Housed in an award-winning brick, glass, and wood structure, the market, which was the brainchild of Maine philanthropist Elizabeth Noyce, is a food-lover’s heaven. Vendors include organic produce farms; butchers selling locally raised meat; purveyors of Maine-made cheeses, sausages, and smoked seafood; artisan bakers; and flower sellers. Prepared take-away food includes Mexican delicacies, pizza, soups, smoothies, and sandwiches, and such well-known Portland culinary stars as Sam Hayward (see page 127) and Dana Street (see page 129) have opened casual dining concessions.

It wasn’t something that would last, we both knew that, but it was a small, quick delight, and sometimes in this world, there was nothing wrong with that. I stumbled back across campus. There were students still out. I tried to stay in the shadows, but Barry, the student who visits my office weekly, spotted me and cried out, “Taking the walk of shame, Teach?” Caught. I gave him a good-hearted wave and continued serpentine-style to my humble abode. A sudden head rush hit me as I entered. I stayed still, waiting for my legs to come back to me. When the dizziness receded, I headed into the kitchen and grabbed a glass of ice water. I drank it in big gulps and poured another. I would be hurting tomorrow, no question about it. Exhaustion weighed down my bones. I stepped into my bedroom and flicked on the light. There, sitting on the edge of my bed, was the man with the maroon baseball cap. I jumped back, startled. The man gave me a friendly wave. “Hey, Jake. Sheesh, look at you. Have you been out carousing?” For a second, no more, I just stood there. The man smiled at me as though this were the most natural encounter in the history of the world. He even touched the front of his cap at me, as though he were a professional golfer acknowledging the gallery. “Who the hell are you?” I asked. “That’s not really relevant, Jake.” “Like hell it isn’t. Who are you?” The man sighed, let down, it seemed, by my seemingly irrational insistence on knowing his identity. “Let’s just say I’m a friend.” “You were in the café. In Vermont.” “Guilty.” “And