Languages Meaning Quotes

Meow” means “woof” in cat.

The limits of my language means the limits of my world.

Language is a poor enough means of communication as it is. So we should use all the words we have.

Well, usually when a person shakes their head,” said McGonagall coldly, “they mean ‘no.’ So unless Miss Edgecombe is using a form of sign language as yet unknown to humans...

The language of Friendship is not words, but meanings.

One thing I'm sure Colborne will never understand is that I need language to live, like food—lexemes and morphemes and morsels of meaning nourish me with the knowledge that, yes, there is a word for this. Someone else has felt it before.

We die. That may be the meaning of life. But we do language. That may be the measure of our lives.

For the happy man prayer is only a jumble of words, until the day when sorrow comes to explain to him the sublime language by means of which he speaks to God.

Philosophy is a battle against the bewitchment of our intelligence by means of language.

Words, he decided, were inadequate at best, impossible at worst. They meant too many things. Or they meant nothing at all.

When I use a word,’ Humpty Dumpty said in rather a scornful tone, ‘it means just what I choose it to mean — neither more nor less.’ ’The question is,’ said Alice, ‘whether you can make words mean so many different things.’ ’The question is,’ said Humpty Dumpty, ‘which is to be master — that’s all.

One of the most frustrating words in the human language, as far as I could tell, was love. So much meaning attached to this one little word. People bandied it about freely, using it to describe their attachments to possessions, pets, vacation destinations, and favorite foods. In the same breath they then applied this word to the person they considered most important in their lives. Wasn’t that insulting? Shouldn’t there be some other term to describe deeper emotion?

There’s this word in Japanese: tsundoku,” Neil says suddenly. “It’s my favorite word in any language.” “What does it mean?” He grins. “It means acquiring more books than you could ever realistically read.

To feel most beautifully alive means to be reading something beautiful, ready always to apprehend in the flow of language the sudden flash of poetry.

To stand up straight with your shoulders back is to accept the terrible responsibility of life, with eyes wide open. It means deciding to voluntarily transform the chaos of potential into the realities of habitable order. It means adopting the burden of self-conscious vulnerability, and accepting the end of the unconscious paradise of childhood, where finitude and mortality are only dimly comprehended. It means willingly undertaking the sacrifices necessary to generate a productive and meaningful reality (it means acting to please God, in the ancient language).

Religion is like language or dress. We gravitate toward the practices with which we were raised. In the end, though, we are all proclaiming the same thing. That life has meaning. That we are grateful for the power that created us.

It was the pure Language of the World. It required no explanation, just as the universe needs none as it travels through endless time. What the boy felt at that moment was that he was in the presence of the only woman in his life, and that, with no need for words, she recognized the same thing. He was more certain of it than of anything in the world. He had been told by his parents and grandparents that he must fall in love and really know a person before becoming committed. But maybe people who felt that way had never learned the universal language. Because, when you know that language, it's easy to understand that someone in the world awaits you, whether it's in the middle of the desert or in some great city. And when two such people encounter each other, and their eyes meet, the past and the future become unimportant. There is only that moment, and the incredible certainty that everything under the sun has been written by one hand only. It is the hand that evokes love, and creates a twin soul for every person in the world. Without such love, one's dreams would have no meaning.

Occasionally in life there are those moments of unutterable fulfillment which cannot be completely explained by those symbols called words. Their meanings can only be articulated by the inaudible language of the heart.

It is very useful, when one is young, to learn the difference between "literally" and "figuratively." If something happens literally, it actually happens; if something happens figuratively, it feels like it is happening. If you are literally jumping for joy, for instance, it means you are leaping in the air because you are very happy. If you are figuratively jumping for joy, it means you are so happy that you could jump for joy, but are saving your energy for other matters.

Being in a foreign country means walking a tightrope high above the ground without the net afforded a person by the country where he has his family, colleagues, and friends, and where he can easily say what he has to say in a language he has known from childhood.

Do you miss Wales?” Tessa inquired. Will shrugged lightly. “What’s to miss? Sheep and singing,” he said. “And the ridiculous language. Fe hoffwn i fod mor feddw, fyddai ddim yn cofio fy enw.” “What does that mean?” “It means ‘I wish to get so drunk I no longer remember my own name,’ Quite useful.

Words bend our thinking to infinite paths of self-delusion, and the fact that we spend most of our mental lives in brain mansions built of words means that we lack the objectivity necessary to see the terrible distortion of reality which language brings.

But hope rises like water trapped by a dam, higher and higher, in increments that mean nothing until you face the flood.

Philosophy [nature] is written in that great book which ever is before our eyes -- I mean the universe -- but we cannot understand it if we do not first learn the language and grasp the symbols in which it is written. The book is written in mathematical language, and the symbols are triangles, circles and other geometrical figures, without whose help it is impossible to comprehend a single word of it; without which one wanders in vain through a dark labyrinth.

A man with a scant vocabulary will almost certainly be a weak thinker. The richer and more copious one's vocabulary and the greater one's awareness of fine distinctions and subtle nuances of meaning, the more fertile and precise is likely to be one's thinking. Knowledge of things and knowledge of the words for them grow together. If you do not know the words, you can hardly know the thing.

Perhaps, as we say in America, I wanted to find myself. This is an interesting phrase, not current as far as I know in the language of any other people, which certainly does not mean what it says but betrays a nagging suspicion that something has been misplaced. I think now that if I had any intimation that the self I was going to find would turn out to be only the same self from which I had spent so much time in flight, I would have stayed at home.

I remember when your name was just another name that rolled without thought off my tongue. Now, I can’t look at your name without an abundance of sentiment attached to each letter. Your name, which I played with so carelessly, so easily, has somehow become sacred to my lips. A name I won’t throw around lightheartedly or repeat without deep thought. And if ever I speak of you, I use the English language to describe who you were to me. You are nameless, because those letters grouped together in that familiar form….. carries too much meaning for my capricious heart.

I say I'm in love with her. What does that mean? It means I review my future and my past in the light of this feeling. It is as though I wrote in a foreign language that I am suddenly able to read. Wordlessly, she explains me to myself. LIke genius she is ignorant of what she does.

I draw because words are too unpredictable. I draw because words are too limited. If you speak and write in English, or Spanish, or Chinese, or any other language, then only a certain percentage of human beings will get your meaning. But when you draw a picture everybody can understand it. If I draw a cartoon of a flower, then every man, woman, and child in the world can look at it and say, "That's a flower.

It was all unknown to me then, as I sat on that white bench on the day I finished my hike. Everything except the fact that I didn't have to know. That is was enough to trust that what I'd done was true. To understand its meaning without yet being able to say precisely what it was, like all those lines from The Dream of a Common Language that had run through my nights and days. To believe that I didn't need to reach with my bare hands anymore. To know that seeing the fish beneath the surface of the water was enough. That it was everything. It was my life - like all lives, mysterious and irrevocable and sacred. So very close, so very present, so very belonging to me. How wild it was, to let it be.

Hebrew word for "charity" tzedakah, simply means "justice" and as this suggests, for Jews, giving to the poor is no optional extra but an essential part of living a just life.

