Layer Friend Quotes

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It amazes me how easy it is for things to change, how easy it is to start off down the same road you always take and wind up somewhere new. Just one false step, one pause, one detour, and you end up with new friends or a bad reputation or a boyfriend or a breakup. It's never occurred to me before; I've never been able to see it. And it makes me feel, weirdly, like maybe all of these different possibilities exist at the same time, like each moment we live has a thousand other moments layered underneath it that look different.
Lauren Oliver (Before I Fall)
How often, you wonder, has the direction of your life been shaped by such misunderstandings? How many opportunities have you been denied--or, for that matter, awarded--because someone failed to see you properly? How many friends have you lost, how many have you gained, because they glimpsed some element of your personality that shone through for only an instant, and in circumstances you could never reproduce? An illusion of water shimmering at the far bend of a highway.
Kevin Brockmeier (The View from the Seventh Layer)
Deep down, underneath all his layers of stupidity, he’s a really good man. He may act out far too many selfish thoughts, says all the wrong things at all the wrong times, but behind closed doors he’s a best friend. I understand that he has idiotic tendencies and I can still love him for it. He may not be someone that you feel comfortable sitting next to at a dinner party but for me, he’s someone that I feel comfortable sharing my life with.
Cecelia Ahern (Love, Rosie)
The Layers I have walked through many lives, some of them my own, and I am not who I was, though some principle of being abides, from which I struggle not to stray. When I look behind, as I am compelled to look before I can gather strength to proceed on my journey, I see the milestones dwindling toward the horizon and the slow fires trailing from the abandoned camp-sites, over which scavenger angels wheel on heavy wings. Oh, I have made myself a tribe out of my true affections, and my tribe is scattered! How shall the heart be reconciled to its feast of losses? In a rising wind the manic dust of my friends, those who fell along the way, bitterly stings my face. Yet I turn, I turn, exulting somewhat, with my will intact to go wherever I need to go, and every stone on the road precious to me. In my darkest night, when the moon was covered and I roamed through wreckage, a nimbus-clouded voice directed me: “Live in the layers, not on the litter.” Though I lack the art to decipher it, no doubt the next chapter in my book of transformations is already written. I am not done with my changes.
Stanley Kunitz (The Collected Poems)
Finally I grinned and said, "I won't eat meat if it's been overcooked." She (Amarinda) glanced up at me, confused, and I added, "I thought you should know that, since we're going to be friends now." Amarinda's smile widened. "I think it's unfair that women aren't allowed to wear trousers. They seem far more comfortable than dresses." I chuckled. "They're not. Every year I think fashion invents one more piece I have to add to my wardrobe." "And one more layer to my skirts." She thought for a moment, then said, "I think it's funny when you're rude to the cook. I shouldn't admit that, but his face turns all sorts of colors when you are and there's nothing he can do about it." "He can overcook my meat.
Jennifer A. Nielsen (The Runaway King (Ascendance, #2))
You remember having friends who used to lampoon the world so effortlessly, crouching at the verge of every joke and waiting to pounce on it, and you remember how they changed as they grew older and the joy of questioning everything slowly became transformed into the pain of questioning everything, like a star consuming its own core.
Kevin Brockmeier (The View from the Seventh Layer)
The intruder hesitated, turned, and anchored itself in the corner, where the ceiling met the wall. It sat there, fastened to the paneling by enormous yellow talons, still and silent like a gargoyle in full sunlight. I took a swig from the bottle and set it so I could still see the creatures reflection. Nude and hairless, it didn't carry a single ounce of fat on its lean frame. Its skin stretched so tight over the cords of muscle, it threatened to snap. Like a thin layer of wax melted over an anatomy model. Your friendly neighbourhood Spiderman.
Ilona Andrews (Magic Bites (Kate Daniels, #1))
The way I see it, the difference between farmers and suburbanites is the difference in the way we feel about dirt. To them, the earth is something to be respected and preserved, but dirt gets no respect. A farmer likes dirt. Suburbanites like to get rid of it. Dirt is the working layer of earth, and dealing with dirt is as much a part of farm life as dealing with manure. Neither is user-friendly but both are necessary.
E.L. Konigsburg (The View from Saturday)
The most dangerous enemy is not the one who lingers behind you in the shadows, but the one who walks beside you as a friend. They shape the world around you with well-constructed lies, entombing you in the gossamer of their deceit. You’ll never know their true face, for they shed their masks in layers—meticulous and devious, like the skin of an ever-changing snake.
Bianca Scardoni (Inception (The Marked, #1))
There was nothing left for me to do, but go. Though the things of the world were strong with me still. Such as, for example: a gaggle of children trudging through a side-blown December flurry; a friendly match-share beneath some collision-titled streetlight; a frozen clock, a bird visited within its high tower; cold water from a tin jug; towering off one’s clinging shirt post-June rain. Pearls, rags, buttons, rug-tuft, beer-froth. Someone’s kind wishes for you; someone remembering to write; someone noticing that you are not at all at ease. A bloody ross death-red on a platter; a headgetop under-hand as you flee late to some chalk-and-woodfire-smelling schoolhouse. Geese above, clover below, the sound of one’s own breath when winded. The way a moistness in the eye will blur a field of stars; the sore place on the shoulder a resting toboggan makes; writing one’s beloved’s name upon a frosted window with a gloved finger. Tying a shoe; tying a knot on a package; a mouth on yours; a hand on yours; the ending of the day; the beginning of the day; the feeling that there will always be a day ahead. Goodbye, I must now say goodbye to all of it. Loon-call in the dark; calf-cramp in the spring; neck-rub in the parlour; milk-sip at end of day. Some brandy-legged dog proudly back-ploughs the grass to cover its modest shit; a cloud-mass down-valley breaks apart over the course of a brandy-deepened hour; louvered blinds yield dusty beneath your dragging finger, and it is nearly noon and you must decide; you have seen what you have seen, and it has wounded you, and it seems you have only one choice left. Blood-stained porcelain bowl wobbles face down on wood floor; orange peel not at all stirred by disbelieving last breath there among that fine summer dust-layer, fatal knife set down in pass-panic on familiar wobbly banister, later dropped (thrown) by Mother (dear Mother) (heartsick) into the slow-flowing, chocolate-brown Potomac. None of it was real; nothing was real. Everything was real; inconceivably real, infinitely dear. These and all things started as nothing, latent within a vast energy-broth, but then we named them, and loved them, and in this way, brought them forth. And now we must lose them. I send this out to you, dear friends, before I go, in this instantaneous thought-burst, from a place where time slows and then stops and we may live forever in a single instant. Goodbye goodbye good-
George Saunders (Lincoln in the Bardo)
Preverbal, love is the smell of a known body, the touch of a recognized hand, the blurred face in a haze of light. Words come, and love sharpens. Love becomes describable, narratable, relatable. Over time, one love comes to lay atop another, a mother's love, a father's love, a lover's love, a friend's love, an enemy's love. This promiscuous mixing of feelings and touches, of smiles and cries in the dark, of half-pushed pleasures and heart-cracking pain, of shared unutterable intimacies and guttural expressions, layer in embellished bricolage. One love coats another, like the clear pages of an anatomy textbook, drawing pictures of things we can only ever see in fractions. With the coming of words, love writes and is then overwritten; love is marginalia illegibly scrawled in your own illegible hand. In time, love becomes a dense manuscript, a palimpsest of inscrutable, epic proportions, one love is overlaying another, thick and hot and stinking of beds. It's an unreadable mess.
