Knife Play Quotes

Jacks looked down on her from the dark nightstand where he’d perched himself. His long legs draped negligently over the edge of the furniture as his hands played with an apple and a knife. “You talk in your sleep,” he drawled. “You said my name—a lot.” Evangeline felt a rush of heat crawl up her neck. “Obviously, I was having a nightmare.” “It didn’t look that way to me, Little Fox, and I was here all night.

They’d played “Sweet Home, Alabama” so many times I wanted to crash the party, kill the radio, and knife whoever was selecting the music.

My earbuds were in, but I wasn't playing music. I needed to hear the world but didn't want the world to know I was listening.

A blaster against a knife isn’t fair. (a Partini) No shit…and so goes my incentive to fight fairly. You want fair, play with kids. You wanna come at me, make out a will. (Syn)

I am an ordinary sort of fellow, not braver than other people, but I hate to see a good man downed, and that long knife would not be the end of Scudder if I could play the game in his place.

He stares at me in blankly. “Are you accusing me of not caring for your sister?” he asks. “If I truly believed you didn’t care for Taryn, we wouldn’t be having this conversation.” He gives a long sigh. “Because you’d murder me?” “If you’re playing with Taryn, Madoc will murder you; I won’t even get a chance.” I sheath my knife and head toward the door. “Your ridiculous family might be surprised to find that not everything is solved by murder,” Locke calls after me. “We would be surprised to find that,” I call back.

Too much and too long, we seem to have surrendered community excellence and community values in the mere accumulation of material things. Our gross national product...if we should judge the United States of America by that - counts air pollution and cigarette advertising, and ambulances to clear our highways of carnage. It counts special locks for our doors and the jails for those who break them. It counts the destruction of our redwoods and the loss of our natural wonder in chaotic sprawl. It counts napalm and the cost of a nuclear warhead, and armored cars for police who fight riots in our streets. It counts Whitman's rifle and Speck's knife, and the television programs which glorify violence in order to sell toys to our children. Yet the gross national product does not allow for the health of our children, the quality of their education, or the joy of their play. It does not include the beauty of our poetry or the strength of our marriages; the intelligence of our public debate or the integrity of our public officials. It measures neither our wit nor our courage; neither our wisdom nor our learning; neither our compassion nor our devotion to our country; it measures everything, in short, except that which makes life worthwhile. And it tells us everything about America except why we are proud that we are Americans.

I am a witch,” said Vasya. Blood was running down her hand now, spoiling her grip. “I have plucked snowdrops at Midwinter, died at my own choosing, and wept for a nightingale. Now I am beyond prophecy.” She caught his knife on the crosspiece of hers, hilt to hilt. “I have crossed three times nine realms to find you, my lord. And I find you at play, forgetful.” She felt him hesitate. Something deeper than memory ran through his eyes. It might have been fear. “Remember me,” said Vasya. “Once you bid me remember you.

One of us... One of them... One of us... One of them... A rhythm playing like train wheels on a circular track -- never ending but going nowhere.

I have never been to a court s gracious as the one Neha keeps. Dmitri played a knife through his fingers, one of the three he'd brought back from Neha's territory. "She truly believes in giving honor to a visitor." He threw to knife at Jason. "He threw it back as Venom added, "Thought she might have that guest neatly executed as the court sleeps.

Faeries began calling foul play, demanding Tamlin be released from the curse, calling her a liar. Through the haze, I saw Rhysand crouching by Tamlin. Not to help him, but to grab the- "You are all pigs - all scheming, filthy pigs." Then Rhysand was on his feet, my bloody knife in his hands. He launched himself at Amarantha, swift as a shadow, the ash dagger aimed at her throat. She lifted a hand - not even bothering to look - and he was blasted back by a wall of white light. But the pain paused for a second, long enough for me to see him hit the ground and rise again and lunge for her - with hands that now ended in talons. He slammed into the invisible wall Amarantha had raised around herself, and my pain flickered as she turned to him. "You traitorous piece of filth," she seethed at Rhysand. "You're just as bad as the human beasts." One by one, as if a hand were shoving them in, his talons pushed back into his skin, leaving blood in their wake. He swore, low and vicious. "You were planning this all along.

Lord, how unutterably disgusting life is! What dirty tricks it plays us, one moment free; the next, this. Here we are among the breadcrumbs and the stained napkins again. That knife is already congealing with grease. Disorder, sordidity and corruption surrounds us. We have been taking into our mouths the bodies of dead birds. It is with these greasy crumbs, slobbering over napkins, and little corpses that we have to build. Always it begins again; always there is the enemy; eyes meeting ours; fingers twitching ours; the effort waiting. Call the waiter. Pay the bill. We must pull ourselves up out of the chairs. We must find our coats. We must go. Must, must, must — detestable word. Once more, I who had thought myself immune, who had said, "Now I am rid of all that", find that the wave has tumbled me over, head over heels, scattering my possessions, leaving me to collect, to assemble, to head together, to summon my forces, rise and confront the enemy.

He is quiet and small, he is black From his ears to the tip of his tail; He can creep through the tiniest crack He can walk on the narrowest rail. He can pick any card from a pack, He is equally cunning with dice; He is always deceiving you into believing That he's only hunting for mice. He can play any trick with a cork Or a spoon and a bit of fish-paste; If you look for a knife or a fork And you think it is merely misplaced - You have seen it one moment, and then it is gawn! But you'll find it next week lying out on the lawn. And we all say: OH! Well I never! Was there ever A Cat so clever As Magical Mr. Mistoffelees!

Miss Wynter, I think you should be the evil queen,” Harriet said. “There’s an evil queen?” Daniel echoed. With obvious delight. “Of course,” Harriet replied. “Every good play has an evil queen.” Frances actually raised her hand. “And a un—” “Don’t say it,” Elizabeth growled. Frances crossed her eyes, put her knife to her forehead in an approximation of a horn, and neighed.

Anyone who has ever tried to write a novel knows what an arduous task it is, undoubtedly one of the worst ways of occupying oneself. You have to remain within yourself all the time, in solitary confinement. It's a controlled psychosis, an obsessive paranoia manacled to work completely lacking in the feather pens and bustles and Venetian masks we would ordinarily associate with it, clothed instead in a butcher's apron and rubber boots, eviscerating knife in hand. You can only barely see from that writerly cellar the feet of passers-by, hear the rapping of their heels. Every so often someone stops and bends down and glances in through the window, and then you get a glimpse of a human face, maybe even exchange a few words. But ultimately the mind is so occupied with its own act, a play staged by the self ofr the self in a hasty, makeshift cabinet of curiosities peopled by author and character, narrator and reader, the person describing and the person described, that feet, shoes, heels, and faces become, sooner or later, mere components of that act.

A three-piece Mexican band was making the kind of music a Mexican band always makes. Whatever they play, it all sounds the same. They always sing the same song, and it always has nice open vowels an a drawn-out, sugary lilt, and the guy who sings it always strums on a guitar and has a lot to say about amor, mi corazon, a lady who is "linda" but very hard to convince, and he always has too long and too oily hair and when he isn't making with the love stuff he looks as if his knife work in an alley would be efficient and economical.

Not being able to see truth and lies is like being on an empty stage in front of millions of people and not being able to discern which prop is the knife, the one that clearly says ‘Prop Knife’ on the handle or a ripe banana. For so long I have wished I never enrolled in such a mind-boggling play in the first place. All I wanted was a little fame, and I got a lot of embarrassment.

She gestured to the bag. "What have you got in there?" "Nothing much. Some golfballs, a handful of tees, a Glock, extra ammo, two hand grenades, a tear gas canister, a knife, Tums, clean socks, flares, and some Ensure chocolate shakes." "You took all of that with you to play golf?

It was hard to know how to play the game when the rules kept changing.

You don't have to come with me," Ash said. "I only brought you along because you're good with a knife. And got us the uniforms. And the explosives." Lila snorted. "Sorry I'm not pulling my weight." "This may not be your idea," Ash said doggedly, "but it's what we're going to do." "Is it? Are you really going to start playing the prince card after all?" "Don' start in about my mother the queen, because I don't want to hear it." "All right, then, as your peer and absolute equal, I can't help thinking this is a really bad idea.

And there are plays – and books and songs and poems and dances – that are perhaps upsetting or intricate or unusual, that leave you unsure, but which you think about perhaps the next day, and perhaps for a week, and perhaps for the rest of your life. Because they aren't clean, they aren't neat, but there's something in them that comes from the heart, and, so, goes to the heart.

When Pang was barely out of toddlerhood, she zoomed in and out of the apartment unsupervised, playing with plastic bags and, on occasion, with a large butcher knife.

Women play with their beauty as children do with a knife. They wound themselves.

For we rationalize, objectify, and personalize the process of the game exactly as we do that of a play, a drama. For, finally, it is a drama, with meaning for our lives. Why else would we watch it?

Knowing that she was beautiful, she was thoroughly conscious, though in an indistinct fashion, that she possessed a weapon. Women play with their beauty as children do with a knife. They wound themselves.

I yank open the cutlery drawer to be confronted with an anomaly worse than emails from dead people or a man with a gun sitting on my bed. It's a large carving knife with a viciously serrated edge and two broken teeth. It's tarnished with rust. It's not mine. And neither is the china figurine of a kitten with one paw playfully raised, also stained with rust. But it's not rust. It's not rust at all. Perversely, the thought that flashes through my brain is "I can haz murder weapon?" I laugh out loud, a sobbing hiccup.

Thanks to the centrifugal pump, places like Nebraska, Kansas, Oklahoma, and Texas had thrown on the garments of fertility for a century, pretending to greenery and growth as they mined glacial water from ten-thousand-year-old aquifers. They'd played dress-up-in-green and pretended it could last forever. They'd pumped up the Ice Age and spread it across the land, and for a while they'd turned their dry lands lush. Cotton, wheat, corn, soybeans -- vast green acreages, all because someone could get a pump going. Those places had dreamed of being different from what they were. They'd had aspirations. And then the water ran out, and they fell back, realizing too late that their prosperity was borrowed, and there would be no more coming.

Father Brendan Flynn: "A woman was gossiping with her friend about a man whom they hardly knew - I know none of you have ever done this. That night, she had a dream: a great hand appeared over her and pointed down on her. She was immediately seized with an overwhelming sense of guilt. The next day she went to confession. She got the old parish priest, Father O' Rourke, and she told him the whole thing. 'Is gossiping a sin?' she asked the old man. 'Was that God All Mighty's hand pointing down at me? Should I ask for your absolution? Father, have I done something wrong?' 'Yes,' Father O' Rourke answered her. 'Yes, you ignorant, badly-brought-up female. You have blamed false witness on your neighbor. You played fast and loose with his reputation, and you should be heartily ashamed.' So, the woman said she was sorry, and asked for forgiveness. 'Not so fast,' says O' Rourke. 'I want you to go home, take a pillow upon your roof, cut it open with a knife, and return here to me.' So, the woman went home: took a pillow off her bed, a knife from the drawer, went up the fire escape to her roof, and stabbed the pillow. Then she went back to the old parish priest as instructed. 'Did you gut the pillow with a knife?' he says. 'Yes, Father.' 'And what were the results?' 'Feathers,' she said. 'Feathers?' he repeated. 'Feathers; everywhere, Father.' 'Now I want you to go back and gather up every last feather that flew out onto the wind,' 'Well,' she said, 'it can't be done. I don't know where they went. The wind took them all over.' 'And that,' said Father O' Rourke, 'is gossip!