Most people write me off when they see me. They do not know my story. They say I am just an African. They judge me before they get to know me. What they do not know is The pride I have in the blood that runs through my veins; The pride I have in my rich culture and the history of my people; The pride I have in my strong family ties and the deep connection to my community; The pride I have in the African music, African art, and African dance; The pride I have in my name and the meaning behind it. Just as my name has meaning, I too will live my life with meaning. So you think I am nothing? Don’t worry about what I am now, For what I will be, I am gradually becoming. I will raise my head high wherever I go Because of my African pride, And nobody will take that away from me.

Just remember, when someone has an accent, it means that he knows one more language than you do.

There are all sorts of experiences we can't really put a name to...The birth of a child, for one. Or the death of a parent. Falling in love. Words are like nets--we hope they'll cover what we mean, but we know they can't possibly hold that much joy, grief, or wonder. Finding God is like that, too. If it's happened to you, you know what it feels like. But try to describe it to someone else--and language only takes you so far.

I notice that you use plain, simple language, short words and brief sentences. That is the way to write English―it is the modern way and the best way. Stick to it; don't let fluff and flowers and verbosity creep in. When you catch an adjective, kill it. No, I don't mean utterly, but kill most of them―then the rest will be valuable. They weaken when they are close together. They give strength when they are wide apart. An adjective habit, or a wordy, diffuse, flowery habit, once fastened upon a person, is as hard to get rid of as any other vice.

The happening and telling are very different things. This doesn’t mean that the story isn’t true, only that I honestly don’t know anymore if I really remember it or only remember how to tell it. Language does this to our memories, simplifies, solidifies, codifies, mummifies. An off-told story is like a photograph in a family album. Eventually it replaces the moment it was meant to capture.

I've apparently been the victim of growing up, which apparently happens to all of us at one point or another. It's been going on for quite some time now, without me knowing it. I've found that growing up can mean a lot of things. For me, it doesn't mean I should become somebody completely new and stop loving the things I used to love. It means I've just added more things to my list. Like for example, I'm still beyond obsessed with the winter season and I still start putting up strings of lights in September. I still love sparkles and grocery shopping and really old cats that are only nice to you half the time. I still love writing in my journal and wearing dresses all the time and staring at chandeliers. But some new things I've fallen in love with -- mismatched everything. Mismatched chairs, mismatched colors, mismatched personalities. I love spraying perfumes I used to wear when I was in high school. It brings me back to the days of trying to get a close parking spot at school, trying to get noticed by soccer players, and trying to figure out how to avoid doing or saying anything uncool, and wishing every minute of every day that one day maybe I'd get a chance to win a Grammy. Or something crazy and out of reach like that. ;) I love old buildings with the paint chipping off the walls and my dad's stories about college. I love the freedom of living alone, but I also love things that make me feel seven again. Back then naivety was the norm and skepticism was a foreign language, and I just think every once in a while you need fries and a chocolate milkshake and your mom. I love picking up a cookbook and closing my eyes and opening it to a random page, then attempting to make that recipe. I've loved my fans from the very first day, but they've said things and done things recently that make me feel like they're my friends -- more now than ever before. I'll never go a day without thinking about our memories together.

What is an adjective? Nouns name the world. Verbs activate the names. Adjectives come from somewhere else. The word adjective (epitheton in Greek) is itself an adjective meaning 'placed on top', 'added', 'appended', 'foreign'. Adjectives seem fairly innocent additions, but look again. These small imported mechanisms are in charge of attaching everything in the world to its place in particularity. They are the latches of being.

All words, in every language, are metaphors.

Music is the only language in which you cannot say a mean or sarcastic thing.

Here's what I mean by the miracle of language. When you're falling into a good book, exactly as you might fall into a dream, a little conduit opens, a passageway between a reader's heart and a writer's, a connection that transcends the barriers of continents and generations and even death ... And here's the magic. You're different. You can never go back to being exactly the same person you were before you disappeared into that book.

Never make fun of someone who speaks broken English. It means they know another language.

I like the sound of that, crashing Monica's party," he glanced at Michael, then quickly away. "What about you? That break some kind of vampire rules or something?" "Blow me Shane." "Boys," Eve said primly. "Language. Minor at the table." "Well," Shane said, "I wasn't actually planning to do it." Claire rolled her eyes. "Not like it's the first time I've heard it. Or said it." "You shouldnt say it," Michael said, all seriousness. "No, I mean it. Girls should say 'eat me' not 'blow me'. Wouldn't recommend 'bite me' though. Not around here.

Parla come magni,' It means, 'Speak the way you eat,' or in my personal translation: 'Say it like you eat it.' It's a reminder - when you're making a big deal out of explaining something, when you're searching for the right words - to keep your language as simple and direct as Roman rood. Don't make a big production out of it. Just lay it on the table.

Never before had I known the sudden quiver of understanding that travels from word to brain to heart, the way a new language can move, coil, swim into life under the eyes, the almost savage leap of comprehension, the instantaneous, joyful release of meaning, the way the words shed their printed bodies in a flash of heat and light.

They talk about “body language,” as if we all speak it the same. But everyone has their own dialect. For me right now, for example, swiveling my body right away and staring rigidly at the corner means, “I like you.” Because I didn’t run away and shut myself in the bathroom. I just hope he realizes that.

please don't cook me, kind sirs! I am a good cook myself, and cook better than I cook, if you see what I mean.

My first language, the true language of the soul spoken only on our planet of origin, had no word for betrayal or traitor. Or even loyalty- because without the opposite, the concept had no meaning.

Why do I constantly feel as if all of you are speaking a foreign language? What is ‘grabbing a burger at the Hard Rock’ supposed to mean? (Julian) The Hard Rock Café is a restaurant. (Grace) You eat at a place that advertises its food is hard as a rock? (Julian)

My God! The English language is a form of communication! Conversation isn't just crossfire where you shoot and get shot at! Where you've got to duck for your life and aim to kill! Words aren't only bombs and bullets —no, they're little gifts, containing meanings!

In America, racism exists but racists are all gone. Racists belong to the past. Racists are the thin-lipped mean white people in the movies about the civil rights era. Here’s the thing: the manifestation of racism has changed but the language has not. So if you haven’t lynched somebody then you can’t be called a racist. If you’re not a bloodsucking monster, then you can’t be called a racist. Somebody has to be able to say that racists are not monsters.

A day or two after my love pronouncement, now feral with vulnerability, I sent you the passage from Roland Barthes by Roland Barthes in which Barthes describes how the subject who utters the phrase “I love you” is like “the Argonaut renewing his ship during its voyage without changing its name.” Just as the Argo’s parts may be replaced over time but the boat is still called the Argo, whenever the lover utters the phrase “I love you,” its meaning must be renewed by each use, as “the very task of love and of language is to give to one and the same phrase inflections which will be forever new.

It's astounding the first time you realize that a stranger has a body - the realization that he has a body makes him a stranger. It means that you have a body, too. You will live with this forever, and it will spell out the language of your life.

