Graffiti Love Quotes

I guess love's kind of like a marshmallow in a microwave on high. After it explodes it's still a marshmallow. but, you know, now it's a complicated marshmallow.

Something about first love defies duplication. Before it, your heart is blank. Unwritten. After, the walls are left inscribed and graffitied. When it ends, no amount of scrubbing will purge the scrawled oaths and sketched images, but sooner or later, you find that there’s space for someone else, between the words and in the margins.

Remember Love doesn't make the world go round Sex makes it spin for a second or two If you're lucky So do chips, sausage rolls and girls in short skirts Remember Love Lays its fingers on your heart And holds it Under water Remember that When the next girl smiles

If you treat glass right, it doesn't crack. If you know the properties, you can make things; the color of dusk and night and love. But you can't control people like that and I really, really wish you could. I want the world to be glass.

If my like for you was a football crowd, you’d be deaf ’cause of the roar. And if my like for you was a boxer, there’d be a dead guy lying on the floor. And if my like for you was sugar, you’d lose your teeth before you were twenty. And if my like for you was money, let’s just say you’d be spending plenty.

Love and romance are things worth waiting for.

Where do babies come from? Don't bother asking adults. They lie like pigs. However, diligent independent research and hours of playground consultation have yielded fruitful, if tentative, results. There are several theories. Near as we can figure out, it has something to do with acting ridiculous in the dark. We believe it is similar to dogs when they act peculiar and ride each other. This is called "making love". Careful study of popular song lyrics, advertising catch-lines, TV sitcoms, movies, and T-Shirt inscriptions offers us significant clues as to its nature. Apparently it makes grown-ups insipid and insane. Some graffiti was once observed that said "sex is good". All available evidence, however, points to the contrary.

Think of these pages as graffiti maybe, and where I have scratched up in a public place my longings and loves, my grievances and indecencies, be reminded in private of your own. In that way, at least, we can hold a kind of converse.

MUSIC IS THE ULTIMATE POWER LOVE IS SIMPLY THE MESSAGE AND THE TRUTH WILL SET YOU FREE !!!

Mum says be careful of boys who never take anything seriously. Dad says a boy needs a good sense of humor to get through his love life. Jazz says my dad must need a sense of humor to get through his love life if he's living in the shed

the usual graffiti on the wall. JRH WAS HERE. NICK LOVES CASS. Visitors leaving the worst parts of themselves behind in fluorescent paint.

All I can tell you is to have the relationship that's good for you.

Lips are the outward sign, the emblem of desire, and lipstick is the ink in which we graffiti that message on our smile, our pout and pucker. When a girl blows a man a kiss she is sending him a piece of her soul.

I am no blank slate for love to write on. My heart has walls marred with cracks, bloodstains, and bullet holes; graffitied over by past lovers.

There was a great jagged hole where they had ripped out the fireplace; the wall around it was crowded with faded graffiti explain who loved who, who was gay and who should fuck off.

She loved that boy with her whole heart, but my God, there were days when she couldn’t fully breathe until she’d left him at the schoolyard gate. That’s all over now; she would staple him to her, sew him into her skin, affix her body permanently to his now, if she could. She’d grow her hair into his scalp, would become his conjoined twin-mother. She would forgo a private thought in her head for the rest of her life, if she could keep him safe. Luca waits at the corner, and Lydia looks beyond him, across the street, where the side of a building is painted with graffiti. A giant question mark. No. No, it’s not a question mark. Lydia stops cold. She puts her hand out for Luca.

Exiting onto the street, I heard a chorus of bells from three churches, then saw the blood-red banners with their dark Swastikas everywhere I turned. I'm accustomed to this in Berlin, but seeing them on these lovely old façades is like finding graffiti scrawled on my grandmother's house. The Nazis are relentless with this display, like dogs marking territory.

If my like for you was a footy crowd, you'd be deaf cos of the roar. And if my like for you were a boxer, there'd be a dead guy lying on the floor. And if my like for you were sugar, you'd lose your teeth before you were twenty. And if my like for you was money, let's just say you'd be spending plenty.

Did you know that on one of the islands of Orkney, in the North of Scotland, there are some runes that when translated turned out to be Viking graffiti? Eight feet up a wall it says "A tall Viking wrote this." You gotta love that.