Chelsea G. Summers (A Certain Hunger)
Before she leaves, my new friend tells me to look out of the big picture window at the parking lot. "See that purple Harley out there—that big gorgeous one? That's mine. I used to ride behind my husband, and never took the road on my own. Then after the kids were grown, I put my foot down. It was hard, but we finally got to be partners. Now he says he likes it better this way. He doesn't have to worry about his bike breaking down or getting a heart attach and totaling us both. I even put 'Ms.' on my license plate—and you should see my grandkids' faces when Grandma rides up on her purple Harley!" On my own again, I look out at the barren sand and tortured rocks of the Badlands, stretching for miles. I've walked there, and I know that, close up, the barren sand reveals layers of pale rose and beige and cream, and the rocks turn out to have intricate womblike openings. Even in the distant cliffs, caves of rescue appear. What seems to be one thing from a distance is very different close up. I tell you this story because it's the kind of lesson that can be learned only on the road. And also because I've come to believe that, inside, each of us has a purple motorcycle. We have only to discover it—and ride.
Gloria Steinem (My Life on the Road)
Being an adult is only an illusion. When it comes down to it I’m not sure any of us ever really grow up. We simply grow taller and hairier. Sometimes, I still feel amazed that I am allowed to drive a car, or that I have not been found out for drinking in the pub. Beneath the veneer of adulthood, beneath the layers of experience we accrue as the years march stoically onwards, we are all still children, with scraped knees and snotty noses, who need our parents … and our friends.
C.J. Tudor (The Chalk Man)
She said she did not tidy up if someone came to see her, for she was that way and if her friends could not accept it they could not accept her. Besides, she said, she know just in which layer were the things she wanted.
Anne Morrow Lindbergh (Bring Me a Unicorn: Diaries and Letters of Anne Morrow Lindbergh, 1922-1928)
Dusty was my first everything, but not in just a first love way. He was my first real friend. He was the first person who cared enough to get to know me, who peeled back the layers I had drawn around myself and liked what they saw. He made me want to like myself, too.
Lyla Sage (Wild and Wrangled (Rebel Blue Ranch, #4))
Maybe the conference was an inversion layer of another kind, bringing me face-to-face with old friends and old places. With cancer and the Gap and the Old Man, railing about newfangled players and spicy food. Bringing me face-to-face early with death and old age and change.
Connie Willis (The Best of Connie Willis: Award-Winning Stories)
That’s the confusing part of falling for a friend: I loved him the way I loved Tessa, Morgan, and Kayleigh – protectively and completely. There were just so many feelings layered over that foundation.
Emery Lord (The Start of Me and You (The Start of Me and You, #1))
I started shedding friends like layers of winter clothing and found that even if I got cold, I would rather build my own damn fire. I was better off without them.” I shrug, letting him know that’s all there was to it.
Claire Contreras (Catch Me)
No one had Ramsey's patience, Brodick thought to himself. Gideon obviously didn't know his laird well, for if he did, he would have known that under that thin layer of civility and diplomacy beat the heart of a savage warrior whose temper put Brodick's to shame. Unlike Brodick, Ramsey was slow to ignite, but once he had reached his limit or had been prodded too far, his reaction was explosive and most impressive. He could be far more brutal than Brodick, and perhaps that was one of the reasons they had become such good friends. They trusted each other. Aye, Brodick trusted and admired Ramsey as much as he trusted and admired the man who had trained them to be leaders, Iain Maitland.
Julie Garwood (Ransom (Highlands' Lairds, #2))
I remembered talking with a writer friend who lived in Otisfield and supported his wife and two kids by raising chickens and turning out one paperback original a year — spy stories. We had gotten talking about the bulge in popularity of books concerning themselves with the supernatural. Gault pointed out that in the forties Weird Tales had only been able to pay a pittance, and then in the fifties it went broke. When the machines fail, he had said (while his wife candled eggs and roosters crowed querulously outside), when the technologies fail, when the conventional religious systems fail, people have got to have something. Even a zombie lurching through the night can seem pretty cheerful compared to the existential comedy/horror of the ozone layer dissolving under the combined assault of a million fluorocarbon spray cans of deodorant.
Stephen King (The Mist)
A storm-filled life replete with piercing and unearthly sounds ravages the soul of any thoughtful person. In contrast, the genteel wind of restoration moves silently, invisibly. Renewal is a spiritual process, the communal melody that sustains us. Inexpressible braids of tenderness whispering reciprocating chords of love for family, friends, humankind, and nature plaits interweaved layers of blissful atmosphere, which copious heart song brings spiritual rejuvenation. For when we love in a charitable and bountiful manner without reservation, liberated from petty jealously, and free of the toxic blot of discrimination, we become the ineluctable wind that vivifies the lives of other people. The mellifluous changes in heaven, earth, and our journey through the travails of time, while worshiping the trove of fathomless joys of life, constitute the seeds of universal poetry.
Kilroy J. Oldster (Dead Toad Scrolls)
It amazes me how easy it is for things to change, how easy it is to start off down the same road you always take and wind up somewhere new. Just one false step, one pause, one detour, and you end up with new friends or a bad reputation or a boyfriend or a breakup. It’s never occurred to me before; I’ve never been able to see it. And it makes me feel, weirdly, like maybe all of these different possibilities exist at the same time, like each moment we live has a thousand other moments layered underneath it that look different.