On Writing: Aphorisms and Ten-Second Essays 1. A beginning ends what an end begins. 2. The despair of the blank page: it is so full. 3. In the head Art’s not democratic. I wait a long time to be a writer good enough even for myself. 4. The best time is stolen time. 5. All work is the avoidance of harder work. 6. When I am trying to write I turn on music so I can hear what is keeping me from hearing. 7. I envy music for being beyond words. But then, every word is beyond music. 8. Why would we write if we’d already heard what we wanted to hear? 9. The poem in the quarterly is sure to fail within two lines: flaccid, rhythmless, hopelessly dutiful. But I read poets from strange languages with freedom and pleasure because I can believe in all that has been lost in translation. Though all works, all acts, all languages are already translation. 10. Writer: how books read each other. 11. Idolaters of the great need to believe that what they love cannot fail them, adorers of camp, kitsch, trash that they cannot fail what they love. 12. If I didn’t spend so much time writing, I’d know a lot more. But I wouldn’t know anything. 13. If you’re Larkin or Bishop, one book a decade is enough. If you’re not? More than enough. 14. Writing is like washing windows in the sun. With every attempt to perfect clarity you make a new smear. 15. There are silences harder to take back than words. 16. Opacity gives way. Transparency is the mystery. 17. I need a much greater vocabulary to talk to you than to talk to myself. 18. Only half of writing is saying what you mean. The other half is preventing people from reading what they expected you to mean. 19. Believe stupid praise, deserve stupid criticism. 20. Writing a book is like doing a huge jigsaw puzzle, unendurably slow at first, almost self-propelled at the end. Actually, it’s more like doing a puzzle from a box in which several puzzles have been mixed. Starting out, you can’t tell whether a piece belongs to the puzzle at hand, or one you’ve already done, or will do in ten years, or will never do. 21. Minds go from intuition to articulation to self-defense, which is what they die of. 22. The dead are still writing. Every morning, somewhere, is a line, a passage, a whole book you are sure wasn’t there yesterday. 23. To feel an end is to discover that there had been a beginning. A parenthesis closes that we hadn’t realized was open). 24. There, all along, was what you wanted to say. But this is not what you wanted, is it, to have said it?

And then it occurs to me. They are frightened. In me, they see their own daughters, just as ignorant, just as unmindful of all the truths and hopes they have brought to America. They see daughters who grow impatient when their mothers talk in Chinese, who think they are stupid when they explain things in fractured English. They see that joy and luck do not mean the same to their daughters, that to these closed American-born minds "joy luck" is not a word, it does not exist. They see daughters who will bear grandchildren born without any connecting hope passed from generation to generation.

Trying, he thought, to express some unutterable truth about themselves. Which was that translation was impossible. That the realm of pure meaning they captured and manifested would and could not ever be known. That the enterprise of this tower had been impossible from inception. For how could there ever be an Adamic language? The thought now made him laugh. There was no innate, perfectly comprehensible language. There was no candidate - not English, not French - that could bully and absorb enough to become one. Language was just difference. A thousand different ways of seeing, of moving through the world. No, a thousand worlds within one. And translation, a necessary endeavor however futile, to move between them.

Rule #1: You may bring only what fits in your backpack. Don’t try to fake it with a purse or a carry-on. Rule #2: You may not bring guidebooks, phrase books, or any kind of foreign language aid. And no journals. Rule #3: You cannot bring extra money or credit/debit cards, travelers’ checks, etc. I’ll take care of all that. Rule #4: No electronic crutches. This means no laptop, no cell phone, no music, and no camera. You can’t call home or communicate with people in the U.S. by Internet or telephone. Postcards and letters are acceptable and encouraged. That’s all you need to know for now.

What is the good of words if they aren't important enough to quarrel over? Why do we choose one word more than another if there isn't any difference between them? If you called a woman a chimpanzee instead of an angel, wouldn't there be a quarrel about a word? If you're not going to argue about words, what are you going to argue about? Are you going to convey your meaning to me by moving your ears? The Church and the heresies always used to fight about words, because they are the only thing worth fighting about.

In Shoshone, there's a saying. It's a long one, and it doesn't have an English equivalent, so bear with me. Sutummu tukummuinna. It means, I don't speak your language, and you don't speak mine. But I still understand you. I don't need to walk in your footsteps if I can see the footprints you left behind.

You have with you the book you were reading in the cafe, which you are eager to continue, so that you can then hand it on to her, to communicate again with her through the channel dug by others' words, which, as they are uttered by an alien voice, by the voice of that silent nobody made of ink and typographical spacing, can become yours and hers, a language, a code between the two of you, a means to exchange signals and recognize each other.

We cannot control the way people interpret our ideas or thoughts, but we can control the words and tones we choose to convey them. Peace is built on understanding, and wars are built on misunderstandings. Never underestimate the power of a single word, and never recklessly throw around words. One wrong word, or misinterpreted word, can change the meaning of an entire sentence and start a war. And one right word, or one kind word, can grant you the heavens and open doors.

Eragon cried out, and in his desperation he reached for Saphira and the Eldunarí... and without meaning to, he drew from their stories of energy. And with that energy he cast a spell. It was a spell without words... His was a spell of instinct and emotion; language could not contain it.

people seem to be getting dumber and dumber. You know, I mean we have all this amazing technology and yet computers have turned into basically four figure wank machines. The internet was supposed to set us free, democratize us, but all it's really given us is Howard Dean's aborted candidacy and 24 hour a day access to kiddie porn. People... they don't write anymore, they blog. Instead of talking, they text, no punctuation, no grammar: LOL this and LMFAO that. You know, it just seems to me it's just a bunch of stupid people pseudo-communicating with a bunch of other stupid people at a proto-language that resembles more what cavemen used to speak than the King's English.

The brain-disease model overlooks four fundamental truths: (1) our capacity to destroy one another is matched by our capacity to heal one another. Restoring relationships and community is central to restoring well-being; (2) language gives us the power to change ourselves and others by communicating our experiences, helping us to define what we know, and finding a common sense of meaning; (3) we have the ability to regulate our own physiology, including some of the so-called involuntary functions of the body and brain, through such basic activities as breathing, moving, and touching; and (4) we can change social conditions to create environments in which children and adults can feel safe and where they can thrive. When we ignore these quintessential dimensions of humanity, we deprive people of ways to heal from trauma and restore their autonomy. Being a patient, rather than a participant in one’s healing process, separates suffering people from their community and alienates them from an inner sense of self.

Nick demonstrated twenty-three ways of communicating without words by fanning himself with a napkin. "This one means oops, your fly is open, sir, and if you lower the fan a little and look at someone over the top of it, it means wow, I'd like to marry you. But if you do it the other way around, it means ha ha, we are now at war with Spain.

...I want first of all - in fact, as an end to these other desires - to be at peace with myself. I want a singleness of eye, a purity of intention, a central cor to my life that will enable me to carry out these obligations and activities as well as I can. I want, in fact - to borrow from the language of the saints -to live 'in grace' as much of the time as possible. I am not using this term in a strictly theological sense. By grace I mean an inner harmony, essentially spiritual, which can be translated into outward harmony...