I loved the abandoned subway stations, rushing past the darkened platforms, the sprawl of graffiti like old letters. Letters left by ghosts.

Stories had a way of doing that, in Grillo’s experience. It was his belief that nothing, but nothing, could stay secret, however powerful the forces with interests vested in silence. Conspirators might conspire and thugs attempt to gag but the truth, or an approximation of same, would show itself sooner or later, very often in the unlikeliest form. It was seldom hard facts that revealed the life behind the life. It was rumour, graffiti, strip cartoons and love songs.

As she searched, she looked down at the fallen architecture and read the names graffitied on its sides. Gracus loves Lucinda. Ethan loves Sarah. Michael loves Erin. For what seemed like days she ran her fingers over the names carved into the fragmented bones of ruined loves, stepping around the broken pillars of unkept vows and dusting headstones in the graveyard of love with her hands. Every kind of death had a resting place in the dry lands. She walked until her feet bled.

Why do want to find him so bad?’ I ask after a while, but she’s not listening. I watch her a bit longer. ‘Why do you want to find him so bad?’ I ask again. She blinks and comes out of her dream. She flicks the band on her wrist. ‘I just do.’ - Ed Skye

Sooner or later, all talk among foreigners in Pyongyang turns to one imponderable subject. Do the locals really believe what they are told, and do they truly revere Fat Man and Little Boy? I have been a visiting writer in several authoritarian and totalitarian states, and usually the question answers itself. Someone in a café makes an offhand remark. A piece of ironic graffiti is scrawled in the men's room. Some group at the university issues some improvised leaflet. The glacier begins to melt; a joke makes the rounds and the apparently immovable regime suddenly looks vulnerable and absurd. But it's almost impossible to convey the extent to which North Korea just isn't like that. South Koreans who met with long-lost family members after the June rapprochement were thunderstruck at the way their shabby and thin northern relatives extolled Fat Man and Little Boy. Of course, they had been handpicked, but they stuck to their line. There's a possible reason for the existence of this level of denial, which is backed up by an indescribable degree of surveillance and indoctrination. A North Korean citizen who decided that it was all a lie and a waste would have to face the fact that his life had been a lie and a waste also. The scenes of hysterical grief when Fat Man died were not all feigned; there might be a collective nervous breakdown if it was suddenly announced that the Great Leader had been a verbose and arrogant fraud. Picture, if you will, the abrupt deprogramming of more than 20 million Moonies or Jonestowners, who are suddenly informed that it was all a cruel joke and there's no longer anybody to tell them what to do. There wouldn't be enough Kool-Aid to go round. I often wondered how my guides kept straight faces. The streetlights are turned out all over Pyongyang—which is the most favored city in the country—every night. And the most prominent building on the skyline, in a town committed to hysterical architectural excess, is the Ryugyong Hotel. It's 105 floors high, and from a distance looks like a grotesquely enlarged version of the Transamerica Pyramid in San Francisco (or like a vast and cumbersome missile on a launchpad). The crane at its summit hasn't moved in years; it's a grandiose and incomplete ruin in the making. 'Under construction,' say the guides without a trace of irony. I suppose they just keep two sets of mental books and live with the contradiction for now.

I'm like Courtney Love without the drugs, right? Edgy. Full of unspoken feeling.' 'You're a brick when the guy is real and in front of you.

Ripples of sunset dance towards our feet, swirling into the colours from the graffiti, reflected on brown water.

Love can be smashing!

It seemed one talisman had activated the other: Mark’s number taught me that there were secret loves crouched and waiting in the last place you would likely go searching for them. What was Jesus’s compassion anyway but some well-crafted graffiti on the corridors of history, an invitation to follow Him into the most unlikely places? Love could come to you even in a room that seemed drained of it.

Fire Graffiti" Throughout those dismal months my life was only sparked alight when I made love to you. As the firefly ignites and fades, ignites and fades, we follow the flashes of its flight in the dark among the olive trees. Throughout those dismal months, my soul sat slumped and lifeless but my body walked to yours. The night sky was lowing. We milked the cosmos secretly, and survived.