He was rowed down from the north in a leather skiff manned by a crew of trolls. His fur cape was caked with candle wax, his brow stained blue by wine - though the latter was seldom noticed due to the fox mask he wore at-all times. A quill in his teeth, a solitary teardrop a-squirm in his palm, he was the young poet prince of Montreal, handsome, immaculate, searching for sturdier doors to nail his poignant verses on. In Manhattan, grit drifted into his ink bottle. In Vienna, his spice box exploded. On the Greek island of Hydra, Orpheus came to him at dawn astride a transparent donkey and restrung his cheap guitar. From that moment on, he shamelessly and willingly exposed himself to the contagion of music. To the secretly religious curiosity of the traveler was added the openly foolhardy dignity of the troubadour. By the time he returned to America, songs were working in him like bees in an attic. Connoisseurs developed cravings for his nocturnal honey, despite the fact that hearts were occasionally stung. Now, thirty years later, as society staggers towards the millennium - nailing and screeching at the while, like an orangutan with a steak knife in its side - Leonard Cohen, his vision, his gift, his perseverance, are finally getting their due. It may be because he speaks to this wounded zeitgeist with particular eloquence and accuracy, it may be merely cultural time-lag, another example of the slow-to-catch-on many opening their ears belatedly to what the few have been hearing all along. In any case, the sparkle curtain has shredded, the boogie-woogie gate has rocked loose from its hinges, and here sits L. Cohen at an altar in the garden, solemnly enjoying new-found popularity and expanded respect. From the beginning, his musical peers have recognized Cohen´s ability to establish succinct analogies among life´s realities, his talent for creating intimate relationships between the interior world of longing and language and the exterior world of trains and violins. Even those performers who have neither "covered" his compositions nor been overtly influenced by them have professed to admire their artfulness: the darkly delicious melodies - aural bouquets of gardenia and thistle - that bring to mind an electrified, de-Germanized Kurt Weill; the playfully (and therefore dangerously) mournful lyrics that can peel the apple of love and the peach of lust with a knife that cuts all the way to the mystery, a layer Cole Porter just could`t expose. It is their desire to honor L. Cohen, songwriter, that has prompted a delegation of our brightest artists to climb, one by one, joss sticks smoldering, the steep and salty staircase in the Tower of Song.

these were paranoid times. These were knife-edge times, primal times, with everybody suspicious of everybody. You could have a nice wee conversation with someone here, then go away and think, that was a nice, wee unguarded conversation I just had there – least until you start playing it back in your head later on. At that point you start to worry that you said 'this' or 'that', not because “this' or 'that' were contentious. It was that people were quick to point fingers, to judge, to add on even in peaceful times, so it would be hard to fathom fingers not getting pointed and words not being added.

The universality of reason is a momentous realization, because it defines a place for morality. If I appeal to you do do something that affects me—to get off my foot, or not to stab me for the fun of it, or to save my child from drowning—then I can't do it in a way that privileges my interests of yours if I want you to take me seriously (say, by retaining my right to stand on your foot, or to stab you, or to let your children drown). I have to state my case in a way that would force me to treat you in kind. I can't act as if my interests are special just because I'm me and you're not, any more than I can persuade you that the spot I am standing on is a special place in the universe just because I happen to be standing on it. You and I ought to reach this moral understanding not just so we can have a logically consistent conversation but because mutual unselfishness is the only way we can simultaneously pursue our interests. You and I are both better off if we share our surpluses, rescue each other's children when they get into trouble, and refrain from knifing each other than we would be if we hoarded our surpluses while they rotted, let each other's children drown, and feuded incessantly. Granted, I might be a bit better off if I acted selfishly at your expense and you played the sucker, but the same is true for you with me, so if each of us tried for these advantages, we'd both end up worse off. Any neutral observer, and you and I if we could talk it over rationally, would have to conclude that the state we should aim for is the one where we both are unselfish. Morality, then, is not a set of arbitrary regulations dictated by a vengeful deity and written down in a book; nor is it the custom of a particular culture or tribe. It is a consequence of the interchangeability of perspectives and the opportunity the world provides for positive-sum games.

The anti-Stratfordians hold that Shakespeare didn’t write Shakespeare’s plays—it was another fellow of the same name, or of a different name. In this they invert the megalomaniacal equation and make themselves not the elect, but the superior of the elect. Barred from composing Shakespeare’s plays by a regrettable temporal accident, they, in the fantasy of most every editor, accept the mantle of primum mobile, consign the (falsely named) creator to oblivion, and turn to the adulation of the crowd for their deed of discovery and insight—so much more thoughtful and intellectual than the necessarily sloppy work of the writer.

I stare at his forearms. I can make out a naked woman with a snake going up her vagina. She’s holding a knife, slitting her own throat. There are three playing cards on the back of his right hand: the Queen of Spades, the Jack of Hearts and the Joker. Red flames lick his elbow. There’s a watch tattooed on his left wrist with ‘Fuck Time’ inscribed on its face. Fuck o’clock. He’s not that tall, but his body is carefully cut. The lines of his face, his cheekbones and jaw, are sharp and precise. I can see the tufts of his blond underarm hairs and under them the ladder of his ribs. He’s beautiful, in the way that a knife is beautiful.

Here she is mending her dress; mending her dress as usual, he thought; here she’s been sitting all the time I’ve been in India; mending her dress; playing about; going to parties; running to the House and back and all that, he thought, growing more and more irritated, more and more agitated, for there’s nothing in the world so bad for some women as marriage, he thought; and politics; and having a Conservative husband, like the admirable Richard. So it is, so it is, he thought, shutting his knife with a snap.

The point that in the absence of birth nobody exists who can be deprived of happiness is terribly conspicuous. For optimists, this fact plays no part in their existential computations. For pessimists, however, it is axiomatic. Whether a pessimist urges us to live “heroically” with a knife in our gut or denounces life as not worth living is immaterial. What matters is that he makes no bones about hurt being the Great Problem it is incumbent on philosophy to observe. But this problem can be solved only by establishing an imbalance between hurt and happiness that would enable us in principle to say which is more desirable—existence or nonexistence. While no airtight case has ever been made regarding the undesirability of human life, pessimists still run themselves ragged trying to make one. Optimists have no comparable mission. When they do argue for the desirability of human life it is only in reaction to pessimists arguing the opposite, even though no airtight case has ever been made regarding that desirability. Optimism has always been an undeclared policy of human culture—one that grew out of our animal instincts to survive and reproduce—rather than an articulated body of thought. It is the default condition of our blood and cannot be effectively questioned by our minds or put in grave doubt by our pains. This would explain why at any given time there are more cannibals than philosophical pessimists.

Chaplin had not merely impressed but formed him. Showed him how any gesture—a kiss, playing with some bread rolls—can be freed from the mundane, imbued with magic. Charlie Chaplin was always turning caterpillars into butterflies. He had used comedy to reveal, and not flee, the truth of the human predicament. He’d roller-skated blindfolded over the void, like a planet circling a black hole. He filmed a factory worker sucked into a machine, fed through its cogs and gears, assailing an age that turns people into things. And Charlie Chaplin had battled the bleak world with—what? Not a knife, not a gun. A cane. Gentle, gestural, the baton of a maestro. Chaplin’s cane, with no disrespect to Hockney, Picasso, or Basquiat, was, in this moment, what Jim Carrey most wanted to save.

Time is the greatest weapon you have. Patiently keep in mind a long-term goal and neither person nor army can resist you. And charm is the best way of playing for time, of widening your options in any situation. Through charm you can seduce your enemy into backing off, giving you the psychological space to plot an effective counterstrategy. The key is to make other people emotional while you remain detached. They may feel grateful, happy, moved, arrogant—it doesn’t matter, as long as they feel. An emotional person is a distracted person. Give them what they want, appeal to their self-interest, make them feel superior to you. When a baby has grabbed a sharp knife, do not try to grab it back; instead, stay calm, offer candy, and the baby will drop the knife to pick up the tempting morsel you offer.

Look, Bob, what part of this don't you understand, eh? It's a matter of style, okay? A proper brawl doesn't just happen. You don't just pile in, not anymore. Now, Oyster Dave here--put your helmet back on, Dave--will be the enemy in front, and Basalt, who, as we know, don't need a helmet, he'll be the enemy coming up behind you. Okay, it's well past knuckles time, let's say Gravy there has done his thing with the Bench Swipe, there's a bit of knife play, we've done the whole Chandelier Swing number, blah blah blah, then Second Chair--that's you, Bob--you step smartly between their Number Five man and a Bottler, swing the chair back over your head, like this--sorry, Pointy--and then swing it right back onto Number Five, bang, crash, and there's a cushy six points in your pocket. If they're playing a dwarf at Number Five, then a chair won't even slow him down, but don't fret, hang on to the bits that stay in your hand, pause one moment as he comes at you, and then belt him across both ears. They hate that, as Stronginthearm here will tell you. Another three points. It's probably going to be freestyle after that but I want all of you, including Mucky Mick and Crispo, to try for a Double Andrew when it gets down to the fist-fighting again. Remember? You back into each other, turn around to give the other guy a thumping, cue moment of humorous recognition, then link arms, swing round and see to the other fellow's attacker, foot or fist, it's your choice. Fifteen points right there if you get it to flow just right. Oh, and remember we'll have an Igor standing by, so if your arm gets taken off do pick it up and hit the other bugger with it, it gets a laugh and twenty points. On that subject, do remember what I said about getting everything tattooed with your name, all right? Igors do their best, but you'll be on your feet much quicker if you make life easier for him and, what's more, it's your feet you'll be on. Okay, positions, everyone, let's run through it again...

Nobody hurt me, Sloane. No one made me who I am. I wasn’t molested or abused, or made to perform disturbing sexual acts. You have to know that there isn’t always a sinister shadow standing over the shoulder of someone like me. We’re a rare and dark breed. I carry that bag because I like it. I cut myself while I’m fucking sometimes because I like it. I play with a knife occasionally because I like it. I do all of the things that I do to you because I like it. And you know what, angry girl? The thing that disturbs you the most…” My breath catches in my throat. I can hardly fucking breathe. Zeth’s tongue carefully flicks out, teasing my upper lip just once. I close my eyes as his words hit home, words that are whispered yet more powerful than a shout. “…is that you like it, too. You’re just like me, Sloane. You’re just like me.

And yet, it was still a performance. Odin and I both knew it. It was a kind of play, a dream of how things might have been if he and I had been capable of trusting each other for a change. And so we hunted, and sang, and laughed, and told heavily edited stories of the good old days, while each of us watched the other and wondered when the knife would fall.

Look at me, sweetheart,” he growls, every muscle in his arms flexing. “Look at me as my blood drips all over you. Watch me paint every inch of your skin with my life’s essence.

Nothing chases away the sand or the memories engraved on the back of my eyelids. They play on a continuous loop, with smells and sound and sorrow.

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

[D]on’t wait for the good woman. She doesn’t exist. There are women who can make you feel more with their bodies and their souls but these are the exact women who will turn the knife into you right in front of the crowd. Of course, I expect this, but the knife still cuts. The female loves to play man against man, and if she is in a position to do it there is not one who will not resist. The male, for all his bravado and exploration, is the loyal one, the one who generally feels love. The female is skilled at betrayal. and torture and damnation.

If there was a single moment when the breach between us, which had been cracking and splintering for two decades, was at last too vast to be bridged, I believe it was that winter night, when I stared at my reflection in the bathroom mirror, while, without my knowing it, my father grasped the phone in his knotted hands and dialed my brother. Diego, the knife. What followed was very dramatic. But the real drama had already played out in the bathroom. It had played out when, for reasons I don’t understand, I was unable to climb through the mirror and send out my sixteen-year-old self in my place. Until that moment she had always been there. No matter how much I appeared to have changed—how illustrious my education, how altered my appearance—I was still her. At best I was two people, a fractured mind. She was inside, and emerged whenever I crossed the threshold of my father’s house. That night I called on her and she didn’t answer. She left me. She stayed in the mirror. The decisions I made after that moment were not the ones she would have made. They were the choices of a changed person, a new self.