All languages that derive from Latin form the word "compassion" by combining the prefix meaning "with" (com-) and the root meaning "suffering" (Late Latin, passio). In other languages, Czech, Polish, German, and Swedish, for instance - this word is translated by a noun formed of an equivalent prefix combined with the word that means "feeling". In languages that derive from Latin, "compassion" means: we cannot look on coolly as others suffer; or, we sympathize with those who suffer. Another word with approximately the same meaning, "pity", connotes a certain condescension towards the sufferer. "To take pity on a woman" means that we are better off than she, that we stoop to her level, lower ourselves. That is why the word "compassion" generally inspires suspicion; it designates what is considered an inferior, second-rate sentiment that has little to do with love. To love someone out of compassion means not really to love.

S'mimasen," Alyss said repeatedly as they brushed against passerby. "What does that mean?" Will asked as they reached a stretch of street bare of any other pedestrians. He was impressed by Alyss's grasp of the local language. "It means 'pardon me,'" Alyss replied, but then a shadow of doubt crossed her face. "At least, I hope it does. Maybe I'm saying 'you have the manners of a fat, rancid sow.

Jem said something then, in a language she didn’t understand. It sounded like “khalepa ta kala.” She frowned at him. “That isn’t Latin?” “Greek,” he said. “It has two meanings. It means that that which is worth having—the good, fine, honorable, and noble things—are difficult to attain.” He leaned forward, closer to her. She could smell the sweet scent of the drug on him, and the tang of his skin underneath. “It means something else as well.” Tessa swallowed. “What’s that?” “It means ‘beauty is harsh’.

He didn't know how precious a normal life could be, how easy it was to drift away from average. You started sleeping until noon, skipped one class, one day of school, lost one job, then another, forgot the way that normal people did things. You lost the language of ordinary life. And then, without meaning to, you crossed into a country from which you couldn't return. You lived in a state where the ground always seemed to be slipping from beneath your feet, with no way back to someplace solid.

The ORDINARY RESPONSE TO ATROCITIES is to banish them from consciousness. Certain violations of the social compact are too terrible to utter aloud: this is the meaning of the word unspeakable. Atrocities, however, refuse to be buried. Equally as powerful as the desire to deny atrocities is the conviction that denial does not work. Folk wisdom is filled with ghosts who refuse to rest in their graves until their stories are told. Murder will out. Remembering and telling the truth about terrible events are prerequisites both for the restoration of the social order and for the healing of individual victims. The conflict between the will to deny horrible events and the will to proclaim them aloud is the central dialectic of psychological trauma. People who have survived atrocities often tell their stories in a highly emotional, contradictory, and fragmented manner that undermines their credibility and thereby serves the twin imperatives of truth-telling and secrecy. When the truth is finally recognized, survivors can begin their recovery. But far too often secrecy prevails, and the story of the traumatic event surfaces not as a verbal narrative but as a symptom. The psychological distress symptoms of traumatized people simultaneously call attention to the existence of an unspeakable secret and deflect attention from it. This is most apparent in the way traumatized people alternate between feeling numb and reliving the event. The dialectic of trauma gives rise to complicated, sometimes uncanny alterations of consciousness, which George Orwell, one of the committed truth-tellers of our century, called "doublethink," and which mental health professionals, searching for calm, precise language, call "dissociation." It results in protean, dramatic, and often bizarre symptoms of hysteria which Freud recognized a century ago as disguised communications about sexual abuse in childhood. . . .

Rebecca was an academic star. Her new book was on the phenomenon of word casings, a term she'd invented for words that no longer had meaning outside quotation marks. English was full of these empty words--"friend" and "real" and "story" and "change"--words that had been shucked of their meanings and reduced to husks. Some, like "identity" and "search" and "cloud," had clearly been drained of life by their Web usage. With others, the reasons were more complex; how had "American" become an ironic term? How had "democracy" come to be used in an arch, mocking way?

...The Qur'an cannot be translated. ...The book is here rendered almost literally and every effort has been made to choose befitting language. But the result is not the Glorious Qur'an, that inimitable symphony, the very sounds of which move men to tears and ecstasy. It is only an attempt to present the meaning of the Qur'an-and peradventure something of the charm in English. It can never take the place of the Qur'an in Arabic, nor is it meant to do so...

Don't you see that the whole aim of Newspeak is to narrow the range of thought? In the end we shall make thought-crime literally impossible, because there will be no words in which to express it. Every concept that can ever be needed will be expressed by exactly one word, with its meaning rigidly defined and all its subsidiary meanings rubbed out and forgotten. . . . The process will still be continuing long after you and I are dead. Every year fewer and fewer words, and the range of consciousness always a little smaller. Even now, of course, there's no reason or excuse for committing thought-crime. It's merely a question of self-discipline, reality-control. But in the end there won't be any need even for that. . . . Has it ever occurred to you, Winston, that by the year 2050, at the very latest, not a single human being will be alive who could understand such a conversation as we are having now?

When a language dies, so much more than words are lost. Language is the dwelling place of ideas that do not exist anywhere else. It is a prism through which to see the world. Tom says that even words as basic as numbers are imbued with layers of meaning. The numbers we use to count plants in the sweetgrass meadow also recall the Creation Story. Én:ska—one. This word invokes the fall of Skywoman from the world above. All alone, én:ska, she fell toward the earth. But she was not alone, for in her womb a second life was growing. Tékeni—there were two. Skywoman gave birth to a daughter, who bore twin sons and so then there were three—áhsen. Every time the Haudenosaunee count to three in their own language, they reaffirm their bond to Creation.

No one today is purely one thing. Labels like Indian, or woman, or Muslim, or American are not more than starting-points, which if followed into actual experience for only a moment are quickly left behind. Imperialism consolidated the mixture of cultures and identities on a global scale. But its worst and most paradoxical gift was to allow people to believe that they were only, mainly, exclusively, white, or Black, or Western, or Oriental. Yet just as human beings make their own history, they also make their cultures and ethnic identities. No one can deny the persisting continuities of long traditions, sustained habitations, national languages, and cultural geographies, but there seems no reason except fear and prejudice to keep insisting on their separation and distinctiveness, as if that was all human life was about. Survival in fact is about the connections between things; in Eliot’s phrase, reality cannot be deprived of the “other echoes [that] inhabit the garden.” It is more rewarding - and more difficult - to think concretely and sympathetically, contrapuntally, about others than only about “us.” But this also means not trying to rule others, not trying to classify them or put them in hierarchies, above all, not constantly reiterating how “our” culture or country is number one (or not number one, for that matter).

Mother, recently I have discovered the one way in which human beings differ completely from other animals. Man has, I know, language, knowledge, principles, and social order, but don't all the other animals have them too, granted the difference of degree? Perhaps the animals even have religions. Man boasts of being the lord of all creation, but it would seem as if essentially he does not differ in the least from other animals. But, Mother, there was one way I thought of. Perhaps you won't understand. It's a faculty absolutely unique to man - having secrets. Can you see what I mean?

Reading a poem in translation," wrote Bialek, "is like kissing a woman through a veil"; and reading Greek poems, with a mixture of katharevousa and the demotic, is like kissing two women. Translation is a kind of transubstantiation; one poem becomes another. You choose your philosophy of translation just as you choose how to live: the free adaptation that sacrifices detail to meaning, the strict crib that sacrifices meaning to exactitude. The poet moves from life to language, the translator moves from language to life; both like the immigrant, try to identify the invisible, what's between the lines, the mysterious implications.