Lauren Oliver (Before I Fall)
I buy licorice whips, jelly beans, many-layered blackballs with the seed in the middle, packages of fizzy sherbet you suck up through a straw. I dole them out equally, these offerings, these atonements, into the waiting hands of my friends. In the moment just before giving, I am loved.
Margaret Atwood (Cat's Eye)
There was a girl, and her uncle sold her, wrote Mr. Ibis in his perfect copperplate handwriting. That is the tale; the rest is detail. There are stories that are true, in which each individual’s tale is unique and tragic, and the worst of the tragedy is that we have heard it before, and we cannot allow ourselves to feel it too deeply. We build a shell around it like an oyster dealing with a painful particle of grit, coating it with smooth pearl layers in order to cope. This is how we walk and talk and function, day in, day out, immune to others’ pain and loss. If it were to touch us it would cripple us or make saints of us; but, for the most part, it does not touch us. We cannot allow it to. Tonight, as you eat, reflect if you can: there are children starving in the world, starving in numbers larger than the mind can easily hold, up in the big numbers where an error of a million here, a million there, can be forgiven. It may be uncomfortable for you to reflect upon this or it may not, but still, you will eat. There are accounts which, if we open our hearts to them, will cut us too deeply. Look—here is a good man, good by his own lights and the lights of his friends: he is faithful and true to his wife, he adores and lavishes attention on his little children, he cares about his country, he does his job punctiliously, as best he can. So, efficiently and good-naturedly, he exterminates Jews: he appreciates the music that plays in the background to pacify them; he advises the Jews not to forget their identification numbers as they go into the showers—many people, he tells them, forget their numbers, and take the wrong clothes, when they come out of the showers. This calms the Jews: there will be life, they assure themselves, after the showers. And they are wrong. Our man supervises the detail taking the bodies to the ovens; and if there is anything he feels bad about, it is that he still allows the gassing of vermin to affect him. Were he a truly good man, he knows, he would feel nothing but joy, as the earth is cleansed of its pests. Leave him; he cuts too deep. He is too close to us and it hurts.
Neil Gaiman (American Gods (American Gods, #1))
When a teacher is a friend/relatable; it creates an invisible layer of accountability. Making the student a better student and in turn the teacher a better teacher.
Ethan Castro
It’s a rare opportunity when a person removes all the layers and allows you to see who they are at the core. Sometimes we don’t even get that chance with our own family or friends, and maybe it’s easier to let someone you don’t have any emotional connection with see that side of you. There’s no fear of rejection, ridicule, or withholding love. We had nothing to lose.
Dannika Dark (Three Hours (Seven, #5; Mageriverse #11))
We were trapped, we were completely caged Some of my mother’s good friends were raped This is what went on while war and genocide raged Our dignity, identity, and layers of skin were scraped
Aida Mandic (Justice For Bosnia and Herzegovina)
It was true that she didn't have many friends, not of the flesh-and-blood variety, but the fact did not upset her. It was tiring, all that smiling and sharing and speculating about the weather, and she always left a gathering, no matter how intimate, feeling depleted, as if she'd accidentally left behind some vital layers of herself she'd never get back. --Part I: The Satchel> Chapter 1
Kate Morton (The Clockmaker's Daughter)
Preverbal, love is the smell of a known body, the touch of a recognized hand, the blurred face in a haze of light. Words come, and love sharpens. Love becomes describable, narratable, relatable. Over time, one love comes to lay atop another, a mother's love, a father's love, a lover's love, a friend's love, an enemy's love. This promiscuous mixing of feelings and touches, of smiles and cries in the dark, of half-pushed pleasures and heart-cracking pain, of shared unutterable intimacies and guttural expressions, layer in embellished bricolage. One love coats another, like the clear pages of an anatomy textbook, drawing pictures of things we can only ever see in fractions. With the coming of words, love writes and is then overwritten; love is marginalia illegibly scrawled in your own illegible hand. In time, love becomes a dense manuscript, a palimpsest of inscrutable, epic proportions, one love is overlaying another, thick and hot and stinking of beds. It's an unreadable mess.
Chelsea G. Summers (A Certain Hunger)
And on a cold Sunday afternoon, he was joined in his home by a small group of friends and family for a 'living funeral'. Each of them spoke and paid tribute.. Some cried. Some laughed. One woman read a poem: 'My dear and loving cousin.. Your ageless heart as you ,love through time, layer on layer, tender sequoia..' .. And all the heartfelt things we never get to say to those we love, Morrie said that day.
Mitch Albom (Tuesdays with Morrie: An Old Man, a Young Man, and Life's Greatest Lesson)
Ingredients 1 package (8 oz.) cream cheese, softened 1 can (12 oz.) chunk white chicken, drained (you can also use chopped-up leftover roast chicken—about 1–2 cups) 1/2 cup Buffalo wing sauce (my friends prefer it spicy!) 1/2 cup ranch dressing 2 cups shredded cheese (you can go for something like a spicy Havarti, Colby, even cheddar—whatever you like most) Preheat oven to 350 degrees. Spread cream cheese on the bottom of an ungreased baking dish. We used one of my mom’s that’s rectangular and shallow and holds about a quart. On top of the cream cheese, layer your chicken. Then place wing sauce on top, and salad dressing on top of that. Finally, sprinkle cheese on top and bake until you see all the cheese melted and bubbly. It should take about 20 minutes; any longer and it might burn, so keep an eye on it. Go ahead and dip your chips in it; it’s pretty delicious on anything—even bread or a pretzel.
Maddie Ziegler (The Maddie Diaries: A Memoir)
Surgical Talk As we look at the insides of humans, We find the inside of ourselves And each other. What lies beneath us? What do we believe About the world and our place in it? We cut down layer upon layer And dissect the inner life.
Eric Overby (Legacy)
Is that what we are—lovers? Friends? Enemies? Everything about Damon Scott is undefinable. He’s a mystery that can’t be solved. A puzzle with limitless layers. A living, breathing Escher painting with stairs folding into stairs for eternity.