Things I Used to Get Hit For: Talking back. Being smart. Acting stupid. Not listening. Not answering the first time. Not doing what I’m told. Not doing it the second time I’m told. Running, jumping, yelling, laughing, falling down, skipping stairs, lying in the snow, rolling in the grass, playing in the dirt, walking in mud, not wiping my feet, not taking my shoes off. Sliding down the banister, acting like a wild Indian in the hallway. Making a mess and leaving it. Pissing my pants, just a little. Peeing the bed, hardly at all. Sleeping with a butter knife under my pillow. Shitting the bed because I was sick and it just ran out of me, but still my fault because I’m old enough to know better. Saying shit instead of crap or poop or number two. Not knowing better. Knowing something and doing it wrong anyway. Lying. Not confessing the truth even when I don’t know it. Telling white lies, even little ones, because fibbing isn’t fooling and not the least bit funny. Laughing at anything that’s not funny, especially cripples and retards. Covering up my white lies with more lies, black lies. Not coming the exact second I’m called. Getting out of bed too early, sometimes before the birds, and turning on the TV, which is one reason the picture tube died. Wearing out the cheap plastic hole on the channel selector by turning it so fast it sounds like a machine gun. Playing flip-and-catch with the TV’s volume button then losing it down the hole next to the radiator pipe. Vomiting. Gagging like I’m going to vomit. Saying puke instead of vomit. Throwing up anyplace but in the toilet or in a designated throw-up bucket. Using scissors on my hair. Cutting Kelly’s doll’s hair really short. Pinching Kelly. Punching Kelly even though she kicked me first. Tickling her too hard. Taking food without asking. Eating sugar from the sugar bowl. Not sharing. Not remembering to say please and thank you. Mumbling like an idiot. Using the emergency flashlight to read a comic book in bed because batteries don’t grow on trees. Splashing in puddles, even the puddles I don’t see until it’s too late. Giving my mother’s good rhinestone earrings to the teacher for Valentine’s Day. Splashing in the bathtub and getting the floor wet. Using the good towels. Leaving the good towels on the floor, though sometimes they fall all by themselves. Eating crackers in bed. Staining my shirt, tearing the knee in my pants, ruining my good clothes. Not changing into old clothes that don’t fit the minute I get home. Wasting food. Not eating everything on my plate. Hiding lumpy mashed potatoes and butternut squash and rubbery string beans or any food I don’t like under the vinyl seat cushions Mom bought for the wooden kitchen chairs. Leaving the butter dish out in summer and ruining the tablecloth. Making bubbles in my milk. Using a straw like a pee shooter. Throwing tooth picks at my sister. Wasting toothpicks and glue making junky little things that no one wants. School papers. Notes from the teacher. Report cards. Whispering in church. Sleeping in church. Notes from the assistant principal. Being late for anything. Walking out of Woolworth’s eating a candy bar I didn’t pay for. Riding my bike in the street. Leaving my bike out in the rain. Getting my bike stolen while visiting Grandpa Rudy at the hospital because I didn’t put a lock on it. Not washing my feet. Spitting. Getting a nosebleed in church. Embarrassing my mother in any way, anywhere, anytime, especially in public. Being a jerk. Acting shy. Being impolite. Forgetting what good manners are for. Being alive in all the wrong places with all the wrong people at all the wrong times.

Tristan 'The Predator' Caine. They called him the predator. His reputation preceded him. He rarely went on the hunt but when he did, it was over. When he did, he went straight for the jugular. No distractions. No playing around. For all his unruffled attitude, the man was more lethal than the knife cutting into her thigh. He was also the reason she had come to the party. She was going to kill Tristan Caine.

My position was terrible. I knew that I could find nothing in the way of rational knowledge except a denial of life; and in faith I could find nothing except a denial of reason, and this was even more impossible than a denial of life. According to rational knowledge, it followed that life is evil, and people know it. They do not have to live, yet they have lived and they do live, just as I myself had lived, even though I had known for a long time that life is meaningless and evil. Try as he might, Tolstoy could identify only four means of escaping from such thoughts. One was retreating into childlike ignorance of the problem. Another was pursuing mindless pleasure. The third was “continuing to drag out a life that is evil and meaningless, knowing beforehand that nothing can come of it.” He identified that particular form of escape with weakness: “The people in this category know that death is better than life, but they do not have the strength to act rationally and quickly put an end to the delusion by killing themselves….” Only the fourth and final mode of escape involved “strength and energy. It consists of destroying life, once one has realized that life is evil and meaningless.” Tolstoy relentlessly followed his thoughts: Only unusually strong and logically consistent people act in this manner. Having realized all the stupidity of the joke that is being played on us and seeing that the blessings of the dead are greater than those of the living and that it is better not to exist, they act and put an end to this stupid joke; and they use any means of doing it: a rope around the neck, water, a knife in the heart, a train.

Even if we act to erase material poverty, there is another greater task, it is to confront the poverty of satisfaction - purpose and dignity - that afflicts us all. Too much and for too long, we seemed to have surrendered personal excellence and community values in the mere accumulation of material things. Our Gross National Product, now, is over $800 billion dollars a year, but that Gross National Product - if we judge the United States of America by that - that Gross National Product counts air pollution and cigarette advertising, and ambulances to clear our highways of carnage. It counts special locks for our doors and the jails for the people who break them. It counts the destruction of the redwood and the loss of our natural wonder in chaotic sprawl. It counts napalm and counts nuclear warheads and armored cars for the police to fight the riots in our cities. It counts Whitman's rifle and Speck's knife, and the television programs which glorify violence in order to sell toys to our children. Yet the gross national product does not allow for the health of our children, the quality of their education or the joy of their play. It does not include the beauty of our poetry or the strength of our marriages, the intelligence of our public debate or the integrity of our public officials. It measures neither our wit nor our courage, neither our wisdom nor our learning, neither our compassion nor our devotion to our country, it measures everything in short, except that which makes life worthwhile. And it can tell us everything about America except why we are proud that we are Americans. If this is true here at home, so it is true elsewhere in world.

Withers received these directions with becoming deference, and gave his guarantee for their execution; but when he withdrew a pace or two behind her, it appeared as if he couldn’t help looking strangely at the Major, who couldn’t help looking strangely at Mr. Dombey, who couldn’t help looking strangely at Cleopatra, who couldn’t help nodding her bonnet over one eye, and rattling her knife and fork upon her plate in using them, as if she were playing castanets.

I’ve been in your skin,” he taunted. “I know you inside and out. There’s nothing there. Do us all a favor and die so we can start working on another plan and quit thinking maybe you’ll grow the fuck up and be capable of something.” Okay, enough! “You don’t know me inside and out,” I snarled. “You may have gotten in my skin, but you have never gotten inside my heart. Go ahead, Barrons, make me slice and dice myself. Go ahead, play games with me. Push me around. Lie to me. Bully me. Be your usual constant jackass self. Stalk around all broody and pissy and secretive, but you’re wrong about me. There’s something inside me you’d better be afraid of. And you can’t touch my soul. You will never touch my soul!” I raised my hand, drew back the knife, and let it fly. It sliced through the air, straight for his head. He avoided it with preternatural grace, a mere whisper of a movement, precisely and only as much as was required to not get hit. The hilt vibrated in the wood of the ornate mantel next to his head. “So, fuck you, Jericho Barrons, and not the way you like it. Fuck you—as in, you can’t touch me. Nobody can.” I kicked the table at him. It crashed into his shins. I picked up a lamp from the end table. Flung it straight at his head. He ducked again. I grabbed a book. It thumped off his chest. He laughed, dark eyes glittering with exhilaration. I launched myself at him, slammed a fist into his face. I heard a satisfying crunch and felt something in his nose give. He didn’t try to hit me back or push me away. Merely wrapped his arms around me and crushed me tight to his body, trapping my arms against his chest. Then, when I thought he might just squeeze me to death, he dropped his head forward, into the hollow where my shoulder met my neck. “Do you miss fucking me, Ms. Lane?” he purred against my ear. Voice resonated in my skull, pressuring a reply. I was tall and strong and proud inside myself. Nobody owned me. I didn’t have to answer any questions I didn’t want to, ever again. “Wouldn’t you just love to know?” I purred back. “You want more of me, don’t you, Barrons? I got under your skin deep. I hope you got addicted to me. I was a wild one, wasn’t I? I bet you never had sex like that in your entire existence, huh, O Ancient One? I bet I rocked your perfectly disciplined little world. I hope wanting me hurts like hell!” His hands were suddenly cruelly tight on my waist. “There’s only one question that matters, Ms. Lane, and it’s the one you never get around to asking. People are capable of varying degrees of truth. The majority spend their entire lives fabricating an elaborate skein of lies, immersing themselves in the faith of bad faith, doing whatever it takes to feel safe. The person who truly lives has precious few moments of safety, learns to thrive in any kind of storm. It’s the truth you can stare down stone-cold that makes you what you are. Weak or strong. Live or die. Prove yourself. How much truth can you take, Ms. Lane?” Dreamfever

The sparkling smile became enormous. ‘Do you think she has a dagger there? Do you? Ask her, M. Francis? For,’ said the most noble and most powerful Princess Mary Stewart, Queen of Scotland, delving furiously under all the stiff red velvet, showing shift, hose and garters, shoes, knees and a long ribboned end of something recently torn loose, and emerging therefrom with a fist closed tight on an object short and hard and glittering, ‘for I have!’ And breathlessly, flinging back her head, with the little knife offered like a quill, ‘Try to stab me!’ she encouraged her visitor. There was a queer silence, during which the eyes of Oonagh O’Dwyer and her love of one night met and locked like magnet and iron. The child, waiting a moment, offered again, the ringing, joyful defiance still in her voice. ‘Try to stab me! … Go on, and I’ll kill you all dead!’ Her throat dry, Oonagh spoke. ‘Save your steel for those you trust. They are the ones who will carry your bier; the men who cannot hate, nor can they know love. Send away the cold servants.’ The red mouth had opened a little; the knife hung forgotten in her hand. ‘I would,’ said Mary, surprised. ‘But I do not know any.’ And, anxiously demonstrating her point, she caught Lymond by the hand.

Laura wanted Pa and Ma in the house. They seemed so far away outside. Mary and Laura were good and lay still, but Carrie sat up and played by herself in the dark. In the dark Pa’s arm came from behind the quilt in the doorway and quietly took away his gun. Out by the camp fire the tin plates rattled. Then a knife scraped the spider. Ma and Pa were talking together and Laura smelled tobacco smoke. The house was safe, but it did not feel safe because Pa’s gun was not over the door and there was no door; there was only the quilt.

Cooking is like playing a violin. The bow is a tool used to play, as is the knives and other tools you use to prepare. (a chef's knife is even held in the same manner) Spices are the notes used in the score. The way the food is cooked and prepared is the rhythm and tempo. The ingredients are the violin themselves, ready to be played upon. The finished dish is the music played to its best melody. All of these things must be applied together at the right pace, manner, and time in order to create a flavourful rush of artwork and beauty.

And there are plays – and books and songs and poems and dances – that are perhaps upsetting or intricate or unusual, that leave you unsure, but which you think about perhaps the next day, and perhaps for a week, and perhaps for the rest of your life. Because they aren't clean, they aren't neat, but there's something in them that comes from the heart, and, so, goes to the heart. What comes from the head is perceived by the audience, the child, the electorate, as manipulative. And we may succumb to the manipulative for a moment because it makes us feel good to side with the powerful. But finally we understand we're being manipulated. And we resent it. Tragedy is a celebration not of our eventual triumph but of the truth – it is not a victory but a resignation. Much of its calmative power comes, again, from that operation described by Shakespeare: when remedy is exhausted, so is grief.