I know they still love each other, but I guess love is kind of like a marshmallow in a microwave on high. After it explodes, it’s still a marshmallow. But, you know, now it’s a complicated marshmallow.

Katniss Everdeen can survive her darkness because she understands the same truth that's expressed in that graffiti in Palestine. Her heart is a weapon, and the way to keep fighting against all the horror and cruelty of the world is to wield that weapon. To keep loving.

I love London. I love everything about it. I love its palaces and its museums and its galleries, sure. But also, I love its filth, and damp, and stink. Okay, well, I don’t mean love, exactly. But I don’t mind it. Not any more. Not now I’m used to it. You don’t mind anything once you’re used to it. Not the graffiti you find on your door the week after you painted over it, or the chicken bones and cider cans you have to move before you can sit down for your damp and muddy picnic. Not the everchanging fast food joints – AbraKebabra to Pizza the Action to Really Fried Chicken – and all on a high street that despite its three new names a week never seems to look any different. Its tawdriness can be comforting, its wilfulness inspiring. It’s the London I see every day. I mean, tourists: they see the Dorchester. They see Harrods, and they see men in bearskins and Carnaby Street. They very rarely see the Happy Shopper on the Mile End Road, or a drab Peckham disco. They head for Buckingham Palace, and see waving above it the red, white and blue, while the rest of us order dansak from the Tandoori Palace, and see Simply Red, White Lightning, and Duncan from Blue. But we should be proud of that, too. Or, at least, get used to it.

America is layered with the given graffiti, names of its generous dead. There isn’t a museum or hospital, a theater or municipal amenity, however humble, that can’t be blessed with the remembrance of the comfortably-off and defunct. The money left to Ivy League universities in America isn’t about the needs of learning.

I remember that,” I said. “The character of Sol—the old scholar whose daughter has been aging backward—he discovers that love was the answer to what he had called The Abraham Dilemma.” “I remember one nasty critic who reviewed the poem in our capital city,” chuckled Father Glaucus, “who quoted some graffiti found on a wall of an excavated Old Earth city before the Hegira—‘If love is the answer, what was the question?’ 

it was his final duty, to both of them, to remember and hold her as she had been when they were first together. To remember her back to what he still thought of as her innocence: an innocence of soul. Before such innocence became defaced. Yes, that was the word for it: a scribbling-over with the wild graffiti of booze. Also, a losing of the face, and his subsequent inability to see her. To see, to recall what she had been like before he lost her, lost sight of her, before she disappeared into that chintz sofa—“Look, Casey Paul, I’m doing my disappearing act!” Lost sight of the first person—the only person—he had loved.

Cesca sipped from her coffee cup as she peered through the windshield into the darkness. Rain was falling hard on a San Francisco she didn’t recognize from her own universe, or from her time in the other Matt’s universe. The real darkness here had nothing to do with night. This San Francisco mirrored the moral corruption and decay of the society which inhabited it. She and Ariel had been here two days, scouring streets filled with perversion and hopelessness; alleyways inhabited by the homeless and mentally ill; sex shops catering to every perversion imaginable and unimaginable; sidewalks teeming with drug addicts and male prostitutes — some dressed as women; street corners inhabited by once lovely young women prematurely aging from selling their bodies to all takers — male and female; children of both sexes, from as young as seven and eight, dressed by pimps to attract pedophiles who cruised this part of the city nightly. Many of the children would be sold on the spot, never to be seen again. Sun-faded and now graffitied wall mosaics of galvanizing yet transient political cult personalities, erected by their blinded followers centuries ago, marked this alternate world’s gradual slide into an ethical, and finally moral abyss, from which it had never crawled out. "God, I can’t believe this is San Francisco,” whispered Ariel from the seat next to Cesca. “I feel like I need to run a bar of soap over my soul.