Skye Warren (The Queen (Masterpiece Duet, #2))
Many things in this period have been hard to bear, or hard to take seriously. My own profession went into a protracted swoon during the Reagan-Bush-Thatcher decade, and shows scant sign of recovering a critical faculty—or indeed any faculty whatever, unless it is one of induced enthusiasm for a plausible consensus President. (We shall see whether it counts as progress for the same parrots to learn a new word.) And my own cohort, the left, shared in the general dispiriting move towards apolitical, atonal postmodernism. Regarding something magnificent, like the long-overdue and still endangered South African revolution (a jagged fit in the supposedly smooth pattern of axiomatic progress), one could see that Ariadne’s thread had a robust reddish tinge, and that potential citizens had not all deconstructed themselves into Xhosa, Zulu, Cape Coloured or ‘Eurocentric’; had in other words resisted the sectarian lesson that the masters of apartheid tried to teach them. Elsewhere, though, it seemed all at once as if competitive solipsism was the signifier of the ‘radical’; a stress on the salience not even of the individual, but of the trait, and from that atomization into the lump of the category. Surely one thing to be learned from the lapsed totalitarian system was the unwholesome relationship between the cult of the masses and the adoration of the supreme personality. Yet introspective voyaging seemed to coexist with dull group-think wherever one peered about among the formerly ‘committed’. Traditionally then, or tediously as some will think, I saw no reason to discard the Orwellian standard in considering modern literature. While a sort of etiolation, tricked out as playfulness, had its way among the non-judgemental, much good work was still done by those who weighed words as if they meant what they said. Some authors, indeed, stood by their works as if they had composed them in solitude and out of conviction. Of these, an encouraging number spoke for the ironic against the literal mind; for the generously interpreted interest of all against the renewal of what Orwell termed the ‘smelly little orthodoxies’—tribe and Faith, monotheist and polytheist, being most conspicuous among these new/old disfigurements. In the course of making a film about the decaffeinated hedonism of modern Los Angeles, I visited the house where Thomas Mann, in another time of torment, wrote Dr Faustus. My German friends were filling the streets of Munich and Berlin to combat the recrudescence of the same old shit as I read: This old, folkish layer survives in us all, and to speak as I really think, I do. not consider religion the most adequate means of keeping it under lock and key. For that, literature alone avails, humanistic science, the ideal of the free and beautiful human being. [italics mine] The path to this concept of enlightenment is not to be found in the pursuit of self-pity, or of self-love. Of course to be merely a political animal is to miss Mann’s point; while, as ever, to be an apolitical animal is to leave fellow-citizens at the mercy of Ideolo’. For the sake of argument, then, one must never let a euphemism or a false consolation pass uncontested. The truth seldom lies, but when it does lie it lies somewhere in between.
Christopher Hitchens (For the Sake of Argument: Essays and Minority Reports)
This place where she worked certainly didn't make it look as if she continued to believe her calling was to change the course of American history. The building's rusted fire escape would just come down, just come loose from its moorings and crash onto the street, if anyone stepped on it - a fire escape whose function was not to save lives in the event of a fire but to uselessly hang there testifying to the immense loneliness inherent to living. For him it was stripped of any other meaning - no meaning could make better use of that building. Yes, alone we are, deeply alone, and always, in store for us, a layer of loneliness even deeper. There is nothing we can do to dispose of that. No, loneliness shouldn't surprise us, as astonishing to experience it as it may be. You can try turning yourself inside out, but all you are then is inside out and lonely instead of inside in and lonely. My stupid, stupid Merry dear, stupider even than your stupid father, not even blowing up buildings helps. It's lonely if there are buildings and it's lonely if there are no buildings. There is no protest to be lodged against loneliness - not all the bombing campaigns in history have made a dent in it. The most lethat of manmade explosives can't touch it. Stand in awe not of Communism, my idiot child, but of ordinary, everyday loneliness. On May Day go out and march with your friends to its greater glory, the superpower of superpowers, the force that overwhelms all. Put your money on it, bet on it, worship it - bow down in submission not to Karl Marx, my stuttering, angry, idiot child, not to Ho Chi-Minh and Mao Tse-tung - bow down to the great god of Loneliness!
Philip Roth (American Pastoral)
You miss the idea of him. There you go. Was that so hard? “That goes away, too,” says your friend. Through the magic of the biological imperative, his brain has been reprogrammed. He has been forced to gloss over his own romantic carnage so that he might once again start down that road of procreation. He has nineteen layers of skin; you have three-fourths of a layer. They’re all like this, the recovered. Sometimes you want to hop across the table, curl up in their laps, and beg to be made one of them. How does it work? Hypnosis? A chip in the neck? A radioactive spider with Xanax venom?
Sloane Crosley (How Did You Get This Number: Essays)
Their multi-layered complexity was a sign I couldn’t read, though the general import was clear enough: different tribe, forget about it, I’m way too cool for you, don’t even try to talk to me. Such was my mistaken first impression of the only friend I made when I was in Vegas, and—as it turned out—one of the great friends of my life.
Donna Tartt (The Goldfinch)
I’m not sure what you want, Piper. Do you want me to send money? Would that help?” Curtiss asked. “He’s not like an abandoned pet, Curtiss. God! He’s your father and you could come up and help me out. That would be helpful.” I was angry with him. I felt like once again he had walked away from me and left me at a critical time. When I was a junior in high school, Curtiss went away to college and left me alone to navigate life with my father, and for those two years I held a vicious grudge. Curtiss left me alone to battle my father’s moods, alone to absorb Curtiss’s portion of his criticisms, alone to protect my mother from his cruel tone and even crueler periods of silence. Curtiss visited home rarely, but when he did I made sure that he could feel my wrath underneath my layers of friendly conversation. Finally, when he returned for my own high school graduation, he addressed my years of quiet fury. “Piper, you just don’t know how it is. It’s not like this in other families. It’s different when you get out into the world.
Rebecca L. Brown (Flying at Night)
He also had another analogy of refuting God. One’s identity is supported like a house of cards. The layer upon layer of delicately balanced playing cards are like the structure of one’s previous prayers. They are the supports which God has granted and enabled. For every time one has lain prostrate on the floor, with one’s forehead on the ground, crying for God’s help, for one’s self, for one’s family and friends, in one’s darkest moments, pleading with the Lord, begging for mercy, and when the Lord hears, when the prayer is answered, the terror is averted and another layer of cards is constructed in delicate balance to create the next layer. One’s foundations are built on these episodes, based on the mercy of the Lord. Woe be it if the foundations are removed.