THE COUNCIL WAS NOTHING LIKE Jason imagined. For one thing, it was in the Big House rec room, around a Ping-Pong table, and one of the satyrs was serving nachos and sodas. Somebody had brought Seymour the leopard head in from the living room and hung him on the wall. Every once in a while, a counselor would toss him a Snausage. Jason looked around the room and tried to remember everyone’s name. Thankfully, Leo and Piper were sitting next to him—it was their first meeting as senior counselors. Clarisse, leader of the Ares cabin, had her boots on the table, but nobody seemed to care. Clovis from Hypnos cabin was snoring in the corner while Butch from Iris cabin was seeing how many pencils he could fit in Clovis’s nostrils. Travis Stoll from Hermes was holding a lighter under a Ping-Pong ball to see if it would burn, and Will Solace from Apollo was absently wrapping and unwrapping an Ace bandage around his wrist. The counselor from Hecate cabin, Lou Ellen something-or-other, was playing “got-your-nose” with Miranda Gardiner from Demeter, except that Lou Ellen really had magically disconnected Miranda’s nose, and Miranda was trying to get it back. Jason had hoped Thalia would show. She’d promised, after all—but she was nowhere to be seen. Chiron had told him not to worry about it. Thalia often got sidetracked fighting monsters or running quests for Artemis, and she would probably arrive soon. But still, Jason worried. Rachel Dare, the oracle, sat next to Chiron at the head of the table. She was wearing her Clarion Academy school uniform dress, which seemed a bit odd, but she smiled at Jason. Annabeth didn’t look so relaxed. She wore armor over her camp clothes, with her knife at her side and her blond hair pulled back in a ponytail. As soon as Jason walked in, she fixed him with an expectant look, as if she were trying to extract information out of him by sheer willpower. “Let’s come to order,” Chiron said. “Lou Ellen, please give Miranda her nose back. Travis, if you’d kindly extinguish the flaming Ping-Pong ball, and Butch, I think twenty pencils is really too many for any human nostril. Thank you. Now, as you can see, Jason, Piper, and Leo have returned successfully…more or less. Some of you have heard parts of their story, but I will let them fill you in.” Everyone looked at Jason. He cleared his throat and began the story. Piper and Leo chimed in from time to time, filling in the details he forgot. It only took a few minutes, but it seemed like longer with everyone watching him. The silence was heavy, and for so many ADHD demigods to sit still listening for that long, Jason knew the story must have sounded pretty wild. He ended with Hera’s visit right before the meeting.

Betty once had self-image problems, but she overcame them. A Morninglight poster decorates her wall. Much-read pamphlets sit in her bathroom. Philip Marquard's audio book on self-actualisation plays in her earphones. Fresh signatures fill the forms on her clipboard. Bottles of Morninglight dietary supplements and nutrient pills fill her medicine cabinet. By her bed is an autographed picture of Philip Marquard, the one she secretly kisses before going to sleep. Every night she dreams of freeing herself from her mortal shell and ascending into the cosmos to soar with the whale-mollusc gods. There are new recruits chained to Betty's walls. She has their signatures. They tested as having self-image problems, as she once had. Smiling, she tells them they are all beautiful. She opens them with a knife, shows them the beauty inside. "Look!" she says, tears streaming. "We are all made of stars!" Then she practises eating stars, waiting for enlightenment to take hold.

Tristan 'The Predator' Caine. They called him the predator. His reputation preceded him. He rarely went on the hunt but when he did, it was over. When he did, he went straight for the jugular. No distractions. No playing around. For all his unruffled attitude, the man was more lethal than the knife cutting into her thigh. He was also the reason she had come to the party.

Damen said, ‘You haven’t told him.’ ‘You don’t even deny it?’ said Jord. A harsh laugh, when Damen was silent. ‘You hated us so much, all this time? It wasn’t enough to invade, to take our land? You had to play this—sick game as well?’ Damen said, ‘If you tell him, I can’t serve him.’ ‘Tell him?’ said Jord. ‘Tell him the man he trusts has lied, and lied again, has deceived him into the worst humiliation?’ ‘I wouldn’t hurt him,’ said Damen, and heard the words drop like lead. ‘You killed his brother, then got him under you in bed.’ Put like that, it was monstrous. It’s not that way between us, he ought to have said, and didn’t, couldn’t. He felt hot, then cold. He thought of Laurent’s delicate, needling talk that froze into icy rebuff if Damen pushed at it, but if he didn’t—if he matched himself to its subtle pulses and undercurrents—continued, sweetly deepening, until he could only wonder if he knew, if they both knew, what they were doing. ‘I’m going to leave,’ he said. ‘I was always going to leave. I stayed only because—’ ‘That’s right, you’ll leave. I won’t allow you to wreck us. You’ll command us to Ravenel, you’ll say nothing to him, and when the fort is won, you’ll get on a horse and go. He’ll mourn your loss, and never know.’ It was what he had planned. It was what, from the beginning, he had planned. In his chest, the beats of his heart were like sword thrusts. ‘In the morning,’ said Damen. ‘I’ll give him the fort, and leave him in the morning. It’s what I promised.’ ‘You’re gone by the time the sun hits the middle of the sky, or I tell him,’ said Jord. ‘And what he did to you in the palace will seem like a lover’s kiss compared with what will happen to you then.’ Jord was loyal. Damen had always liked that about him, the steadfast nature that reminded him of home. Strewn around them was the end of the battle, victory marked by silence and churned grass. ‘He’ll know,’ Damen heard himself say. ‘When word of my return to Akielos reaches him. He’ll know. I wish you would tell him then that I—’ ‘You fill me with horror,’ said Jord. His hands were tight on his knife. Both his hands, now. ‘Captain,

Each angel-being was distinctly an individual, and yet they had more in common with one another than with any human she had seen. What they shared was a shimmering, darting play of intelligence and feeling that seemed to sweep over them all simultaneously. They were naked, but she felt naked in front of their glance, it was so piercing and went so deep. Still, she was unashamed of what she was, and she returned their gaze with head held high.

I could kill you, you know,” Az murmured as he teased the knife’s blade up to the spot where Madi’s shoulder met his neck. “Slit your throat. Puncture your kidney. Stab you through the heart.” “If you want me dead, then do it and get it over with,” Madi growled. Az pressed his erection to the dark furrow of Madi’s ass, letting him feel how hard he was. “If I could kill you, I would, but, somehow, you would manage to take a piece of me with you.

La Dicha He who embraces a woman is Adam. The woman is Eve. Everything happens for the first time. I have seen a white thing in the sky. They tell me it's the moon, but what can I do with a word and a mythology. The trees frighten me a bit. They are so beautiful. The calm animals come near for me to tell them their names. The books in the library have no letters. When I open them, they come up. When I peruse the atlas I project the shape of Sumatra. He who lights a match in the dark is inventing fire. In the mirror there's someone else lurking. He who looks at the sea sees England. He who utters a verse by Liliencron has entered the battle. I have dreamed Carthage and the legions that devastated Carthage. I have dreamed the sword and the scales. Praised be the love in which there is no possessor or possessed, but the two surrender themselves. Praised be the nightmare, which reveals to us that we can create hell. He who comes down to a river comes down to the Ganges. He who watches a sand clock sees the dissolution of an empire. He who plays with a knife foretells the death of Caesar. He who sleeps is all men. In the desert I saw the young Sphinx, that they just finished carving. There's nothing old under the sun. Everything happens for the first time, but in an eternal fashion. He who reads my words is inventing them.

I've played with adrenalin, almost every dangerous sport you can imagine, but that's not the same as violence, not the same as coming up against someone who wants you dead, where there's no room for one misstep, where it's all or nothing. Feeling that bungee cord whip you up just two seconds from the ground is one thing, looking into the eyes of a man with a knife is another. It's the ultimate competition—there's one life between us, and it's mine. You feel how fine life is. It's a sort of possessiveness. A bit like sex. Just as you can't suddenly rip someone's clothes off in public when you have the urge, you have to train the urge to violence. It's like always singing sotto voce when all you want to do is take a great breath and let it rip. Violence feels good. It's so simple and clear. There's no mistaking the winner. I like it, but I avoid going there, going to the blue place, because I think I could get lost, might not find my way back, I wouldn't want to find my way back because it's seductive.

Prior to my second stint in Perpignan, I was a fine diner and as I saw it, food was art. At vocational school, I was being taught how to cook, but I was frustrated by how basic the dishes were. I was like a kid who had grown up listening to Chopin, then showed up at music school, never having actually played an instrument. I mean, when you listen to Chopin all the time, you want to become Chopin. And then you go to music school and all you're doing is plunking out do...re... mi for hours at a time. It's boring as hell, and not why you enrolled. I was impatient to create great meals and not so excited about starting with the basics. Why were we spending hours learning how to hold a knife or mine a shallot when we could be making nouvelle cuisine? True, I didn't know how to cut a chicken in eight pieces or make a bechamel. But in the two- and three-start restaurants I had been to, they were way over the bechamel. Still, there I was, in school, making the most basic of dishes--salade Nicoise, potato-leek soup, an omelette.

You don't have to come with me," Ash said. "I only brought you along because you're good with a knife. And got us the uniforms. And the explosives." Lila snorted. "Sorry I'm not pulling my weight." "This may not be your idea," Ash said doggedly, "but it's what we're going to do." "Is it? Are you really going to start playing the prince card after all?" "Don't start in about my mother the queen, because I don't want to hear it." "All right, then, as your peer and absolute equal, I can't help thinking this is a really bad idea.

The knife point dug into Akos’s skin, right over the scar Ryzek had given him. “Vas,” Eijeh said, and he sounded a little terse. Nervous? Akos thought. But it was a foolish hope. “You can’t kill him, Ryzek won’t allow it. So stop playing at it.” Vas grunted, and took the knife away. Akos’s body ached as it relaxed. “Is there some kind of Shotet holiday today where you visit the people you hate to make them miserable?” He wiped at the cold sweat on the back of his neck. “Well, I’m not celebrating. Leave me alone.” “No, but your presence has been requested to witness the interrogation of a confessed renegade,” Vas said. “Along with Cyra’s.” “What use would I be at an interrogation?” Akos said. Vas tilted his head, a smile creeping across his face. “You were initially brought here to bring relief to Cyra on a regular basis. I assume that is the use you will be put to.” “Right,” Akos said. “I’m sure that’s the reason.” Vas sheathed his knife--he probably knew as well as Akos did that he wouldn’t need it to get Akos to do what he said. After all, they were on a ship. In space.

Le Boucher, the early Claude Chabrol that Hitch, according to lore, wished he’d directed. Dark Passage, with Humphrey Bogart and Lauren Bacall—a San Francisco valentine, all velveteen with fog, and antecedent to any movie in which a character goes under the knife to disguise himself. Niagara, starring Marilyn Monroe; Charade, starring Audrey Hepburn; Sudden Fear!, starring Joan Crawford’s eyebrows. Wait Until Dark: Hepburn again, a blind woman stranded in her basement apartment. I’d go berserk in a basement apartment. Now, movies that postdate Hitch: The Vanishing, with its sucker-punch finale. Frantic, Polanski’s ode to the master. Side Effects, which begins as a Big Pharma screed before slithering like an eel into another genre altogether. Okay. Popular film misquotes. “Play it again, Sam”: Casablanca, allegedly, except neither Bogie nor Bergman ever said it. “He’s alive”: Frankenstein doesn’t gender his monster; cruelly, it’s just “It’s alive.” “Elementary, my dear Watson” does crop up in the first Holmes film of the talkie era, but appears nowhere in the Conan Doyle canon.

He made a motion that dismissed me. And I rose, but as I did so I took from his tray a little silver knife, all engraved, that he had been using to cut fruit with. I looked him in the eyes as I did so, and quite openly slipped it up my sleeve. King Shrewd's eyes widened, but he said not a word. Two nights later, when Chade summoned me, our lessons resumed as if there had never been a pause. He talked, I listened, I played his stone game and never made an error. He gave me an assignment, and we made small jokes together. He showed me how Slink the weasel would dance for a sausage. All was well between us again. But before I left his chambers that night, I walked to his hearth. Without a word, I placed the knife on the center of his mantel shelf. Actually, I drove it, blade first, into the wood of the shelf. Then I left without speaking of it or meeting his eyes. In fact, we never spoke of it. I believe that the knife is still there. ... I sat still until I began to wonder if I would do it. Then I lifted my eyes to a silver fruit knife driven deep into Chade's mantelpiece, and I thought I knew the answer.