My intention all along had been to get my wakeboarding legs back this first day. Maybe I'd do tricks when we went out the next day. I didn't want to get too cocky and bust ass in front of Sean. But as I got more comfortable and forgot to care, I tried a few standbys-a front flip, a scarecrow. There was no busting of ass. So I tried a backroll. And landed it solidly. Now I got cocky. I did a heelside backroll with a nosegrab. This meant that in the middle of the flip, I let go of the rope handle with one hand, reached down, and grabbed the front of the board. It served no purpose in the trick except to look impressive, like, This only appears to be a difficult trick. I have all the time in the world. I will grab the board. Yawn. And I landed it. This was getting too good to be true. My brother swung the boat around just before we reached the graffiti-covered highway bridge that spanned the lake. Cameron had spray-painted his name and his girlfriend’s name on the bridge, alongside all the other couples’ names and over the faded ones. My genius brother had tried to paint his own name but ran out of room on that section of bridge. McGULLICUDD Y Sean wisely never painted his girlfriends’ names. He would have had to change them too often. For my part, I was very thankful that when most of this spray-painting action was going on last summer, I was still too short to reach over from the pile and haul myself up on the main part of the bridge. I probably had the height and the upper body strength now, and I prayed none of the boys pointed this out. Then I’d have to spray-paint LORI LOVES SEAN on the bridge. And move to Canada.

The photographer was taking pictures with a small pocket camera but the sergeant sent him back to the car for his big Bertillon camera. Grave Digger and Coffin Ed left the cellar to look around. The apartment was only one room wide but four storeys high. The front was flush with the sidewalk, and the front entrance elevated by two recessed steps. The alleyway at the side slanted down from the sidewalk sufficiently to drop the level of the door six feet below the ground-floor level. The cellar, which could only be entered by the door at the side, was directly below the ground-floor rooms. There were no apartments. Each of the four floors had three bedrooms opening on to the public hall, and to the rear was a kitchen and a bath and a separate toilet to serve each floor. There were three tenants on each floor, their doors secured by hasps and staples to be padlocked when they were absent, bolts and chains and floor locks and angle bars to protect them from intruders when they were present. The doors were pitted and scarred either because of lost keys or attempted burglary, indicating a continuous warfare between the residents and enemies from without, rapists, robbers, homicidal husbands and lovers, or the landlord after his rent. The walls were covered with obscene graffiti, mammoth sexual organs, vulgar limericks, opened legs, telephone numbers, outright boasting, insidious suggestions, and impertinent or pertinent comments about various tenants’ love habits, their mothers and fathers, the legitimacy of their children. “And people live here,” Grave Digger said, his eyes sad. “That’s what it was made for.” “Like maggots in rotten meat.” “It’s rotten enough.” Twelve mailboxes were nailed to the wall in the front hall. Narrow stairs climbed to the top floor. The ground-floor hallway ran through a small back courtyard where four overflowing garbage cans leaned against the wall. “Anybody can come in here day or night,” Grave Digger said. “Good for the whores but hard on the children.” “I wouldn’t want to live here if I had any enemies,” Coffin Ed said. “I’d be scared to go to the john.” “Yeah, but you’d have central heating.” “Personally, I’d rather live in the cellar. It’s private with its own private entrance and I could control the heat.” “But you’d have to put out the garbage cans,” Grave Digger said. “Whoever occupied that whore’s crib ain’t been putting out any garbage cans.” “Well, let’s wake up the brothers on the ground floor.” “If they ain’t already awake.

The biggest canvas is wider than my arm span. It’s bursting with so much color it looks like a graffiti artist got too excited with a spray can. But it’s my story, told in brushstrokes and acrylic paint. There's Jamie and me as children, hiding in trees and searching for ladybugs. There's me alone, searching for stars in the dark. There's my mom, the queen of the starfish, existing in a tornado of glitter that poisons anything else it touches. There are my brothers and me, living on opposite sides of a triangle, experiencing the same things but never together. There's my dad, never knowing or doing as much as he should but trying to fix the poison all the same. There's Hiroshi, painting my hands so I can paint my voice. There's me split in half—Japanese and white—stitching myself together again because I am whole only when I’ve embraced the true beauty of my heritage. And there's Jamie and me in June, the sun on our faces and the sand at our feet, finding each other again after all those years. Our lives trail around us, sometimes broken and sometimes beautiful, but all puzzled and tangled up into the lump that is us. We fit together not because we need each other, but because we choose each other. Our friendship was always our choice. Love was a natural progression. Jamie stares at the painting for so long that I think the room actually starts to get darker. When he turns to face me, he looks relieved. Calm. Jamie turns back to the painting. We don’t need words. We just know. Our fingers find each other’s.