Henry Virgin (Exit Rostov)
Remember I spoke earlier of how there are three layers of abuse to this NPD? The first layer is our mother’s abuse. The second layer is her denial of it and invalidation of our experiences. The third layer is society’s denial of it, and invalidation of our experiences. And if you go No Contact, it’s very possible that others – neighbours, friends, extended family – will judge you harshly for it. This can be difficult to deal with. As Lucinda on the forum said, ‘I struggled with this because I thought their opinions of me somehow defined who I really was. If they thought I was bad it felt like I really was bad.’ She then realised, however, ‘When I got to know myself I realized I'm fine just the way I am. I know I’m a good person. Other people's opinions are just their opinions, they are not who I am.
Danu Morrigan (You're Not Crazy—It's Your Mother: Understanding and Healing for Daughters of Narcissistic Mothers)
And on a cold Sunday afternoon, he was joined in his home by a small group of friends and family for a 'living funeral'. Each of them spoke and paid tribute.. Some cried. Some laughed. One woman read a poem: 'My dear and loving cousin.. Your ageless heart as you move through time, layer on layer, tender sequoia..' .. And all the heartfelt things we never get to say to those we love, Morrie said that day.
Mitch Albom (Tuesdays with Morrie: An Old Man, a Young Man, and Life's Greatest Lesson)
Pham Nuwen spent years learning to program/explore. Programming went back to the beginning of time. It was a little like the midden out back of his father’s castle. Where the creek had worn that away, ten meters down, there were the crumpled hulks of machines—flying machines, the peasants said—from the great days of Canberra’s original colonial era. But the castle midden was clean and fresh compared to what lay within the Reprise’s local net. There were programs here that had been written five thousand years ago, before Humankind ever left Earth. The wonder of it—the horror of it, Sura said—was that unlike the useless wrecks of Canberra’s past, these programs still worked! And via a million million circuitous threads of inheritance, many of the oldest programs still ran in the bowels of the Qeng Ho system. Take the Traders’ method of timekeeping. The frame corrections were incredibly complex—and down at the very bottom of it was a little program that ran a counter. Second by second, the Qeng Ho counted from the instant that a human had first set foot on Old Earth’s moon. But if you looked at it still more closely. . .the starting instant was actually some hundred million seconds later, the 0-second of one of Humankind’s first computer operating systems. So behind all the top-level interfaces was layer under layer of support. Some of that software had been designed for wildly different situations. Every so often, the inconsistencies caused fatal accidents. Despite the romance of spaceflight, the most common accidents were simply caused by ancient, misused programs finally getting their revenge. “We should rewrite it all,” said Pham. “It’s been done,” said Sura, not looking up. She was preparing to go off-Watch, and had spent the last four days trying to root a problem out of the coldsleep automation. “It’s been tried,” corrected Bret, just back from the freezers. “But even the top levels of fleet system code are enormous. You and a thousand of your friends would have to work for a century or so to reproduce it.” Trinli grinned evilly. “And guess what—even if you did, by the time you finished, you’d have your own set of inconsistencies. And you still wouldn’t be consistent with all the applications that might be needed now and then.” Sura gave up on her debugging for the moment. “The word for all this is ‘mature programming environment.’ Basically, when hardware performance has been pushed to its final limit, and programmers have had several centuries to code, you reach a point where there is far more signicant code than can be rationalized. The best you can do is understand the overall layering, and know how to search for the oddball tool that may come in handy—take the situation I have here.” She waved at the dependency chart she had been working on. “We are low on working fluid for the coffins. Like a million other things, there was none for sale on dear old Canberra. Well, the obvious thing is to move the coffins near the aft hull, and cool by direct radiation. We don’t have the proper equipment to support this—so lately, I’ve been doing my share of archeology. It seems that five hundred years ago, a similar thing happened after an in-system war at Torma. They hacked together a temperature maintenance package that is precisely what we need.” “Almost precisely.
Vernor Vinge (A Deepness in the Sky (Zones of Thought, #2))
A small story: A man was in prison for 20 years. On the day of his release, he appeared very worried and tense. His friend in the prison asked him, 'What has happened to you? Why are you so worried?' The man replied, 'I am afraid. What will I do when I go out?' The prison has created such a solid pattern of security for the man that he does not know what he will do when he goes outside! This is the danger of getting caught in patterns and security. A master will never offer you the security you are looking for. He will never offer you the patterns you are looking for. When you don't get the security you are looking for, you will grow with deep centering within yourself. You will grow fearlessly because you know there is nothing to lose. And when you know there is nothing to lose, you have no fear. To show you that there is nothing to lose, the master throws you upon utter insecurity. Out of his deep compassion for you, out of deep concern for your growth, he doesn't offer you security. When you don't find the mundane security, you will find God! All your fears are because you don't clearly know that there is nothing to lose. Just one encounter with near death can show you that there is nothing to lose and that all your fears are baseless. The master simply makes you understand this in his own way. So don't try to escape from the master. Understand that he is here only to show you what you actually are. Your inherent nature is fearlessness. Over years, you have been instilled with fear. The master tries to break the layers of conditioning that you have taken upon yourself. If you just allow him to work upon you, with trust and love, you will see yourself transform in front of your own eyes.
Paramahamsa Nithyananda (Guaranteed Solutions)
There isn’t a word for walking out of the grocery store with a gallon jug of milk in a plastic sack that should have been bagged in double layers —so that before you are even out the door you feel the weight of the jug dragging the bag down, stretching the thin plastic handles longer and longer and you know it’s only a matter of time until bottom suddenly splits. There is no single, unimpeachable word for that vague sensation of something moving away from you as it exceeds its elastic capacity —which is too bad, because that is the word I would like to use to describe standing on the street chatting with an old friend as the awareness grows in me that he is no longer a friend, but only an acquaintance, a person with whom I never made the effort— until this moment, when as we say goodbye I think we share a feeling of relief, a recognition that we have reached the end of a pretense, though to tell the truth what I already am thinking about is my gratitude for language— how it will stretch just so much and no farther; how there are some holes it will not cover up; how it will move, if not inside, then around the circumference of almost anything— how, over the years, it has given me back all the hours and days, all the plodding love and faith, all the misunderstandings and secrets I have willingly poured into it.
Tony Hoagland
Nasir made a plate of food for her, heaping bright green rice next to a red spill of the curried goat, layering slices of breadfruit by the edge of her plate. Feyi thanked them both awkwardly, then ate in blissful silence as flavors unfurled in her mouth, Joy would kill to be here. Feyi tried to remember everything so she could describe it to her best friend later, the way the breadfruit melted in her mouth, how easily the curried goat dripped off its bone, how fragrant the rice was.