The pretty lady come to play with knives, is it?” the man taunted. “Watch out you don’t break a nail. I only date presentable girls.” Shanti stepped forward and punched him in the sternum with her right hand. She elbowed him in the face with her left before ripping his knife from his hand. With economical movements, she knocked him in the head with the hilt, punched him in the gut, ripped his big body to the side, and stepped around him with a smooth movement. The knife made a loud thunk as it found the center of the target painted on the wooden post twenty paces away.

Metalearning: First Draw a Map. Start by learning how to learn the subject or skill you want to tackle. Discover how to do good research and how to draw on your past competencies to learn new skills more easily. Focus: Sharpen Your Knife. Cultivate the ability to concentrate. Carve out chunks of time when you can focus on learning, and make it easy to just do it. Directness: Go Straight Ahead. Learn by doing the thing you want to become good at. Don’t trade it off for other tasks, just because those are more convenient or comfortable. Drill: Attack Your Weakest Point. Be ruthless in improving your weakest points. Break down complex skills into small parts; then master those parts and build them back together again. Retrieval: Test to Learn. Testing isn’t simply a way of assessing knowledge but a way of creating it. Test yourself before you feel confident, and push yourself to actively recall information rather than passively review it. Feedback: Don’t Dodge the Punches. Feedback is harsh and uncomfortable. Know how to use it without letting your ego get in the way. Extract the signal from the noise, so you know what to pay attention to and what to ignore. Retention: Don’t Fill a Leaky Bucket. Understand what you forget and why. Learn to remember things not just for now but forever. Intuition: Dig Deep Before Building Up. Develop your intuition through play and exploration of concepts and skills. Understand how understanding works, and don’t recourse to cheap tricks of memorization to avoid deeply knowing things. Experimentation: Explore Outside Your Comfort Zone. All of these principles are only starting points. True mastery comes not just from following the path trodden by others but from exploring possibilities they haven’t yet imagined.

If he noticed a female convict with a baby in her arms, he would approach, fondle the baby and snap his fingers at it to make it laugh. These things he did for many years, right up to his death; eventually he was famous all over Russia and all over Siberia, among the criminals, that is. One man who had been in Siberia told me that he himself had witnessed how the most hardened criminals remembered the general, and yet the general, when he visited the gangs of convicts, was rarely able to give more than twenty copecks to each man. It’s true that he wasn’t remembered with much affection, or even very seriously. Some ‘unfortunate wretch’, who had killed twelve people, or put six children to the knife solely for his own amusement (there were such men, it is said), would suddenly, apropos of nothing, perhaps only once in twenty years, sigh and say: ‘Well, and how’s the old general now, is he still alive?’ He would even, perhaps, smile as he said it – and that would be all. How can you know what seed had been cast into his soul for ever by this ‘old general’, whom he had not forgotten in twenty years? How can you know, Bakhmutov, what significance this communication between one personality and another may have in the fate of the personality that is communicated with?… I mean, we’re talking about the whole of a life, and a countless number of ramifications that are hidden from us. The very finest player of chess, the most acute of them, can only calculate a few moves ahead; one French player, who was able to calculate ten moves ahead, was described in the press as a miracle. But how many moves are here, and how much is there that is unknown to us? In sowing your seed, sowing your ‘charity’, your good deeds in whatever form, you give away a part of your personality and absorb part of another; a little more attention, and you are rewarded with knowledge, with the most unexpected discoveries. You will, at last, certainly view your deeds as a science; they will take over the whole of your life and may fill it. On the other hand, all your thoughts, all the seeds you have sown, which perhaps you have already forgotten, will take root and grow; the one who has received from you will give to another. And how can you know what part you will play in the future resolution of the fates of mankind? If this knowledge, and a whole lifetime of this work, exalts you, at last, to the point where you are able to sow a mighty seed, leave a mighty idea to the world as an inheritance, then…

Urgency threaded her voice as she offered her hand. It was gloved, but I could feel the warmth of it still, and thrilled to her touch before seeing that she regretted the gesture. She recoiled, and put the hand in her pocket. At the time, I thought she regretted touching me because a show of kindness could compromise her standing with colleagues like Elma. Years later, I would realize her sorrow arose from taking care of the children that Uncle claimed for his own. It must have been like stringing a harp for someone who played his harp with a knife, or binding a book for someone whose idea of reading was feeding pages to a fire.

Where the hell did the Pack find you two? At a beach volleyball tournament? Great tan. Love those curls.” LeBlanc shook his head. “He’s not even as big as I am. He’s what, six foot nothing? Two hundred pounds in steel-toed boots? Christ. I’m expecting some ugly bruiser bigger than Cain and what do I find? The next Baywatch star. Looks like his IQ would be low enough. Can he chew gum and tie his shoes at the same time?” Clay stopped playing with his chair and turned to face the mirror. He got up, crossed the room, and stood in front of me. I was leaning forward, one hand pressed against the glass. Clay touched his fingertips to mine and smiled. LeBlanc jumped back. “Fuck,” he said. “I thought that was one-way glass.” “It is.” Clay turned his head toward LeBlanc and mouthed three words. Then the door to his room opened and one of the officers called him out. Clay grinned at me, then sauntered out with the officer. As he left, a surge of renewed confidence ran through me. “What did he say?” LeBlanc asked. “Wait for me.” “What?” “It’s a challenge,” Marsten murmured from across the room. He didn’t look up from his magazine. “He’s inviting you to stick around and get to know him better.” “Are you going to?” LeBlanc asked. Marsten’s lips curved in a smile. “He didn’t invite me.” LeBlanc snorted. “For a bunch of killer monsters, the whole lot of you are nothing but hot air. All your rules and challenges and false bravado.” He waved a hand at me. “Like you. Standing there so nonchalantly, pretending you aren’t the least bit concerned about having the two of us in the room.” “I’m not.” “You should be. Do you know how fast I could kill you? You’re standing two feet away from me. If I had a gun or knife in my pocket, you’d be dead before you had time to scream.” “Really? Huh.” LeBlanc’s cheek twitched. “You don’t believe me, do you? How do you know I’m not packing a gun? There’s no metal detector at the door. I could pull one out now, kill you, and escape in thirty seconds.” “Then do it. I know, you don’t like our little games, but humor me. If you have a gun or a knife, pull it out. If not, pretend to. Prove you could do it." “I don’t need to prove anything. Certainly not to a smart-mouthed—” He whipped his hand up in mid-sentence. I grabbed it and snapped his wrist. The sound cracked through the room. The receptionist glanced over, but LeBlanc had his back to her. I smiled at her and she turned away. “You—fucking—bitch,” LeBlanc gasped, cradling his arm. “You broke my wrist.” “So I win.” His face purpled. “You smug—” “Nobody likes a sore loser,” I said. “Grit your teeth and bear it. There’s no crying in werewolf games. Didn’t Daniel teach you that?

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

We are engaged in a world war of stories—a war between incompatible versions of reality—and we need to learn how to fight it. A tyrant has arisen in Russia and brutality engulfs Ukraine, whose people, led by a satirist turned hero, offer heroic resistance, and are already creating a legend of freedom. The tyrant creates false narratives to justify his assault—the Ukrainians are Nazis, and Russia is menaced by Western conspiracies. He seeks to brainwash his own citizens with such lying stories. Meanwhile, America is sliding back towards the Middle Ages, as white supremacy exerts itself not only over Black bodies, but over women’s bodies too. False narratives rooted in antiquated religiosity and bigoted ideas from hundreds of years ago are used to justify this, and find willing audiences and believers. In India, religious sectarianism and political authoritarianism go hand in hand, and violence grows as democracy dies. Once again, false narratives of Indian history are in play, narratives that privilege the majority and oppress minorities; and these narratives, let it be said, are popular, just as the Russian tyrant’s lies are believed. This, now, is the ugly dailiness of the world. How should we respond? It has been said, I have said it myself, that the powerful may own the present, but writers own the future, for it is through our work, or the best of it at least, the work which endures into that future, that the present misdeeds of the powerful will be judged. But how can we think of the future when the present screams for our attention, and what, if we turn away from posterity and pay attention to this dreadful moment, can we usefully or effectively do? A poem will not stop a bullet. A novel cannot defuse a bomb. Not all our satirists are heroes. But we are not helpless. Even after Orpheus was torn to pieces, his severed head, floating down the river Hebrus, went on singing, reminding us that the song is stronger than death. We can sing the truth and name the liars, we can join in solidarity with our fellows on the front lines and magnify their voices by adding our own to them. Above all, we must understand that stories are at the heart of what’s happening, and the dishonest narratives of oppressors have proved attractive to many. So we must work to overturn the false narratives of tyrants, populists, and fools by telling better stories than they do, stories within which people want to live. The battleground is not only on the battlefield. The stories we live in are contested territories too. Perhaps we can seek to emulate Joyce’s Dedalus, who sought to forge, in the smithy of his soul, the uncreated conscience of his race. We can emulate Orpheus and sing on in the face of horror, and not stop singing until the tide turns, and a better day begins.

These are things like Michael Jackson's Thriller, an album that was (1) produced by Quincy Jones, (2) features guitar playing by Eddie Van Halen, (3) includes at least three singles that ooze awesomeness, and (4) has the single best bass line from the entire 1980s (i.e., the opening of "Billie Jean"). It is a "guilty pleasure," presumably, because 45 million people liked it, and because Jackson is quite possibly a pedophile, a d because two dancers had a really unfair knife fight in the video for "Beat It." This is akin to considering Thomas Jefferson a "guilty pleasure" among presidents because he briefly owned a pet bear. I mean, he still wrote the fucking Declaration of Independence, you know?

shaking her head. “She showed him.” For a few minutes, Ivy and Bean sat in silence, thinking. “Okay,” Ivy said finally. “I’m Giselle, and you’re the duke.” “All right,” said Bean. “But next time, I get to be Giselle.” It was fun playing Giselle, even though Ivy’s mom wouldn’t let them dance with a knife and they had to use a Wiffle bat instead. After they had each been Giselle a couple of times, they were Wilis, waving long Scotch-tape fingernails as they danced various people to death. “Mrs. Noble!” shrieked Bean. “I’m dancing Mrs. Noble to death.” Ivy ran to get a pair of her mother’s high heels and pretended to be Mrs. Noble, a fifth-grade teacher who had once given Ivy and Bean a lot of trouble.

He narrowed his eyes at me, pushed out of the booth and stomped over to the cash desk where Ash had returned and was playing a game on his mobile phone. "Sorry, sir," he echoed, dead-pan, and then added: "She is the owner." He dropped his voice to a stage whisper. "And she's righ' crazy, so I wouldn't mess with her. She stabbed someone with a plastic fork just last week." "A--a plastic fork?" the man said, looking over at me nervously. "Yeah, and you would not believe the mess. A carving knife woulda made cleaner work of it." The man slapped a few coins on the counter near the cash and, clutching the remains of his paper, dashed out the door. "Thanks, Ash," I said, absently. "No probs," he said. "Chasing zombies on my phone--fair inspirational, aye?

Nick spreads cream cheese on my bagel for me because it’s hard to do with one hand. You need to hold the bagel and everything. “You are the nicest boyfriend ever,” I tell him and kiss his cheek. “Gag,” Devyn says. “You’re just jealous,” Nick teases him and points his plastic knife at Devyn. “Which is ridiculous because you are the star of the school now that the wheelchair is totally gone. Everyone is talking about you.” “Star of the school?” Devyn asks. He takes a swig of Gatorade. “All the girls.” Nick gestures to the girls giggling behind them. “They like miracles. It’s sexy. Remember how much play Jay Dahlberg got when he came back from being abducted?” He does not add by pixies because he does not have to. “Really?” Devyn does this cheesy and really fake eyebrow wiggle thing so he looks like some sleezy porn dog.