this thing—his thing—still well and alive inside me. # I dreamed of clawed hooks and sexual abandon. Faces covered in leather masks and eyeliner so dark I could only see black. Here the monsters would come alive, but not the kind you have come to expect. I watched myself as if I were outside my own flesh, free from the imprisonment of bone and conscience. Swollen belly stretch-marked and ugly; my hair tethered and my skin vulnerable. Earthquake beats blared from the DJ booth as terrible looking bodies thrashed, moshed and convulsed. Alone, so alone. Peter definitely gone, no more tears left but the ones that were to come from agony. She was above me again, Dark Princess, raging beauty queen, and I was hers to control. The ultimate succession into human suspension. Like I’d already learned: the body is the final canvas. There is no difference between love and pain. They are the same hopeless obsession. The hooks dived, my legs opened and my back arched. Blood misted my face; pussy juice slicked my inner thigh as my water suddenly broke. # The next night I had to get to the club. 4 A.M. is a time that never lets me down; it knows why I have nightmares, and why I want to suspend myself above them. L train lunacies berated me once again, but this time I noticed the people as if under a different light. They were all rather sad, gaunt and bleary. Their faces were to be pitied and their hands kept shaking, their legs jittering for another quick fix. No matter how much the deranged governments of New York City have cleaned up the boroughs, they can’t rid us of our flavor. The Meatpacking District was scarily alive. Darkness laced with sizzling urban neon. Regret stitched up in the night like a black silk blanket. The High Line Park gloomed above me with trespassers and graffiti maestros. I was envious of their creative freedom, their passion, and their drive. They had to do what they were doing, had to create. There was just no other acceptable life than that. I was inside fast, my memories of Peter fleeting and the ache within me about to be cast off. Stage left, stage right, it didn’t matter. I passed the first check point with ease, as if they already knew the click of my heels, the way my protruding stomach curved through my lace cardigan. She found me, or I found her, and we didn’t exchange any words, any warnings. It was time. Face up, legs open, and this time I’d be flying like Superman, but upside down. There were many hands, many faces, but no

How to live (forty pieces of advice I feel to be helpful but which I don’t always follow) 1. Appreciate happiness when it is there 2. Sip, don’t gulp. 3. Be gentle with yourself. Work less. Sleep more. 4. There is absolutely nothing in the past that you can change. That’s basic physics. 5. Beware of Tuesdays. And Octobers. 6. Kurt Vonnegut was right. “Reading and writing are the most nourishing forms of meditation anyone has so far found.” 7. Listen more than you talk. 8. Don’t feel guilty about being idle. More harm is probably done to the world through work than idleness. But perfect your idleness. Make it mindful. 9. Be aware that you are breathing. 10. Wherever you are, at any moment, try to find something beautiful. A face, a line out of a poem, the clouds out of a window, some graffiti, a wind farm. Beauty cleans the mind. 11. Hate is a pointless emotion to have inside you. It is like eating a scorpion to punish it for stinging you. 12. Go for a run. Then do some yoga. 13. Shower before noon. 14. Look at the sky. Remind yourself of the cosmos. Seek vastness at every opportunity, in order to see the smallness of yourself. 15. Be kind. 16. Understand that thoughts are thoughts. If they are unreasonable, reason with them, even if you have no reason left. You are the observer of your mind, not its victim. 17. Do not watch TV aimlessly. Do not go on social media aimlessly. Always be aware of what you are doing and why you are doing it. Don’t value TV less. Value it more. Then you will watch it less. Unchecked distractions will lead you to distraction. 18. Sit down. Lie down. Be still. Do nothing. Observe. Listen to your mind. Let it do what it does without judging it. Let it go, like Snow Queen in Frozen. 19. Don’t’ worry about things that probably won’t happen. 20. Look at trees. Be near trees. Plant trees. (Trees are great.) 21. Listen to that yoga instructor on YouTube, and “walk as if you are kissing the earth with your feet”. 22. Live. Love. Let go. The three Ls. 23. Alcohol maths. Wine multiplies itself by itself. The more you have, the more you are likely to have. And if it is hard to stop at one glass, it will be impossible at three. Addition is multiplication. 24. Beware of the gap. The gap between where you are and where you want to be. Simply thinking of the gap widens it. And you end up falling through. 25. Read a book without thinking about finishing it. Just read it. Enjoy every word, sentence, and paragraph. Don’t wish for it to end, or for it to never end. 26. No drug in the universe will make you feel better, at the deepest level, than being kind to other people. 27. Listen to what Hamlet – literature’s most famous depressive – told Rosencrantz and Guildenstern. “There is nothing either good or bad, but thinking makes it so.” 28. If someone loves you, let them. Believe in that love. Live for them, even when you feel there is no point. 29. You don’t need the world to understand you. It’s fine. Some people will never really understand things they haven’t experienced. Some will. Be grateful. 30. Jules Verne wrote of the “Living Infinite”. This is the world of love and emotion that is like a “sea”. If we can submerge ourselves in it, we find infinity in ourselves, and the space we need to survive. 31. Three in the morning is never the time to try and sort out your life. 32. Remember that there is nothing weird about you. You are just a human, and everything you do and feel is a natural thing, because we are natural animals. You are nature. You are a hominid ape. You are in the world and the world is in you. Everything connects. 33. Don’t believe in good or bad, or winning and losing, or victory and defeat, or ups and down. At your lowest and your highest, whether you are happy or despairing or calm or angry, there is a kernel of you that stays the same. That is the you that matters.