Akwaeke Emezi (You Made a Fool of Death with Your Beauty)
What happened? You were there, you must have seen it. I keep thinking there must be something I don’t remember. I’ve got a decent job, I have lovers and friends. So why do I feel so numb and separate? Why do I feel like a failure? For years, for most of my recollected life, I’d walked carefully over a subterranean well of boredom and hopelessness that lied just beneath the thin outer layer of my imagination. If I’d stood still for too long, if I’d given in to repose, I’d have fallen through.
Michael Cunningham (A Home at the End of the World)
There are stories that are true, in which each individual’s tale is unique and tragic, and the worst of the tragedy is that we have heard it before, and we cannot allow ourselves to feel it too deeply. We build a shell around it like an oyster dealing with a painful particle of grit, coating it with smooth pearl layers in order to cope. This is how we walk and talk and function, day in, day out, immune to others’ pain and loss. If it were to touch us it would cripple us or make saints of us; but, for the most part, it does not touch us. We cannot allow it to. Tonight, as you eat, reflect if you can: there are children starving in the world, starving in numbers larger than the mind can easily hold, up in the big numbers where an error of a million here, a million there, can be forgiven. It may be uncomfortable for you to reflect upon this or it may not, but still, you will eat. There are accounts which, if we open our hearts to them, will cut us too deeply. Look—here is a good man, good by his own lights and the lights of his friends: he is faithful and true to his wife, he adores and lavishes attention on his little children, he cares about his country, he does his job punctiliously, as best he can. So, efficiently and good-naturedly, he exterminates Jews: he appreciates the music that plays in the background to pacify them; he advises the Jews not to forget their identification numbers as they go into the showers—many people, he tells them, forget their numbers, and take the wrong clothes, when they come out of the showers. This calms the Jews: there will be life, they assure themselves, after the showers. And they are wrong. Our man supervises the detail taking the bodies to the ovens; and if there is anything he feels bad about, it is that he still allows the gassing of vermin to affect him. Were he a truly good man, he knows, he would feel nothing but joy, as the earth is cleansed of its pests. Leave him; he cuts too deep. He is too close to us and it hurts.
Neil Gaiman (American Gods (American Gods, #1))
There are stories that are true, in which each individual’s tale is unique and tragic, and the worst of the tragedy is that we have heard it before, and we cannot allow ourselves to feel it too deeply. We build a shell around it like an oyster dealing with a painful particle of grit, coating it with smooth pearl layers in order to cope. This is how we walk and talk and function, day in, day out, immune to others’ pain and loss. If it were to touch us it would cripple us or make saints of us; but, for the most part, it does not touch us. We cannot allow it to. Tonight, as you eat, reflect if you can: there are children starving in the world, starving in numbers larger than the mind can easily hold, up in the big numbers where an error of a million here, a million there, can be forgiven. It may be uncomfortable for you to reflect upon this or it may not, but still, you will eat. There are accounts which, if we open our hearts to them will cut us too deeply. Look – here is a good man, good by his own lights and the lights of his friends: he is faithful and true to his wife, he adores and lavishes attention on his little children, he cares about his country, he does his job punctiliously, as best he can. So, efficiently and good-naturedly, he exterminates Jews: he appreciates the music that plays in the background to pacify them; he advises the Jews not to forget their identification numbers as they go into the showers – many people, he tells them, forget their numbers, and take the wrong clothes, when they come out of the showers. This calms the Jews: there will be life, they assure themselves, after the showers. And they are wrong. Our man supervises the detail taking the bodies to the ovens; and if there is anything he feels bad about, it is that he still allows the gassing of vermin to affect him. Were he a truly good man, he knows, he would feel nothing but joy, as the earth is cleansed of its pests. Leave him; he cuts too deep. He is too close to us and it hurts.
Neil Gaiman (American Gods (American Gods, #1))
While a husband or wife might be able to cope with the missing part, children do not fare as well. Babies are not able to rely on reason or intellect to measure the stability of the world around them, so by design, they depend heavily on their senses. There are certain aspects of the marriage relationship that children need to witness routinely. Children need to see an on-going love relationship that includes Mom and Dad enjoying each other as friends and not just parents. They also need to see their parents talking, laughing, working together and resolving conflicts with a mutual respect for each other. We cannot over emphasize this point: the more parents demonstrate love for each other, the more they saturate their child’s senses with confidence of a loving, safe and secure world. That marriage relationship provides children with a layer of love and security that cannot be achieved through the direct parent-child relationship—even during the baby years. When you put all of these factors together, they add up to a healthy home environment.
Gary Ezzo (On Becoming Baby Wise: Giving Your Infant the Gift of Nighttime Sleep)
As he held me close, I felt a sensation like I’d finally come home. It was like all of the layers around my heart were disintegrating away like paint chips falling into oblivion. The only sound were the crickets chirping outside. And I didn’t know what possessed me to say it— maybe the intense emotion of everything all coagulated into one spot. A swollen button on top of every experience that had stitched us together. “I love you,” I uttered into his ear, surprising myself. I’d meant to say I hated him, but my mouth wouldn’t form the words. “I love you too,” he said.
Jeremy Jenkins (My Dad's Best Friend)
5-4-10 Tuesday 8:00 A.M. Made a large batch of chili and spaghetti to freeze yesterday. And some walnut fudge! Relieved the electricity is still on. It’s another beautiful sunny day with fluffy white clouds drifting by. The last cloud bank looked like a dog with nursing pups. I open the window and let in some fresh air filled with the scent of apple and plum blossoms and flowering lilacs. Feels like it’s close to 70 degrees. There’s a boy on a skate board being pulled along by his St. Bernard, who keeps turning around to see if his young friend is still on board. I’m thinking of a scene still vividly displayed in my memory. I was nine years old. I cut through the country club on my way home from school and followed a narrow stream, sucking on a jawbreaker from Ben Franklins, and I had some cherry and strawberry pixie straws, and banana and vanilla taffy inside my coat pocket. The temperature was in the fifties so it almost felt like spring. There were still large patches of snow on the fairways in the shadows and the ground was soggy from the melt off. Enthralled with the multi-layers of ice, thin sheets and tiny ice sickles gleaming under the afternoon sun, dripping, streaming into the pristine water below, running over the ribbons of green grass, forming miniature rapids and gently flowing rippling waves and all the reflections of a crystal cathedral, merging with the hidden world of a child. Seemingly endless natural sculptures. Then the hollow percussion sounds of the ice thudding, crackling under my feet, breaking off little ice flows carried away into a snow-covered cavern and out the other side of the tunnel. And I followed it all the way to bridge under Maple Road as if I didn't have a care in the world.