Because of this place I’m a murderer,” he said. “Complicity,” he amended after a moment’s consideration. “Soon to be.” The last was a conclusive mutter. “Get to the funny part,” Libby suggested dryly. “Well, there’s a stain on me now, isn’t there? A mark. Would kill for…followed by a blank space.” Nico summoned the knife back to his palm, only of course it didn’t register that way. One moment the knife was cast aside, the next it was in his hand. “I wouldn’t have that if I hadn’t come here. And I wouldn’t have come here at all if it weren’t for you.” She wondered if he blamed her. He didn’t sound accusatory, but it was hard not to assume that he was. “You were going to do it regardless, remember?” “Yeah but only because they asked you.” He glanced down at the knife in his hand, turning it over to inspect the blade. “Inseverable,” he said, neither to himself nor her. “What?” “Inseverable,” he repeated, louder this time. He glanced at her, shrugging. “One of those if-then calculations, right? We met, so now we can’t detach. We’re just going to always play a weird game of…what’s the word? The thing, espejo, the game. The mirror game.” “Mirror game?” “Yeah, you do one thing, I do it too. Mirror.” Libby asked, “But who does it first?” “Doesn’t matter.” “Do you resent it?” He looked down at the knife, and then back up at her. “Apparently, I’d kill to protect it,” he said, “so yeah.” “We could stop,” she suggested. “Stop playing the game.” “Stop where? Stop here? No,” Nico said with a shake of his head, fingers tapping at his side. “This isn’t far enough.” “But what if it’s too far?” “It is,” he agreed. “Too far to stop.” “Paradox,” Libby observed aloud, and Nico’s mouth twisted with wry acknowledgement. “Isn’t it? The day you are not a fire,” he said, “is the day the earth will fall still for me.

Bruce has always been the cook in the family, and when Jordan was a preschooler, the little boy showed up in the kitchen and asked to help prepare dinner. They had been partners ever since. At first, Jordan was given a butter knife, which he used to cut soft vegetables. He arranged food on plates. He tasted pasta to see if it was done, and sauces for saltiness. By the time he was ten, he was helping Bruce choose recipes. He received his own subscription to Bon Appétit for Hanukkah and pored over every copy, folding down the corner on recipes he wanted to try. Eddie became their taster, coming to the kitchen from the piano, or the book he was reading, to give the dish a thumbs-up. When Bruce pictured happiness, it was cooking in the kitchen beside Jordan while listening to Eddie play the piano in the next room. That scene repeated regularly and made Bruce thrum with joy. Every time, he thought, I will not take this for granted.

We can withstand a siege for some time,” Arin said. “The city walls are strong. They’re Valorian-built.” “Which means that we will know how to bring them down.” Arin swirled his glass, watching the water’s clear spin. “Care to bet? I have matches. I hear they make very fine stakes.” There was the quirk of a smile. “We aren’t playing at Bite and Sting.” “But if we were, and I kept raising the stakes higher to the point where you couldn’t bear to lose, what would you do? Maybe you’d give up the game. Herran’s only hope of winning against the empire is to become too painful to retake. To mire the Valorians in an unending siege when they’d rather be fighting the east. To force them to conquer the countryside again, piece by piece, spending money and lives. Someday, the empire will decide we’re not worth the fight.” Kestrel shook her head. “Herran will always be worth it.” Arin looked at her, his hands resting on the table. He, too, had no knife. Kestrel knew that this was to make it less obvious that she wasn’t to be trusted with one. Instead, it became more. “You’re missing a button,” he said abruptly. “What?” He reached across the table and touched the cloth at her wrist, on the spot of an open seam. His fingertip brushed the frayed thread. Kestrel forgot that she had been troubled. She had been thinking about knives, she remembered, and now they were talking about buttons, but what one had to do with the other, she couldn’t say. “Why don’t you mend it?” he said. She recovered herself. “That is a silly question.” “Kestrel, do you not know how to sew a button?” She refused to answer. “Wait here,” he said. Arin returned with a sewing kit and button. He threaded a needle, bit it between his teeth, and took her wrist with both hands. Her blood turned to wine. “This is how you do it,” he said. He took the needle from his mouth and pierced it through the cloth.

And at the center of the room, a girl. A woman. She sits at the klavier with eyes closed, playing their song. Their story. Elisabeth. Her image flickers, wavers, a reflection seen on the edges of a candle flame. The shadows wriggle and writhe with curiosity, and with tremendous effort, the monster holds them back. Please, he whispers. Please, let me have this one thing. As he plays, the darkness recedes. From his skin, from his hair, the weight of the rams' horns on his head lightening. Color returns to the world and to his eyes, a mismatched blue and green as the monster remembers what it is to be a man. Elisabeth. He sits down on the bench beside her, begging her- beseeching her- to open her eyes and see him. Be with him. But she keeps her eyes closed, hands trembling on the keyboard. Elisabeth. She stirs. He sucks in a sharp breath and lifts his hand to stroke her cheek with fingers that are still mangled, broken, strange. His touch passes through her like a knife through smoke, yet she shivers as if she can feel the brush of his fingers in the dark places of her soul, her body, her heart. She is as insubstantial as mist, but he cannot resist the urge, the itch, to kiss. He closes his eyes and leans in close, imagining the silk of her skin against his lips. They are met. A gasp. His eyes fly open but hers are still closed. Her hand lifts to her mouth, as though the tingle of their unexpected caress still lingered there. "Mein Herr," she sighs. "Oh, mein Herr." I'm here, he says. Look at me. Be with me. See me. Call me by name. Yet when she opens her eyes, she stares through him, not at him. The darkness hisses and crawls, the shushing sound of branches in an icy wind. She drops her head into her hands, her shoulders hunched, and the sound of her crying is more bitter than even the coldest winter night. No! he cries. He wants to comfort and caress her, but he cannot hold her, cannot touch her. He is a ghost in her mind, voiceless, silent, and incorporeal.

Angels! Halt and listen to me! I am the witch Ruta Skadi, and I want to talk to you!” They turned. Their great wings beat inward, slowing them, and their bodies swung downward till they were standing upright in the air, holding their position by the beating of their wings. They surrounded her, five huge forms glowing in the dark air, lit by an invisible sun. She looked around, sitting on her pine branch proud and unafraid, though her heart was beating with the strangeness of it, and her dæmon fluttered to sit close to the warmth of her body. Each angel-being was distinctly an individual, and yet they had more in common with one another than with any human she had seen. What they shared was a shimmering, darting play of intelligence and feeling that seemed to sweep over them all simultaneously. They were naked, but she felt naked in front of their glance, it was so piercing and went so deep. Still, she was unashamed of what she was, and she returned their gaze with head held high. “So you are angels,” she said, “or Watchers, or bene elim. Where are you going?” “We are following a call,” said one. She was not sure which one had spoken. It might have been any or all of them at once. “Whose call?” she said. “A man’s.” “Lord Asriel’s?” “It may be.” “Why are you following his call?” “Because we are willing to,” came the reply. “Then wherever he is, you can guide me to him as well,” she ordered them. Ruta Skadi was four hundred and sixteen years old, with all the pride and knowledge of an adult witch queen. She was wiser by far than any short-lived human, but she had not the slightest idea of how like a child she seemed beside these ancient beings. Nor did she know how far their awareness spread out beyond her like filamentary tentacles to the remotest corners of universes she had never dreamed of; nor that she saw them as human-formed only because her eyes expected to. If she were to perceive their true form, they would seem more like architecture than organism, like huge structures composed of intelligence and feeling. But they expected nothing else: she was very young.

you bet yours on the gray!” Even in songs Ma did not approve of gambling, but her toe could not stop tapping while Pa played such tunes. Then every evening they all sang one round. Mr. Boast’s tenor would begin, “Three blind mice,” and go on while Mrs. Boast’s alto began, “Three blind mice,” then as she went on Pa’s bass would join in, “Three blind mice,” and then Laura’s soprano, and Ma’s contralto, and Mary and Carrie. When Mr. Boast reached the end of the song he began it again without stopping, and they all followed, each behind the other, going round and round with words and music. “Three blind mice! Three blind mice!              They all ran after the farmer’s wife               She cut off their tails with the carving knife, Did you ever hear such a tale in your life Of three blind mice?” They kept on singing until someone laughed and then the song ended ragged and breathless and laughing. And Pa would play some of the old songs, “to go to sleep on,” he said. “Nellie was a lady, last night she died, Oh, toll the bell for lovely Nell, My old—Vir-gin-ia bride.” And, “Oh, do you remember sweet Alice, Ben Bolt?              Sweet Alice with eyes so brown,

A sob pops in my throat. I choke it, and look around for a harmless visual distraction, but all I see is a stocky young woman with a baby, a few seats up. The baby is pulling the woman's hair, and she is faking this look of terror. 'Oh no', she says, 'How can you do that to mommy?' She pretends to bawl, but the baby laughs and gurgles like a psycho, and pulls even harder. I'm witnessing a fresh knife being laid into a brand-new soul. A training dagger. A maternity blade. Here's his mom quietly opening up the control incision, completely innocent in her dumbness to the world. 'Oh no, you've killed Mommy, Mommy's gone!' She plays dead. The little guy giggles for a minute, but only that long. Then he senses something's wrong. She ain't waking up. He killed her, she abandoned him, just like that, over a pull of hair. He pokes her with his finger, he gets ready to bawl. And there you have it: he takes the handle into his own tiny hands and pulls in his first blade, right up to the hilt. Just to bring her back. And sure enough, with the splash of his first tear, she wakes right up. 'Ha, ha, I'm still here! Ha, ha it's Mommy!' Ha, ha, that's the Scheme of Things.

I am lucky, Master Gill,” Mat said. “You just have a good meal waiting when I come back.” As he stood, he picked up the dice cup and spun the dice out beside the stones board for luck. The calico cat leaped down, hissing at him with her back arched. The five spotted dice came to rest, each showing a single pip. The Dark One’s Eyes. “That’s the best toss or the worst,” Gill said. “It depends on the game you are playing, doesn’t it. Lad, I think you mean to play a dangerous game. Why don’t you take that cup out into the common room and lose a few coppers? You look to me like a fellow who might like a little gamble. I will see the letter gets to the Palace safely.” “Coline wants you to clean the drains,” Mat told him, and turned to Thom while the innkeeper was still blinking and muttering to himself. “It doesn’t seem to make any odds whether I get an arrow in me trying to deliver that letter or a knife in my back waiting. It’s six up, and a half dozen down. Just you have that meal waiting, Thom.” He tossed a gold mark on the table in front of Gill. “Have my things put in a room, innkeeper. If it takes more coin, you will have it. Be careful of the big roll; it frightens Thom something awful.

Most of them seem to be at it in the roof-garden. Want to go and watch,get some pressure up for later?” “I think these cigarettes are horrible. Made my throat so sore. And my guts are all sour and nasty. Did people really use twenty in a day?” “They call it streamlining, of course, but what it comes down to is they’re undermining my responsibility in the firm and I’m going to fight tooth and claw to hang on to what I’ve got. If I have to play it dirty that’ll be their fault, not mine.” “It makes genuine three-dimensional poetry possible for the first time in history. Right now he’s experimenting with motion added, and some of the things he’s turned out are hair-raising.” “You hold the knife this way, see?” “Refuse to teach their children to read and write, say it handicaps them for the post-Gutenberg era.” “Not many people have spotted it but there’s a loophole in the Maryland eugenics law.” “A polyformer for water-sculpture, quite new.” “Of course I don’t love Henry the way I love you but the shrinker did tell me I ought to occasionally.” “I’m just cutting jets for a prayer or two but I’ll be back—don’t get involved with anyone else.” “That makes seventeen different mixtures I’ve tried, and I’d better have some antalc, right away.” “I think it was bitchy not to tell Miriam it was pig-meat.