The story has been told and retold about how, as a young filmmaker, in the wake of American Graffiti’s success, he was advised to demand a higher salary on his next movie, Star Wars. That would be the expected move in Hollywood: Bump up your quote. Not for George, though. He skipped the raise altogether and asked instead to retain ownership of licensing and merchandising rights to Star Wars. The studio that was distributing the film, 20th Century Fox, readily agreed to his request, thinking it was not giving up much. George would prove them wrong, setting the stage for major changes in the industry he loved. He bet on himself—and won.

He refuses to sell his paintings and writes "NOT FOR SALE" on some of them. He is furious because people are writing about his ghetto childhood and call him a "graffiti artist" and "primitive." "They don't invent a childhood for white artists," he says.

Jean was black and had to present himself as separate from graffiti somehow. Keith was gay and white and could glamorize graffiti in a way that Jean could not. Jean and Keith both understood this.

Save perhaps for the inventing and scriptwriting of Armitage, for the comics publication Judge Dredd the Megazine, in which he delineated and developed the city of London in that futuristic and somewhat casually violent shared world. And possibly his novels in the Judge Dredd line from Virgin Books, being Deathmasques, The Medusa Seed and Wetworks. And possibly any amount of other comics-related material to boot. And his work for Virgin Books’ New Adventure and Missing Adventure lines, come to think of it, including Sky Pirates!, Death and Diplomacy, Burning Heart, and for their continuation (starring one-time companion Bernice Summerfield), Ship of Fools, Oblivion, The Mary-Sue Extrusion and Return to the Fractured Planet. Each and every one a fine and puissant piece of literature, so all in all it is a bit unfortunate that at least half of them are no longer in print. For the BBC he has written the novel Heart of TARDIS, the short story Moon Graffiti, subsequently released as one half of a BBC Radio Collection audio disc, and the very volume you currently hold, quite lovingly, in your hands. His work on Bernice, incidentally, continues more-or-less simultaneously with the release of the Big Finish novel The Infernal Nexus. Mr.

There are many reasons why girls should not travel alone, and I won’t list them, because none of them are original reasons. Besides, there are more reasons why girls should. I have the utmost respect for girls who travel alone, because it’s hard work sometimes. But girls, we just want adventures. We want international best friends and hold-your-breath vistas out of crappy hostel windows. We want to discover moving works of art, sometimes in museums and sometimes in side-street graffiti. We want to hear soul-restoring jam sessions at beach bonfires and to watch celestial dawns spill over villages that haven’t changed since the Middle Ages. We want to fall in love with boys with say-that-again accents. We want sore feet from stay-up-all-night dance parties at just-one-more-drink bars. We want to be on our own even as we sketch and photograph the Piazza San Marco covered in pigeons and beautiful Italian lovers intertwined so that we’ll never forget what it feels like to be twenty-three and absolutely purposeless and single, but in love with every city we visit next. We want to be struck dumb by the baritone echoes of church bells in Vatican City and the rich, heaven-bound calls to prayer in Istanbul and to know that no matter what, there just has to be some greater power or holy magic responsible for all this bursting, delirious, overwhelming beauty in the great, wide, sprawling world. I tucked my passport into my bag. Girls, we don’t just want to have fun; we want a whole lot more out of life than that.