Andrew Neff (The Mind Game Company: The Players)
This is the pivotal point, maybe of this whole book. On the surface of our lives most of us build the hard shell. It is built to cover fear and insecurity and win approval and success. When you get down to the core of yourself, you find a different, more primeval country, and in it a deep yearning to care and connect. You could call this deep core of yourself the pleroma, or substrate. It is where your heart and soul reside. After her first daughter was born, a friend of mine, Catherine Bly Cox, told me, “I found I loved her more than evolution required.” I’ve always loved that observation because it points to that deeper layer. There are the things that drive us toward material pleasure, and there are evolutionary forces that drive us to reproduce and pass down our genes. These are the layers of life covered by economics and political science and evolutionary psychology. But those layers don’t explain Chartres Cathedral or “Ode to Joy”; they don’t explain Nelson Mandela in jail, Abraham Lincoln in the war room, or a mother holding her baby. They don’t explain the fierceness and fullness of love, as we all experience it. This is the layer we’re trying to reach in the wilderness. These are the springs that will propel us to our second mountain.
David Brooks (The Second Mountain: The Quest for a Moral Life)
You might even say there is a tree for every mood and every moment. When you have something precious to give to the universe, a song or a poem, you should first share it with a golden oak before anyone else. If you are feeling discouraged and defenceless, look for a Mediterranean cypress or a flowering horse chestnut. Both are strikingly resilient, and they will tell you about all the fires they have survived. And if you want to emerge stronger and kinder from your trials, find an aspen to learn from – a tree so tenacious it can fend off even the flames that aim to destroy it. If you are hurting and have no one willing to listen to you, it might do you good to spend time beside a sugar maple. If, on the other hand, you are suffering from excessive self-esteem, do pay a visit to a cherry tree and observe its blossoms, which, though undoubtedly pretty, are no less ephemeral than vainglory. By the time you leave, you might feel a bit more humble, more grounded. To reminisce about the past, seek out a holly to sit under; to dream about the future, choose a magnolia instead. And if it is friends and friendships on your mind, the most suitable companion would be a spruce or a ginkgo. When you arrive at a crossroads and don’t know which path to take, contemplating quietly by a sycamore might help. If you are an artist in need of inspiration, a blue jacaranda or a sweetly scented mimosa could stir your imagination. If it is renewal you are after, seek a wych elm, and if you have too many regrets, a weeping willow will offer solace. When you are in trouble or at your lowest point, and have no one in whom to confide, a hawthorn would be the right choice. There is a reason why hawthorns are home to fairies and known to protect pots of treasure. For wisdom, try a beech; for intelligence, a pine; for bravery, a rowan; for generosity, a hazel; for joy, a juniper; and for when you need to learn to let go of what you cannot control, a birch with its white-silver bark, peeling and shedding layers like old skins. Then again, if it’s love you’re after, or love you have lost, come to the fig, always the fig.
Elif Shafak (The Island of Missing Trees)
Things you shouldn’t do when someone is dying: Don’t talk about when your aunt or your grandmother or your dog died. This isn’t about you, and the sick person shouldn’t have to comfort you; it should be the other way around. There are concentric circles of grief: the patient is at the center, the next layer is the caregiver, then their kids, then close friends, and so on. Figure out what circle you’re in. If you are looking into the concentric circles, you give comfort. If you’re looking out, you receive it. Don’t say things that aren’t true: You’re going to beat this cancer! It’s all about a positive outlook! You look stronger! You aren’t fooling anyone. Don’t overact your happiness. It’s okay to be sad with someone who is dying. They’ve invited you close at a very tender time, and that’s a moment of grace you can share. Don’t think you have to discuss the illness. Sometimes, a sick person needs a break. And if you ask up front if he wants to talk about how he feels—or doesn’t—you’re giving him control at a time when he doesn’t have a lot of choices. Don’t be afraid of the silence. It’s okay to say nothing. Don’t forget: No one knows what to say to someone who’s dying. Everyone is afraid of saying the wrong thing. It’s more important to be there than to be right. Win and I have reached the stage where we can sit in quiet, without a background noise of NPR on the radio or the television murmuring.
Jodi Picoult (The Book of Two Ways)
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Markus Zusak
There are countless differences between the lives of people with money and people without. One is this: without the means to pay experts, it’s necessary to evolve a complex system of useful amateurs. When Charlie’s dad got what the doctor told him was a skin cancer, he drank a fifth of Maker’s Mark and asked a butcher friend to cut a divot out of his shoulder, because there was no way he could afford a surgeon. When Charlie’s friend’s cousin got married, they asked Mrs. Silva from three blocks over to make their wedding cake, because she loved to bake and had fancy pastry pipping doodads. And if the buttercream was a little grainy or one of the layers was a bit overbaked, well it was still sweet and just as tall as a cake in a magazine, and it only cost the price of supplies.
Holly Black (Book of Night (Book of Night, #1))
This idea, however, came to nothing: the corridors, which were packed with people on the lookout for the lunch trolley, were impossible to negotiate while wearing the Cloak. Harry stowed it regretfully back in his bag, reflecting that it would have been nice to wear it just to avoid all the staring, which seemed to have increased in intensity even since he had last walked down the train. Every now and then students would hurtle out of their compartments to get a better look at him. The exception was Cho Chang, who darted into her compartment when she saw Harry coming. As Harry passed the window he saw her deep in determined conversation with her friend Marietta, who was wearing a very thick layer of makeup that did not entirely obscure the odd formation of pimples still etched across her face.