Signor Renzo's lodge stood on a grassy knoll near the crest of the hill. It was a modest place, just a low stone hut, before which stretched a woven ceiling of vines. My dinner was cooked on an open fire by the table. This was no banquet, but what the cook called a pique-nique, a meal for hunters to take outdoors. After Renzo had chosen two fat ducklings from his larder, he spitted them over the fire. Then he made a dish of buttery rice crowned with speckled discs of truffle that tasted powerfully of God's own earth. 'Come sit with me,' I begged, for I did not like him to wait on me. So together we sat beneath the vines as I savored each morsel and guessed at the subtle flavorings. 'Wild garlic?' I asked, and he lifted his brows in surprise as he ate. 'And a herb,' I added, 'sage?' 'For a woman, you have excellent taste.' For a woman, indeed! I made a play of stabbing him with my knife. It was most pleasant to eat our pique-nique and drink the red wine, which they make so strong in that region that they call it black or nero. I asked him to speak of himself, and between a trial of little dishes of wild leaves, chestnut fritters, and raisin cake, Signor Renzo told me he was born in the city and had worked at a pastry's cook shop as a boy, where he soon discovered that good foods mixed with ingenious hands made people happy and free with their purses.

We know nothing about how those earliest known surface glazes themselves were developed. Nevertheless, we can infer the methods of prehistoric invention by watching technologically “primitive” people today, such as the New Guineans with whom I work. I already mentioned their knowledge of hundreds of local plant and animal species and each species’ edibility, medical value, and other uses. New Guineans told me similarly about dozens of rock types in their environment and each type’s hardness, color, behavior when struck or flaked, and uses. All of that knowledge is acquired by observation and by trial and error. I see that process of “invention” going on whenever I take New Guineans to work with me in an area away from their homes. They constantly pick up unfamiliar things in the forest, tinker with them, and occasionally find them useful enough to bring home. I see the same process when I am abandoning a campsite, and local people come to scavenge what is left. They play with my discarded objects and try to figure out whether they might be useful in New Guinea society. Discarded tin cans are easy: they end up reused as containers. Other objects are tested for purposes very different from the one for which they were manufactured. How would that yellow number 2 pencil look as an ornament, inserted through a pierced ear-lobe or nasal septum? Is that piece of broken glass sufficiently sharp and strong to be useful as a knife? Eureka!

Preparation - Poem by Malay Roy Choudhury Who claims I'm ruined? Because I'm without fangs and claws? Are they necessary? How do you forget the knife plunged in abdomen up to the hilt? Green cardamom leaves for the buck, art of hatred and anger and of war, gagged and tied Santhal women, pink of lungs shattered by a restless dagger? Pride of sword pulled back from heart? I don't have songs or music. Only shrieks, when mouth is opened wordless odour of the jungle; corner of kin & sin-sanyas; Didn't pray for a tongue to take back the groans power to gnash and bear it. Fearless gunpowder bleats: stupidity is the sole faith-maimed generosity- I leap on the gambling table, knife in my teeth Encircle me rush in from tea and coffee plateaux in your gumboots of pleasant wages The way Jarasandha's genital is bisected and diamond glow Skill of beating up is the only wisdom in misery I play the burgler's stick like a flute brittle affection of thev wax-skin apple She-ants undress their wings before copulating I thump my thighs with alternate shrieks: VACATE THE UNIVERSE get out you omnicompetent conchshell in scratching monkeyhand lotus and mace and discuss-blade Let there be salt-rebellion of your own saline sweat along the gunpowder let the flint run towards explosion Marketeers of words daubed in darkness in the midnight filled with young dog's grief in the sicknoon of a grasshopper sunk in insecticide I reappear to exhibit the charm of the stiletto. (Translation of Bengali poem 'Prostuti')

She could envision Shakespeare's sister. But she imagined a violent, an apocalyptic end for Shakespeare's sister, whereas I know that isn't what happened. You see, it isn't necessary. I know that lots of Chinese women, given in marriage to men they abhorred and lives they despised, killed themselves by throwing themselves down the family well. I'm not saying it doesn't happen. I'm only saying that isn't what usually happens. It it were, we wouldn't be having a population problem. And there are so much easier ways to destroy a woman. You don't have to rape or kill her; you don't even have to beat her. You can just marry her. You don't even have to do that. You can just let her work in your office for thirty-five dollars a week. Shakespeare's sister did...follow her brother to London, but she never got there. She was raped the first night out, and bleeding and inwardly wounded, she stumbled for shelter into the next village she found. Realizing before too long that she was pregnant, she sought a way to keep herself and her child safe. She found some guy with the hots for her, realized he was credulous, and screwed him. When she announced her pregnancy to him, a couple months later, he dutifully married her. The child, born a bit early, makes him suspicious: they fight, he beats her, but in the end he submits. Because there is something in the situation that pleases him: he has all the comforts of home including something Mother didn't provide, and if he has to put up with a screaming kid he isn't sure is his, he feels now like one of the boys down at the village pub, none of whom is sure they are the children of the fathers or the fathers of their children. But Shakespeare's sister has learned the lesson all women learn: men are the ultimate enemy. At the same time she knows she cannot get along in the world without one. So she uses her genius, the genius she might have used to make plays and poems with, in speaking, not writing. She handles the man with language: she carps, cajoles, teases, seduces, calculates, and controls this creature to whom God saw fit to give power over her, this hulking idiot whom she despises because he is dense and fears because he can do her harm. So much for the natural relation between the sexes. But you see, he doesn't have to beat her much, he surely doesn't have to kill her: if he did, he'd lose his maidservant. The pounds and pence by themselves are a great weapon. They matter to men, of course, but they matter more to women, although their labor is generally unpaid. Because women, even unmarried ones, are required to do the same kind of labor regardless of their training or inclinations, and they can't get away from it without those glittering pounds and pence. Years spent scraping shit out of diapers with a kitchen knife, finding places where string beans are two cents less a pound, intelligence in figuring the most efficient, least time-consuming way to iron men's white shirts or to wash and wax the kitchen floor or take care of the house and kids and work at the same time and save money, hiding it from the boozer so the kid can go to college -- these not only take energy and courage and mind, but they may constitute the very essence of a life. They may, you say wearily, but who's interested?...Truthfully, I hate these grimy details as much as you do....They are always there in the back ground, like Time's winged chariot. But grimy details are not in the background of the lives of most women; they are the entire surface.

The Rabbit The rabbit wanted to grow. God promised to increase his size if he would bring him the skins of a tiger, of a monkey, of a lizard, and of a snake. The rabbit went to visit the tiger. “God has let me into a secret,” he said confidentially. The tiger wanted to know it, and the rabbit announced an impending hurricane. “I’ll save myself because I’m small. I’ll hide in some hole. But what’ll you do? The hurricane won’t spare you.” A tear rolled down between the tiger’s mustaches. “I can think of only one way to save you,” said the rabbit. “We’ll look for a tree with a very strong trunk. I’ll tie you to the trunk by the neck and paws, and the hurricane won’t carry you off.” The grateful tiger let himself be tied. Then the rabbit killed him with one blow, stripped him, and went on his way into the woods of the Zapotec country. He stopped under a tree in which a monkey was eating. Taking a knife, the rabbit began striking his own neck with the blunt side of it. With each blow of the knife, a chuckle. After much hitting and chuckling, he left the knife on the ground and hopped away. He hid among the branches, on the watch. The monkey soon climbed down. He examined the object that made one laugh, and he scratched his head. He seized the knife and at the first blow fell with his throat cut. Two skins to go. The rabbit invited the lizard to play ball. The ball was of stone. He hit the lizard at the base of the tail and left him dead. Near the snake, the rabbit pretended to be asleep. Just as the snake was tensing up, before it could jump, the rabbit plunged his claws into its eyes. He went to the sky with the four skins. “Now make me grow,” he demanded. And God thought, “The rabbit is so small, yet he did all this. If I make him bigger, what won’t he do? If the rabbit were big, maybe I wouldn’t be God.” The rabbit waited. God came up softly, stroked his back, and suddenly caught him by the ears, whirled him about, and threw him to the ground. Since then the rabbit has had big ears, short front feet from having stretching them out to break his fall, and pink eyes from panic. (92)

Colonel Fedmahn Kassad shouted a FORCE battle cry and charged through the dust storm to intercept the Shrike before it covered the final thirty meters to where Sol Weintraub crouched next to Brawne Lamia. The Shrike paused, its head swiveling frictionlessly, red eyes gleaming. Kassad armed his assault rifle and moved down the slope with reckless speed. The Shrike shifted. Kassad saw its movement through time as a slow blur, noting even as he watched the Shrike that movement in the valley had ceased, sand hung motionless in the air, and the light from the glowing Tombs had taken on a thick, amberish quality. Kassad’s skinsuit was somehow shifting with the Shrike, following it through its movements through time. The creature’s head snapped up, attentive now, and its four arms extended like blades from a knife, fingers snapping open in sharp greeting. Kassad skidded to a halt ten meters from the thing and activated the assault rifle, slagging the sand beneath the Shrike in a full-power wide-beam burst. The Shrike glowed as its carapace and steel-sculpture legs reflected the hellish light beneath and around it. Then the three meters of monster began to sink as the sand bubbled into a lake of molten glass beneath it. Kassad shouted in triumph as he stepped closer, playing the widebeam on the Shrike and ground the way he had sprayed his friends with stolen irrigation hoses in the Tharsis slums as a boy. The Shrike sank. Its arms splayed at the sand and rock, trying to find purchase. Sparks flew. It shifted, time running backward like a reversed holie, but Kassad shifted with it, realizing that Moneta was helping him, her suit slaved to his but guiding him through time, and then he was spraying the creature again with concentrated heat greater than the surface of a sun, melting sand beneath it, and watching the rocks around it burst into flame. Sinking in this cauldron of flame and molten rock, the Shrike threw back its head, opened its wide crevasse of a mouth, and bellowed. Kassad almost stopped firing in his shock at hearing noise from the thing. The Shrike’s scream resounded like a dragon’s roar mixed with the blast of a fusion rocket. The screech set Kassad’s teeth on edge, vibrated from the cliff walls, and tumbled suspended dust to the ground. Kassad switched to high-velocity solid shot and fired ten thousand microfléchettes at the creature’s face.

...literature does its best to maintain that its concern is with the mind ; that the body is a sheet of plain glass through which the soul looks straight and clear, and, save for one or two passions such as desire and greed, is null , negligible and nonexistent. On the contrary, the very opposite is true. All day, all night the body intervenes; blunts or sharpens, colours or discolours, turns to wax in the warmth of June, hardens to tallow in the murk of February. The creature within can only gaze through the pane—smudged or rosy; it cannot separate off from the body like the sheath of a knife or the pod of a pea for a single instant; it must go through the whole unending procession of changes, heat and cold, comfort and discomfort, hunger and satisfaction, health and illness, until there comes the inevitable catastrophe; the body smashes itself to smithereens, and the soul (it is said) escapes. But of all this daily drama of the body there is no record. People write always about the doings of the mind; the thoughts that come to it; its noble plans; how it has civilised the universe. They show it ignoring the body in the philosopher's turret; or kicking the body, like an old leather football, across leagues of snow and desert in the pursuit of conquest or discovery. Those great wars which it wages by itself, with the mind a slave to it, in the solitude of the bedroom against the assault of fever or the oncome of melancholia, are neglected. Nor is the reason far to seek. To look these things squarely in the face would need the courage of a lion tamer; a robust philosophy; a reason rooted in the bowels of the earth. Short of these, this monster, the body, this miracle, its pain, will soon make us taper into mysticism, or rise, with rapid beats of the wings, into the raptures of transcendentalism. More practically speaking, the public would say that a novel devoted to influenza lacked plot; they would complain that there was no love in it—wrongly however, for illness often takes on the disguise of love, and plays the same odd tricks, investing certain faces with divinity, setting us to wait, hour after hour, with pricked ears for the creaking of a stair, and wreathing the faces of the absent (plain enough in health, Heaven knows) with a new significance, while the mind concocts a thousand legends and romances about them for which it has neither time nor liberty in health.

literature does itsnbest to maintain that its concern is with the mind ; that the body is a sheet of plain glass through which the soul looks straight and clear, and, save for one or two passions such as desire and greed, is null , negligible and nonexistent. On the contrary, the very opposite is true. All day, all night the body intervenes; blunts or sharpens, colours or discolours, turns to wax in the warmth of June, hardens to tallow in the murk of February. The creature within can only gaze through the pane—smudged or rosy; it cannot separate off from the body like the sheath of a knife or the pod of a pea for a single instant; it must go through the whole unending procession of changes, heat and cold, comfort and discomfort, hunger and satisfaction, health and illness, until there comes the inevitable catastrophe; the body smashes itself to smithereens, and the soul (it is said) escapes. But of all this daily drama of the body there is no record. People write always about the doings of the mind; the thoughts that come to it; its noble plans; how it has civilised the universe. They show it ignoring the body in the philosopher's turret; or kicking the body, like an old leather football, across leagues of snow and desert in the pursuit of conquest or discovery. Those great wars which it wages by itself, with the mind a slave to it, in the solitude of the bedroom against the assault of fever or the oncome of melancholia, are neglected. Nor is the reason far to seek. To look these things squarely in the face would need the courage of a lion tamer; a robust philosophy; a reason rooted in the bowels of the earth. Short of these, this monster, the body, this miracle, its pain, will soon make us taper into mysticism, or rise, with rapid beats of the wings, into the raptures of transcendentalism. More practically speaking, the public would say that a novel devoted to influenza lacked plot; they would complain that there was no love in it—wrongly however, for illness often takes on the disguise of love, and plays the same odd tricks, investing certain faces with divinity, setting us to wait, hour after hour, with pricked ears for the creaking of a stair, and wreathing the faces of the absent (plain enough in health, Heaven knows) with a new significance, while the mind concocts a thousand legends and romances about them for which it has neither time nor liberty in health.