For when cynicism becomes the default language, playfulness and invention become impossible. Cynicism scours through a culture like bleach, wiping out millions of small, seedling ideas. Cynicism means your automatic answer becomes “No.” Cynicism means you presume everything will end in disappointment. And this is, ultimately, why anyone becomes cynical. Because they are scared of disappointment. Because they are scared someone will take advantage of them. Because they are fearful their innocence will be used against them—that when they run around gleefully trying to cram the whole world in their mouth, someone will try to poison them.

I want first of all... to be at peace with myself. I want a singleness of eye, a purity of intention, a central core to my life that will enable me to carry out these obligations and activities as well as I can. I want, in fact--to borrow from the language of the saints--to live "in grace" as much of the time as possible. I am not using this term in a strictly theological sense. By grace I mean an inner harmony, essentially spiritual, which can be translated into outward harmony. I am seeking perhaps what Socrates asked for in the prayer from the Phaedrus when he said, "May the outward and inward man be one." I would like to achieve a state of inner spiritual grace from which I could function and give as I was meant to in the eye of God.

A story must be judged according to whether it makes sense. And 'making sense' must be here understood in its most direct meaning: to make sense is to enliven the senses. A story that makes sense is one that stirs the senses from their slumber, one that opens the eyes and the ears to their real surroundings, tuning the tongue to the actual tastes in the air and sending chills of recognition along the surface of the skin. To make sense is to release the body from the constraints imposed by outworn ways of speaking, and hence to renew and rejuvenate one's felt awareness of the world. It is to make the senses wake up to where they are.

I am, and always have been - first, last, and always - a child of America. You raised me. I grew up in the pastures and hills of Texas, but I had been to thirty-four states before I learned how to drive. When I caught the stomach flu in the fifth grade, my mother sent a note to school written on the back of a holiday memo from Vice President Biden. Sorry, sir—we were in a rush, and it was the only paper she had on hand. I spoke to you for the first time when I was eighteen, on the stage of the Democratic National Convention in Philadelphia, when I introduced my mother as the nominee for president. You cheered for me. I was young and full of hope, and you let me embody the American dream: that a boy who grew up speaking two languages, whose family was blended and beautiful and enduring, could make a home for himself in the White House. You pinned the flag to my lapel and said, “We’re rooting for you.” As I stand before you today, my hope is that I have not let you down. Years ago, I met a prince. And though I didn’t realize it at the time, his country had raised him too. The truth is, Henry and I have been together since the beginning of this year. The truth is, as many of you have read, we have both struggled every day with what this means for our families, our countries, and our futures. The truth is, we have both had to make compromises that cost us sleep at night in order to afford us enough time to share our relationship with the world on our own terms. We were not afforded that liberty. But the truth is, also, simply this: love is indomitable. America has always believed this. And so, I am not ashamed to stand here today where presidents have stood and say that I love him, the same as Jack loved Jackie, the same as Lyndon loved Lady Bird. Every person who bears a legacy makes the choice of a partner with whom they will share it, whom the American people will “hold beside them in hearts and memories and history books. America: He is my choice. Like countless other Americans, I was afraid to say this out loud because of what the consequences might be. To you, specifically, I say: I see you. I am one of you. As long as I have a place in this White House, so will you. I am the First Son of the United States, and I’m bisexual. History will remember us. If I can ask only one thing of the American people, it’s this: Please, do not let my actions influence your decision in November. The decision you will make this year is so much bigger than anything I could ever say or do, and it will determine the fate of this country for years to come. My mother, your president, is the warrior and the champion that each and every American deserves for four more years of growth, progress, and prosperity. Please, don’t let my actions send us backward. I ask the media not to focus on me or on Henry, but on the campaign, on policy, on the lives and livelihoods of millions of Americans at stake in this election. And finally, I hope America will remember that I am still the son you raised. My blood still runs from Lometa, Texas, and San Diego, California, and Mexico City. I still remember the sound of your voices from that stage in Philadelphia. I wake up every morning thinking of your hometowns, of the families I’ve met at rallies in Idaho and Oregon and South Carolina. I have never hoped to be anything other than what I was to you then, and what I am to you now—the First Son, yours in actions and words. And I hope when Inauguration Day comes again in January, I will continue to be.

Children, language, lands: almost everything was stripped away, stolen when you weren’t looking because you were trying to stay alive. In the face of such loss, one thing our people could not surrender was the meaning of land. In the settler mind, land was property, real estate, capital, or natural resources. But to our people, it was everything: identity, the connection to our ancestors, the home of our nonhuman kinfolk, our pharmacy, our library, the source of all that sustained us. Our lands were where our responsibility to the world was enacted, sacred ground. It belonged to itself; it was a gift, not a commodity, so it could never be bought or sold. These are the meanings people took with them when they were forced from their ancient homelands to new places.

...for some of us, books are as important as anything else on earth. What a miracle it is that out of these small, flat, rigid pieces of paper unfolds world after world, worlds that sing to you, comfort and quiet you or excite you. Books help us understand who we are and how we are to behave. They show us what community and friendship mean; they show us how to live and die. They are full of the things that you don't get in life...wonderful, lyrical language, for instance. And quality of attention: we may notice amazing details duringthe course of a day but we rarely let ourselves stop and really pay attention. An author makes you notice, makes you pay attention and this is a great gift. My gratitude for good writing is unbounded; I'm grateful for it the way I'm grateful for the ocean.

It is cognition that is the fantasy.... Everything I tell you now is mere words. Arrange them and rearrange them as I might, I will never be able to explain to you the form of Will... My explanation would only show the correlation between myself and that Will by means of a correlation on the verbal level. The negation of cognition thus correlates to the negation of language. For when those two pillars of Western humanism, individual cognition and evolutionary continuity, lose their meaning, language loses meaning. Existence ceases for the individuum as we know it, and all becomes chaos. You cease to be a unique entity unto yourself, but exist simply as chaos. And not just the chaos that is you; your chaos is also my chaos. To wit, existence is communication, and communication, existence.

Rape culture is an environment in which rape is prevalent and in which sexual violence against women is normalized and excused in the media and popular culture. Rape culture is perpetuated through the use of misogynistic language, the objectification of women’s bodies, and the glamorization of sexual violence, thereby creating a society that disregards women’s rights and safety. Rape culture affects every woman. Most women and girls limit their behavior because of the existence of rape. Most women and girls live in fear of rape. Men, in general, do not. That’s how rape functions as a powerful means by which the whole female population is held in a subordinate position to the whole male population, even though many men don’t rape, and many women are never victims of rape.