SOLOMON’S LAWS 1. Try not to piss off a cop unless you have a damn good reason . . . or a damn good lawyer. 2. The best way to hustle a case is to pretend you don’t want the work. 3. When arguing with a woman who is strong, intelligent, and forthright, consider using trickery, artifice, and deceit. 4. A prosecutor’s job is to build a brick wall around her case. A defense lawyer’s job is to tear down the wall, or at least to paint graffiti on the damn thing. 5. Listen to bus drivers, bailiffs, and twelve-year-old boys. Some days, they all know more than you do. 6. When the testimony is too damn good, when there are no contradictions and all the potholes are filled with smooth asphalt, chances are the witness is lying. 7. A shark who can’t bite is nothing but a mermaid. 8. When the woman you love is angry, it’s best to give her space, time, and copious quantities of wine. 9. Be confident, but not cocky. Smile, but don’t snicker. And no matter how desperate your case, never let the jurors see your fear. 10. Never sleep with a medical examiner, unless you’re dead. 11. If you can’t keep a promise to a loved one, you probably aren’t going to keep the loved one, either. 12. Life may be a marathon, but sometimes you have to sprint to save a life.

About how love is harder than a sodoku puzzle.

Were you in love with Emma?" I ask. "I was hard-core obsessed," he says without thinking about it. "Not in love." "What's the difference?" He's about to throw a stone at ta yard light but stops. "Prison," he says, and puts the stone in his pocket.

Why didn’t vandals ever quote Shakespeare? I’d love to see graffiti in iambic pentameter.

But it was true. I was constantly surprised how the storied names of biblical locales popped up in the most familiar of circumstances: on a simple map, on a graffitied street sign, or in everyday conversations. “The traffic to Bethlehem was terrible last night!” said a Jesuit over dinner one night. Which still didn’t beat “Gehenna is lovely.

Whoever loves, let him flourish. Let him perish who knows not love. Let him perish twice over whoever forbids love.

The graffiti on display was a microcosm of the world outside. Undying vows of love, initials entwined. Hatreds twisted into tight, hard angles. Flourishes that promised to save humanity. Hammer fists that threatened to destroy it.

Europe has now changed completely, and is full of Europeans from wall to wall. Incidentally, the graffiti in Europe have also changed from wall to wall. When my father was a young man in Vilna, every wall in Europe said, “Jews go home to Palestine.” Fifty years later, when he went back to Europe on a visit, the walls all screamed, “Jews get out of Palestine.

In the garden the lovely flycatcher perches, watching as I deadhead the roses, plucking wilted petals in fistfuls and letting them float like messages to the dirt. The little bird casually studies my hand as it folds into a ball then fan-fingers out into some kind of idea perhaps. All the airish signic of her dipandump helpabit, and I have finally accepted her seat there on that spindly branch, her assiduous presence. She stretches out her wings, letting the sun bathe them, so that I can see her breast, see that her chest is clean of graffiti, clear of symbols, free of meaning.

Out there, in the world, all the walls were covered with graffiti: “Yids, go back to Palestine,” so we came back to Palestine, and now the worldatlarge shouts at us: “Yids, get out of Palestine.

And I talk to hear her talk back.

I had no friends. Was I happy? I was wildly happy. Sitting on my bed, which took up most of the space in that narrow room, I whispered prayers of thanks that I was really and truly here in New York, beginning another life. I worshipped the place. I feasted on every beautiful inch of it - the crowds, the fruit and vegetable stands, the miles of pavement, the graffiti, even the garbage. All of it sent me into paroxysms of joy. Needless to say, my elevation had an irrational cast to it. Had I not arrived laden with ideas of urban paradise, I might have felt bad losing sleep, might have felt lonely and disoriented, but instead I walked around town like a love-struck idiot, inhaling the difference between there and here.