The long year passed slowly. Then one day, as October winds blew golden leaves around the farm, Autumn heard his mother say that even though her son was gone she would bake a pumpkin pie for Halloween. And of course she would need a pumpkin. At last an idea came to Autumn. If he could just get his mother to the barn and up to the loft she would find the magic pumpkin. Autumn began to pull at his mother’s apron. “What’s wrong with you today?” cried his mother. “I have many things to do and I have no time for playing.” But Autumn kept pulling on her apron until she was out of the house and in the barnyard. Then he ran into the barn, barking louder than he ever had. His mother followed him into the barn, where it was so dark she could not see the little dog. “Now where have you gone?” she cried. Autumn began barking again and it seemed to come from above her. She looked up and dimly saw Autumn at the top of the loft ladder, barking wildly. “What are you carrying on about up there? There’s nothing up in that old loft.” But Autumn did not stop barking. “All right, all right, I’ll come up and take a look,” she said as she began to climb the ladder. When she got to the top, the morning light lit up the corner of the loft where Autumn, smiling as much as a dog can smile, stood next to a very large pumpkin. It was one of the largest pumpkin she had ever seen. “Now, how did this pumpkin get up here?” Of course there was no one there to answer her question except Autumn and he could not talk. So she decided to use the pumpkin for the pie she planned to bake. She pulled at it and rolled it, and finally after a great effort she managed to get the magic pumpkin down the ladder and into the kitchen, where Autumn ran barking around the table. “Calm down, Autumn, and let me get to work on this pie.” As she was about to cut the stem from the pumpkin, she thought of the days when her husband carved the jack-o’-lantern for Angus. “Well, maybe I’ll just do the same.” She went to Angus’s room and found one of his old drawings. She traced a jack-o’-lantern face onto the pumpkin. Then, taking a large kitchen knife, she cut into the pumpkin. When only one eye was carved, there were streams of light. And when she carved the nose, and the smiling mouth, great shafts of light like sunbeams filled the room. Again Autumn began to bark. But when she turned to quiet him, there, standing in the wonderful light, was her son.

Inside McClintic Sphere was swinging his ass off. His skin was hard, as if it were part of the skull: every vein and whisker on that head stood out sharp and clear under the green baby spot: you could see the twin lines running down from either side of his lower lip, etched in by the force of his embouchure, looking like extensions of his mustache. He blew a hand-carved ivory alto saxophone with a 4 ½ reed and the sound was like nothing any of them had heard before. The usual divisions prevailed: collegians did not dig, and left after an average of 1 ½ sets. Personnel from other groups, either with a night off or taking a long break from somewhere crosstown or uptown, listened hard, trying to dig. 'I am still thinking,’ they would say if you asked. People at the bar all looked as if they did dig in the sense of understand, approve of, empathize with: but this was probably only because people who prefer to stand at the bar have, universally, an inscrutable look… …The group on the stand had no piano: it was bass, drums, McClintic and a boy he had found in the Ozarks who blew a natural horn in F. The drummer was a group man who avoided pyrotechnics, which may have irritated the college crowd. The bass was small and evil-looking and his eyes were yellow with pinpoints in the center. He talked to his instrument. It was taller than he was and didn’t seem to be listening. Horn and alto together favored sixths and minor fourths and when this happened it was like a knife fight or tug of war: the sound was consonant but as if cross-purposes were in the air. The solos of McClintic Sphere were something else. There were people around, mostly those who wrote for Downbeat magazine or the liners of LP records, who seemed to feel he played disregarding chord changes completely. They talked a great deal about soul and the anti-intellectual and the rising rhythms of African nationalism. It was a new conception, they said, and some of them said: Bird Lives. Since the soul of Charlie Parker had dissolved away into a hostile March wind nearly a year before, a great deal of nonsense had been spoken and written about him. Much more was to come, some is still being written today. He was the greatest alto on the postwar scene and when he left it some curious negative will–a reluctance and refusal to believe in the final, cold fact–possessed the lunatic fringe to scrawl in every subway station, on sidewalks, in pissoirs, the denial: Bird Lives. So that among the people in the V-Note that night were, at a conservative estimate, a dreamy 10 per cent who had not got the word, and saw in McClintic Sphere a kind of reincarnation.

Fuck, she was even hotter when she was furious. I seriously wouldn't have minded her taking that anger out on my body all night long. I'd be more than happy to angry fuck her until her body bent and bowed and finally gave in to the power play between us. I'd force her beneath me physically as well as with my power and maybe she'd find she liked it there just fine. Or maybe she'd stab me to death and cut my cock off for good measure because the look she was aiming my way said that was a whole lot more likely than me getting to spend the night ruining her. But it was a damn nice fantasy to indulge in for a few moments. ... She gave me a look of utter contempt and it made my cock throb as her nearness just compounded the desire I was already feeling for her and made me get all kinds of insane ideas about what I'd like to do with this little princess if I got her to myself for long enough. She made no attempt to cover herself, no sign of shame in her frosty features as she stalked forward to claim her key, a sneer touching those edible lips of hers. Her jaw was tight with rage which she was doing nothing to hide and as she reached out to snatch the key from my hand, I couldn't help but ache to bring her closer, draw her nearer, see just how far she'd go in this denial of my power over her. Her fingers curled around the brass key, but I didn't release it, instead using my hold on it to tug her a step closer so that only a breath of space divided our bodies. I looked down at her from my imposing height, dominating her space with the bulk of my body and making sure she took in every last inch of height I had over her. “Of course, if you’d rather just come on up to my room, I can give you a real welcome to the House of Fire,” I suggested my gaze dropping down to her body, the noticeable bulge in my pants making it clear enough how much I meant that offer. I probably shouldn't have been making it at all, but the beast in me couldn't help myself. Dragons saw something they wanted and they took it. And I hadn't seen something I wanted as much as this girl in as long as I could remember. Our gazes collided and the heat there was almost strong enough to burn, the tension between us crackling so loudly I was surprised the whole room couldn't hear it. But then her gaze shuttered and her lips pursed, her eyes dropping down to take me in, my skin buzzing everywhere they landed as I could feel the want in her while she assessed me. But as those deep green eyes met mine again and I gave her a knowing smirk, I couldn't tell what she was thinking. I didn't know if she was going to bow to this heat between us or just stoke the flames, and the fact that I didn't know had my heart thumping in anticipation deep in my chest. She shifted an inch closer to me, tilting her mouth towards my ear and making my flesh spark with the need to take her, own her, destroy her in all the best ways. But just as my cock began to get overexcited at the prospect of all the ways I could make her scream for me given enough time, she spoke and it wasn't in the sultry purr I'd been expecting, her voice coming out loud enough for everyone to hear instead. “I wouldn’t come near you even if someone held a knife to my heart and told me that the world would end if I didn’t,” she snarled, snatching the key out of my hand as my surprise at her words made me forget to keep my grip tight enough to keep it. “So why don’t you take a long, hard look while you can. Because I can promise you, you won’t be seeing this again.”(Darius POV)

… The most important contribution you can make now is taking pride in your treasured home state. Because nobody else is. Study and cherish her history, even if you have to do it on your own time. I did. Don’t know what they’re teaching today, but when I was a kid, American history was the exact same every year: Christopher Columbus, Plymouth Rock, Pilgrims, Thomas Paine, John Hancock, Sons of Liberty, tea party. I’m thinking, ‘Okay, we have to start somewhere— we’ll get to Florida soon enough.’…Boston Massacre, Crispus Attucks, Paul Revere, the North Church, ‘Redcoats are coming,’ one if by land, two if by sea, three makes a crowd, and I’m sitting in a tiny desk, rolling my eyes at the ceiling. Hello! Did we order the wrong books? Were these supposed to go to Massachusetts?…Then things showed hope, moving south now: Washington crosses the Delaware, down through original colonies, Carolinas, Georgia. Finally! Here we go! Florida’s next! Wait. What’s this? No more pages in the book. School’s out? Then I had to wait all summer, and the first day back the next grade: Christopher Columbus, Plymouth Rock…Know who the first modern Floridians were? Seminoles! Only unconquered group in the country! These are your peeps, the rugged stock you come from. Not genetically descended, but bound by geographical experience like a subtropical Ellis Island. Because who’s really from Florida? Not the flamingos, or even the Seminoles for that matter. They arrived when the government began rounding up tribes, but the Seminoles said, ‘Naw, we prefer waterfront,’ and the white man chased them but got freaked out in the Everglades and let ’em have slot machines…I see you glancing over at the cupcakes and ice cream, so I’ll limit my remaining remarks to distilled wisdom: “Respect your parents. And respect them even more after you find out they were wrong about a bunch of stuff. Their love and hard work got you to the point where you could realize this. “Don’t make fun of people who are different. Unless they have more money and influence. Then you must. “If someone isn’t kind to animals, ignore anything they have to say. “Your best teachers are sacrificing their comfort to ensure yours; show gratitude. Your worst are jealous of your future; rub it in. “Don’t talk to strangers, don’t play with matches, don’t eat the yellow snow, don’t pull your uncle’s finger. “Skip down the street when you’re happy. It’s one of those carefree little things we lose as we get older. If you skip as an adult, people talk, but I don’t mind. “Don’t follow the leader. “Don’t try to be different—that will make you different. “Don’t try to be popular. If you’re already popular, you’ve peaked too soon. “Always walk away from a fight. Then ambush. “Read everything. Doubt everything. Appreciate everything. “When you’re feeling down, make a silly noise. “Go fly a kite—seriously. “Always say ‘thank you,’ don’t forget to floss, put the lime in the coconut. “Each new year of school, look for the kid nobody’s talking to— and talk to him. “Look forward to the wonderment of growing up, raising a family and driving by the gas station where the popular kids now work. “Cherish freedom of religion: Protect it from religion. “Remember that a smile is your umbrella. It’s also your sixteen-in-one reversible ratchet set. “ ‘I am rubber, you are glue’ carries no weight in a knife fight. “Hang on to your dreams with everything you’ve got. Because the best life is when your dreams come true. The second-best is when they don’t but you never stop chasing them. So never let the authority jade your youthful enthusiasm. Stay excited about dinosaurs, keep looking up at the stars, become an archaeologist, classical pianist, police officer or veterinarian. And, above all else, question everything I’ve just said. Now get out there, class of 2020, and take back our state!