Every war when it comes, or before it comes, is represented not as a war but as an act of self-defense against a homicidal maniac. In our time political speech and writing are largely the defense of the indefensible. But if thought corrupts language, language can also corrupt thought. All the war-propaganda, all the screaming and lies and hatred, comes invariably from people who are not fighting. Political language...is designed to make lies sound truthful and murder respectable, and to give an appearance of solidarity to pure wind. War against a foreign country only happens when the moneyed classes think they are going to profit from it. Nationalism is power hunger tempered by self-deception. War is peace. Freedom is slavery. Ignorance is strength. (On the manipulation of language for political ends.) We have now sunk to a depth at which restatement of the obvious is the first duty of intelligent men. If liberty means anything at all, it means the right to tell people what they do not want to hear. In times of universal deceit, telling the truth will be a revolutionary act.

I read an article once that said that when women have a conversation, they're communicating on five levels. They follow the conversation that they're actually having, the conversation that is specifically being avoided, the tone being applied to the overt conversation, the buried conversation that is being covered only in subtext, and finally the other person's body language. That is, on many levels, astounding to me. I mean, that's like having a freaking superpower. When I, and most other people with a Y chromosome, have a conversation, we're having a conversation. Singular. We're paying attention to what is being said, considering that, and replying to it. All these other conversations that have apparently been booing on for the last several thousand years? I didn't even know that they existed until I read that stupid article, and I'm pretty sure I'm not the only one. ... So, ladies, if you ever have some conversation with your boyfriend or husband or brother or male friend, and you are telling him something perfectly obvious, and he comes away from it utterly clueless? I know it's tempting to thing to yourself, 'The man can't possibly be that stupid!' But yes. Yes, he can. Our innate strengths just aren't the same. We are the mighty hunters, who are good at focusing on one thing at a time. For crying out loud, we have to turn down the radio in the car if we suspect we're lost and need to figure out how to get where we're going. That's how impaired we are. I'm telling you, we have only the one conversation. Maybe some kind of relationship veteran like Michael Carpenter can do two, but that's pushing the envelope. Five simultaneous conversations? Five? Shah. That just isn't going to happen. At least, not for me.

I asked him did he really love New York or was he just wearing the shirt. He smiled, like he was nervous. I could tell he didn't understand, which made me feel guilty for speaking English, for some reason. I pointed at his shirt. "Do? You? Really? Love? New York?" He said, "New York?" I said, "Your. Shirt." He looked at his shirt. I pointed at the N and said "New," and the Y and said "York." He looked confused or embarrassed, or surprised, or maybe even mad. I couldn't tell what he was feeling, because I couldn't speak the language of his feelings. "I not know was New York. In Chinese, ny mean 'you.' Thought was 'I love you.'" It was then that I noticed the "I♥NY" poster on the wall, and the "I♥NY" flag over the door, and the "I♥NY" dishtowels, and the "I♥NY" lunchbox on the kitchen table. I asked him, "Well, then why do you love everybody so much?

It is amazing to me," said Bingley, "How young ladies can have patience to be so very accomplished as they all are." "All young ladies accomplished? My dear Charles, what do you mean?" "Yes, all of them, I think. They all paint tables, cover screens and net purses. I scarcely know any one who cannot do all this, and I am sure I never heard a young lady spoken of for the first time without being informed that she was very accomplished." "Your list of the common extent of accomplishments," said Darcy, "has too much truth. The word is applied to many a woman who deserves it no otherwise than by netting a purse or covering a screen. But I am very far from agreeing with you in your estimation of ladies in general. I cannot boast of knowing more than half a dozen, in the whole range of my acquaintance, that are really accomplished." "Nor I, I am sure." said Miss Bingley. "Then," observed Elizabeth, "you must comprehend a great deal in your idea of an accomplished woman." "Yes, I do comprehend a great deal in it." "Oh! certainly," cried his faithful assistant, "no one can really be esteemed accomplished who does not greatly surpass knowledge of music, singing, drawing, dancing, and the modern languages, to deserve the word; and besides all this, she must possess a certain something in her air and manner of walking, the tone of her voice, her address and expressions, or the word will be but half deserved." "All this she must possess," added Darcy, "and to all this she must yet add something more substantial, in the improvement of her mind by extensive reading." "I am no longer surprised at your knowing only six accomplished women. I rather wonder at your knowing any.

To make matters worse, everyone she talks to has a different opinion about the nature of his problem and what she should do about it. Her clergyperson may tell her, “Love heals all difficulties. Give him your heart fully, and he will find the spirit of God.” Her therapist speaks a different language, saying, “He triggers strong reactions in you because he reminds you of your father, and you set things off in him because of his relationship with his mother. You each need to work on not pushing each other’s buttons.” A recovering alcoholic friend tells her, “He’s a rage addict. He controls you because he is terrified of his own fears. You need to get him into a twelve-step program.” Her brother may say to her, “He’s a good guy. I know he loses his temper with you sometimes—he does have a short fuse—but you’re no prize yourself with that mouth of yours. You two need to work it out, for the good of the children.” And then, to crown her increasing confusion, she may hear from her mother, or her child’s schoolteacher, or her best friend: “He’s mean and crazy, and he’ll never change. All he wants is to hurt you. Leave him now before he does something even worse.” All of these people are trying to help, and they are all talking about the same abuser. But he looks different from each angle of view.

When my husband had an affair with someone else I watched his eyes glaze over when we ate dinner together and I heard him singing to himself without me, and when he tended the garden it was not for me. He was courteous and polite; he enjoyed being at home, but in the fantasy of his home I was not the one who sat opposite him and laughed at his jokes. He didn't want to change anything; he liked his life. The only thing he wanted to change was me. It would have been better if he had hated me, or if he had abused me, or if he had packed his new suitcases and left. As it was he continued to put his arm round me and talk about being a new wall to replace the rotten fence that divided our garden from his vegetable patch. I knew he would never leave our house. He had worked for it. Day by day I felt myself disappearing. For my husband I was no longer a reality, I was one of the things around him. I was the fence which needed to be replaced. I watched myself in the mirror and saw that I was mo longer vivid and exciting. I was worn and gray like an old sweater you can't throw out but won't put on. He admitted he was in love with her, but he said he loved me. Translated, that means, I want everything. Translated, that means, I don't want to hurt you yet. Translated, that means, I don't know what to do, give me time. Why, why should I give you time? What time are you giving me? I am in a cell waiting to be called for execution. I loved him and I was in love with him. I didn't use language to make a war-zone of my heart. 'You're so simple and good,' he said, brushing the hair from my face. He meant, Your emotions are not complex like mine. My dilemma is poetic. But there was no dilemma. He no longer wanted me, but he wanted our life Eventually, when he had been away with her for a few days and returned restless and conciliatory, I decided not to wait in my cell any longer. I went to where he was sleeping in another room and I asked him to leave. Very patiently he asked me to remember that the house was his home, that he couldn't be expected to make himself homeless because he was in love. 'Medea did,' I said, 'and Romeo and Juliet and Cressida, and Ruth in the Bible.' He asked me to shut up. He wasn't a hero. 'Then why should I be a heroine?' He didn't answer, he plucked at the blanket. I considered my choices. I could stay and be unhappy and humiliated. I could leave and be unhappy and dignified. I could Beg him to touch me again. I could live in hope and die of bitterness. I took some things and left. It wasn't easy, it was my home too. I hear he's replaced the back fence.

Each life is formed by its unique image, an image that is the essence of that life and calls it to a destiny. As the force of fate, this image acts as a personal daimon, an accompanying guide who remembers your calling. The daimon motivates. It protects. It invents and persists with stubborn fidelity. It resists compromising reasonableness and often forces deviance and oddity upon its keeper, especially when neglected or opposed. It offers comfort and can pull you into its shell, but it cannot abide innocence. It can make the body ill. It is out of step with time, finding all sorts of faults, gaps, and knots in the flow of life - and it prefers them. It has affinities with myth, since it is itself a mythical being and thinks in mythical patterns. It has much to do with feelings of uniqueness, of grandeur and with the restlessness of the heart, its impatience, its dissatisfaction, its yearning. It needs its share of beauty. It wants to be seen, witnessed, accorded recognition, particularly by the person who is its caretaker. Metaphoric images are its first unlearned language, which provides the poetic basis of mind, making possible communication between all people and all things by means of metaphors

The Forgotten Dialect of the Heart How astonishing it is that language can almost mean, and frightening that it does not quite. Love, we say, God, we say, Rome and Michiko, we write, and the words get it all wrong. We say bread and it means according to which nation. French has no word for home, and we have no word for strict pleasure. A people in northern India is dying out because their ancient tongue has no words for endearment. I dream of lost vocabularies that might express some of what we no longer can. Maybe the Etruscan texts would finally explain why the couples on their tombs are smiling. And maybe not. When the thousands of mysterious Sumerian tablets were translated, they seemed to be business records. But what if they are poems or psalms? My joy is the same as twelve Ethiopian goats standing silent in the morning light. O Lord, thou art slabs of salt and ingots of copper, as grand as ripe barley lithe under the wind's labor. Her breasts are six white oxen loaded with bolts of long-fibered Egyptian cotton. My love is a hundred pitchers of honey. Shiploads of thuya are what my body wants to say to your body. Giraffes are this desire in the dark. Perhaps the spiral Minoan script is not language but a map. What we feel most has no name but amber, archers, cinnamon, horses, and birds.

At that moment it seemed to him that time stood still and the soul of the world surged within him. When he looked into her dark eyes and saw that her lips were poised between a laugh and silence, he learned the most important part of the language that all the world spoke. The language that everyone on earth was capable of understanding in their heart. It was love. Something older than humanity, more ancient than the desert. Something that exerted the same force whenever two pairs of eyes met, as had theirs here at the well. She smiled, and that was certainly an omen. The omen he had been awaiting without even knowing he was for all his life. The omen he sought to find in his sheep and in his books. In the crystals and in the silence of the desert... It was the pure language of the world. It required no explanation, just as the universe needs none as it travels through endless time. What the boy felt at that moment was that he was in the presence of the only woman in his life. And that, with no need for words she recognized the same thing. He was more certain of it, than of anything in the world. He had been told by his parents and grandparents that he must fall in love and really know a person before becoming committed. But maybe people who felt that way never learned the universal language. Because when you know that language, its easy to understand that someone in the world awaits you. Whether its in the middle of the desert or in some great city. And when two such people encounter each other, and their eyes meet, the past and the future become unimportant. There is only that moment, and the incredible certainty that everything under the sun has been written by one hand only. It is the hand that evokes love and makes a twin soul for every person in the world. Without such love, one's dreams would have no meaning. Maktub..

On 20 July 1969, Neil Armstrong and Buzz Aldrin landed on the surface of the moon. In the months leading up to their expedition, the Apollo II astronauts trained in a remote moon-like desert in the western United States. The area is home to several Native American communities, and there is a story – or legend – describing an encounter between the astronauts and one of the locals. One day as they were training, the astronauts came across an old Native American. The man asked them what they were doing there. They replied that they were part of a research expedition that would shortly travel to explore the moon. When the old man heard that, he fell silent for a few moments, and then asked the astronauts if they could do him a favour. ‘What do you want?’ they asked. ‘Well,’ said the old man, ‘the people of my tribe believe that holy spirits live on the moon. I was wondering if you could pass an important message to them from my people.’ ‘What’s the message?’ asked the astronauts. The man uttered something in his tribal language, and then asked the astronauts to repeat it again and again until they had memorised it correctly. ‘What does it mean?’ asked the astronauts. ‘Oh, I cannot tell you. It’s a secret that only our tribe and the moon spirits are allowed to know.’ When they returned to their base, the astronauts searched and searched until they found someone who could speak the tribal language, and asked him to translate the secret message. When they repeated what they had memorised, the translator started to laugh uproariously. When he calmed down, the astronauts asked him what it meant. The man explained that the sentence they had memorised so carefully said, ‘Don’t believe a single word these people are telling you. They have come to steal your lands.

O: You’re quite a writer. You’ve a gift for language, you’re a deft hand at plotting, and your books seem to have an enormous amount of attention to detail put into them. You’re so good you could write anything. Why write fantasy? Pratchett: I had a decent lunch, and I’m feeling quite amiable. That’s why you’re still alive. I think you’d have to explain to me why you’ve asked that question. O: It’s a rather ghettoized genre. P: This is true. I cannot speak for the US, where I merely sort of sell okay. But in the UK I think every book— I think I’ve done twenty in the series— since the fourth book, every one has been one the top ten national bestsellers, either as hardcover or paperback, and quite often as both. Twelve or thirteen have been number one. I’ve done six juveniles, all of those have nevertheless crossed over to the adult bestseller list. On one occasion I had the adult best seller, the paperback best-seller in a different title, and a third book on the juvenile bestseller list. Now tell me again that this is a ghettoized genre. O: It’s certainly regarded as less than serious fiction. P: (Sighs) Without a shadow of a doubt, the first fiction ever recounted was fantasy. Guys sitting around the campfire— Was it you who wrote the review? I thought I recognized it— Guys sitting around the campfire telling each other stories about the gods who made lightning, and stuff like that. They did not tell one another literary stories. They did not complain about difficulties of male menopause while being a junior lecturer on some midwestern college campus. Fantasy is without a shadow of a doubt the ur-literature, the spring from which all other literature has flown. Up to a few hundred years ago no one would have disagreed with this, because most stories were, in some sense, fantasy. Back in the middle ages, people wouldn’t have thought twice about bringing in Death as a character who would have a role to play in the story. Echoes of this can be seen in Pilgrim’s Progress, for example, which hark back to a much earlier type of storytelling. The epic of Gilgamesh is one of the earliest works of literature, and by the standard we would apply now— a big muscular guys with swords and certain godlike connections— That’s fantasy. The national literature of Finland, the Kalevala. Beowulf in England. I cannot pronounce Bahaghvad-Gita but the Indian one, you know what I mean. The national literature, the one that underpins everything else, is by the standards that we apply now, a work of fantasy. Now I don’t know what you’d consider the national literature of America, but if the words Moby Dick are inching their way towards this conversation, whatever else it was, it was also a work of fantasy. Fantasy is kind of a plasma in which other things can be carried. I don’t think this is a ghetto. This is, fantasy is, almost a sea in which other genres swim. Now it may be that there has developed in the last couple of hundred years a subset of fantasy which merely uses a different icongraphy, and that is, if you like, the serious literature, the Booker Prize contender. Fantasy can be serious literature. Fantasy has often been serious literature. You have to fairly dense to think that Gulliver’s Travels is only a story about a guy having a real fun time among big people and little people and horses and stuff like that. What the book was about was something else. Fantasy can carry quite a serious burden, and so can humor. So what you’re saying is, strip away the trolls and the dwarves and things and put everyone into modern dress, get them to agonize a bit, mention Virginia Woolf a few times, and there! Hey! I’ve got a serious novel. But you don’t actually have to do that. (Pauses) That was a bloody good answer, though I say it myself.

She shook her head. 'Look. We both know life is short, Macy. Too short to waste a single second with anyone who doesn't appreciate and value you.' 'You said the other day life was long,' I shot back. 'Which is it?' ' It's both,' she said, shrugging. 'IT all depends on how you choose to live it. It's like forever, always changing.' 'Nothing can be two opposite things at once,' I said. 'It's impossible.' 'No,' she replied, squeezing my hand,' what's impossible is that we actually think it could be anything other than that. Look, when I was in the hosptal, right after the accident, they thought I was going to die. I was really fucked up, big time.' 'Uh-huh,' Monica said, looking at her sister. 'Then,' Kristy continued, nodding at her, 'life was very short, literally. but now that I'm better it seems so long I have to squint to see even the edges of it. It's all in the view, Macy. That's what I mean about forever, too. For any one of us our forever could end in an hour, or a hundred years from now. You can never know for sure, so you'd better make every second count.' Monica, lighting another cigarette, nodded. 'Mmm-hmm,' she said. 'What you have to decide,' Kristy said to me, leaning foreward, 'is how you want your life to be. If your forever was ending tomorrow, would this be how you'd want to have spent it? It seemed like it was a choice I had already made. I'd spent the last year and a half with Jason, shaping my life to fit his, doing what I had to in order to make sure I had a plae in his perfect world, where things made sense. But it hadn't worked. 'Listen,' Kristy said,' the truth is, nohing is guaranteed. You know that more than anybody.' She looed at me hard, making sure I knew what she meant. I did. 'So don't be afraid. Be alive.' But then, I couldn't imagine, after everything that had happened, how you could live and not constantly be worrying about the dangers all around you. Especially when you'd already gotten teh scare of your life. 'It's the same thing,' I told her. 'What is?' 'Being afraid and being alive.' 'No,' she said slowly, and now it was as if she was speaking a language she knew at first I wouldn't understand, the very words, not to mention the concept, being foreign to me. 'Macy, no. It's not.

Responding to a moderator at the Sydney Writers Festival in 2008 (video), about the Spanish words in his book: When all of us are communicating and talking when we’re out in the world, we’ll be lucky if we can understand 20 percent of what people say to us. A whole range of clues, of words, of languages escape us. I mean we’re not perfect, we’re not gods. But on top of that people mis-speak, sometimes you mis-hear, sometimes you don’t have attention, sometimes people use words you don’t know. Sometimes people use languages you don’t know. On a daily basis, human beings are very comfortable with a large component of communication, which is incomprehensibility, incomprehension. We tend to be comfortable with it. But for an immigrant, it becomes very different. What most of us consider normative comprehension an immigrant fears that they’re not getting it because of their lack of mastery in the language. And what’s a normal component in communication, incomprehension, in some ways for an immigrant becomes a source of deep anxiety because you’re not sure if it’s just incomprehension or your own failures. My sense of writing a book where there is an enormous amount of language that perhaps everyone doesn’t have access to was less to communicate the experience of the immigrant than to communicate the experience that for an immigrant causes much discomfort but that is normative for people. which is that we tend to not understand, not grasp a large part of the language around us. What’s funny is, will Ramona accept incomprehension in our everyday lives and will greet that in a book with enormous fury. In other words what we’re comfortable with out in the outside world, we do not want to encounter in our books. So I’m constantly, people have come to me and asked me… is this, are you trying to lock out your non-Dominican reader, you know? And I’m like, no? I assume any gaps in a story and words people don’t understand, whether it’s the nerdish stuff, whether it’s the Elvish, whether it’s the character going on about Dungeons and Dragons, whether it’s the Dominican Spanish, whether it’s the sort of high level graduate language, I assume if people don’t get it that this is not an attempt for the writer to be aggressive. This is an attempt for the writer to encourage the reader to build community, to go out and ask somebody else. For me, words that you can’t understand in a book aren’t there to torture or remind people that they don’t know. I always felt they were to remind people that part of the experience of reading has always been collective. You learn to read with someone else. Yeah you may currently practice it in a solitary fashion, but reading is a collective enterprise. And what the unintelligible in a book does is to remind you how our whole, lives we’ve always needed someone else to help us with reading.

Do not despise your inner world. That is the first and most general piece of advice I would offer… Our society is very outward-looking, very taken up with the latest new object, the latest piece of gossip, the latest opportunity for self-assertion and status. But we all begin our lives as helpless babies, dependent on others for comfort, food, and survival itself. And even though we develop a degree of mastery and independence, we always remain alarmingly weak and incomplete, dependent on others and on an uncertain world for whatever we are able to achieve. As we grow, we all develop a wide range of emotions responding to this predicament: fear that bad things will happen and that we will be powerless to ward them off; love for those who help and support us; grief when a loved one is lost; hope for good things in the future; anger when someone else damages something we care about. Our emotional life maps our incompleteness: A creature without any needs would never have reasons for fear, or grief, or hope, or anger. But for that very reason we are often ashamed of our emotions, and of the relations of need and dependency bound up with them. Perhaps males, in our society, are especially likely to be ashamed of being incomplete and dependent, because a dominant image of masculinity tells them that they should be self-sufficient and dominant. So people flee from their inner world of feeling, and from articulate mastery of their own emotional experiences. The current psychological literature on the life of boys in America indicates that a large proportion of boys are quite unable to talk about how they feel and how others feel — because they have learned to be ashamed of feelings and needs, and to push them underground. But that means that they don’t know how to deal with their own emotions, or to communicate them to others. When they are frightened, they don’t know how to say it, or even to become fully aware of it. Often they turn their own fear into aggression. Often, too, this lack of a rich inner life catapults them into depression in later life. We are all going to encounter illness, loss, and aging, and we’re not well prepared for these inevitable events by a culture that directs us to think of externals only, and to measure ourselves in terms of our possessions of externals. What is the remedy of these ills? A kind of self-love that does not shrink from the needy and incomplete parts of the self, but accepts those with interest and curiosity, and tries to develop a language with which to talk about needs and feelings. Storytelling plays a big role in the process of development. As we tell stories about the lives of others, we learn how to imagine what another creature might feel in response to various events. At the same time, we identify with the other creature and learn something about ourselves. As we grow older, we encounter more and more complex stories — in literature, film, visual art, music — that give us a richer and more subtle grasp of human emotions and of our own inner world. So my second piece of advice, closely related to the first, is: Read a lot of stories, listen to a lot of music, and think about what the stories you encounter mean for your own life and lives of those you love. In that way, you will not be alone with an empty self; you will have a newly rich life with yourself, and enhanced possibilities of real communication with others.