J.K. Rowling (Harry Potter and the Half-Blood Prince (Harry Potter, #6))
Because there’s a silent, shrugging, stoical acceptance of all the things in the world we can never be part of: shorts, swimming pools, strappy dresses, country walks, roller-skating, ra-ra skirts, vest tops, high heels, rope climbing, sitting on a high stool, walking past building sites, flirting, being kissed, feeling confident. And ever losing weight, ever. The idea of suggesting we don’t have to be fat –that things could change –is the most distant and alien prospect of all. We’re fat now and we’ll be fat forever and we must never, ever mention it, and that is the end of it. It’s like Harry Potter’s Sorting Hat. We were pulled from the hat marked ‘Fat’ and that is what we must now remain, until we die. Fat is our race. Our species. Our mode. As a result, there is very little of the outside world –and very little of the year –we can enjoy. Summer is sweaty under self-conscious layers. On stormy days, wind flattens skirts against thighs, and alarms both us and, we think, onlookers and passers-by. Winter is the only time we feel truly comfortable: covered head to toe in jumpers, coats, boots and hat. I develop a crush on Father Christmas. If I married him, not only would I be expected to stay fat, but I’d look thin standing next to him, in comparison. Perspective would be my friend. We all dream of moving to Norway, or Alaska, where we could wear massive padded coats all the time, and never reveal an inch of flesh. When it rains, we’re happiest of all. Then we can just stay in, away from everyone, in our pyjamas, and not worry about anything. The brains in jars can stay inside, nice and dry.
Caitlin Moran (How to Be a Woman)
The day was grey and bitter cold, and the dogs would not take the scent. The big black bitch had taken one sniff at the bear tracks, backed off, and skulked back to the pack with her tail between her legs. The dogs huddled together miserably on the riverbank as the wind snapped at them. Chett felt it too, biting through his layers of black wool and boiled leather. It was too bloody cold for man or beast, but here they were. His mouth twisted, and he could almost feel the boils that covered his cheeks and neck growing red and angry. I should be safe back at the Wall, tending the bloody ravens and making fires for old Maester Aemon. It was the bastard Jon Snow who had taken that from him, him and his fat friend Sam Tarly. It was their fault he was here, freezing his bloody balls off with a pack of hounds deep in the haunted forest.
George R.R. Martin (A Storm of Swords (A Song of Ice and Fire, #3))
Camille, did you know that when your mother was a little girl she baked her own birthday cakes?" "That's weird," Camille said. "At first she baked birthday cakes for all her friends in school and then one year, I think she was nine, I was having a party for her and she asked if she could bake her own cake. Nine was very young, I thought. It was a complicated cake. I don't remember what kind it was now. I think she made it up." "Do you remember what kind of cake it was, Mom?" I shook my head no, but of course I remembered. The first cake I ever made for myself was a landmark in my personal baking history. It was a lemon glow chiffon that I sliced into twelve half-inch layers, spread with strawberry jam, reassembled, and covered in seven-minute icing. Looking back, such a cake would appear to have been a monstrosity, but to a nine-year-old it was a glamorous, ambitious cake that had the aura of something very French, even though I had no idea what that meant at the time.
Jeanne Ray (Eat Cake)
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Preverbal, love is the smell of a known body, the touch of a recognized hand, the blurred face in a haze of light. Words come, and love sharpens. Love becomes describable, narratable, relatable. Over time, one love comes to lay atop another, a mother’s love, a father’s love, a lover’s love, a friend’s love, an enemy’s love. This promiscuous mixing of feelings and touches, of smiles and cries in the dark, of half-hushed pleasures and heart-cracking pain, of shared unutterable intimacies and guttural expressions, layer in embellished bricolage. One love coats another, like the clear pages of an anatomy textbook, drawing pictures of things we can only ever see in fractions. With the coming of words, love writes and is then overwritten; love is marginalia illegibly scrawled in your own illegible hand. In time, love becomes a dense manuscript, a palimpsest of inscrutable, epic proportions, one love overlaying another, thick and hot and stinking of beds. It’s an unreadable mess.
Chelsea G. Summers (A Certain Hunger)
The Guardians of the Overhead hold the most power in Heaven. They have the power to not only heal, but project. They can influence other Healers around them to make sure that Healer makes better judgment choices in life. Following them is the royal family that rules Heavens dynasty—” “The Caspian family,” I cut in happy that I knew the answer. To know that my family was the second most powerful family in Heaven’s dynasty suddenly made me feel powerful, even though my powers have not come in yet. “Yes,” Mother agreed with friendlies to her voice. “Although we are better known as the Nobles of Heaven. We have the ability to heal others, as well as control ones emotions. As you have noticed, your father and I are most powerful in the day time. That is when our power shines brightest. As the Nobles of Heaven, your father has the ability to control how a Healer acts. If one misbehaves, it is a Nobles job to straighten them up for the good of Heaven. Just by a single command, your father can change that Healers action. For if one Healer acts out, it is a chain reaction. Without consequence, Lumen will be unbalanced.
Barbara C. Doyle (Finding Redemption)
Not one but many Djunas descended the staircase of the barge, one layer formed by the parents, the childhood, another molded by her profession and her friends, still another born of history geology, climate, race, economics, and all the backgrounds and backdrops, the sky and nature of the earth, the pure sources of birth, the influence of a tree, a word dropped carelessly, an image seen, and all the corrupted sources: books, art, dogmas, tainted friendships, and all the places where a human being is wounded... People add up their physical mishaps, the stubbed toes, the cut finger, the burn scar, the fever, the cancer, the microbe, the infection, the wounds and broken bones. They never add up the accumulated bruises and scars of the inner lining, forming a complete universe of reactions, a reflected world through which no event could take place without being subjected to a personal private interpretation, through this kaleidoscope of memory, through the peculiar formation of the psyche's sensitive photographic plates, to this assemblage of emotional chemicals through which every word, every event, every experience is filtered, digested, deformed, before it is projected again upon people and relationships.
Anaïs Nin (The Four-Chambered Heart: V3 in Nin's Continuous Novel)
The biologist, who sees man as a balanced whole, and for whom muscles, bones, sinews and veins are as important as brains, can only look on, upset, as the destruction of all physical work and fitness continues. When Martti Ahtisaari entered the arena of Finnish politics, my biologist friend Olavi Hildén — a university professor over sixty yet still in great shape — became furious: “How could people even consider to choose him as our president? He can’t even walk properly: he just ambles along!” If one has the patience to cool down, he will admit that charming personalities exist even among chubby people: many great things have been achieved from behind thick layers of fat. But still, it is frightening to see the presidential chair filled by someone who has completely allowed his willpower and discipline to slacken in one sphere of life. This is all the more unpleasant if we follow sociologists in believing that presidential victories are no longer determined by candidates’ ideals, but rather by the images of themselves that they project. Is the popularity of Ahtisaari due to the fact that he is perceived as a buddy by the typical Finnish male, feasting on beer and and sausages in his sauna, and that he reminds the typical Finnish female of her own pot-bellied companion?
Pentti Linkola (Can Life Prevail?)
If you’re going to give me the third degree,” she tells him, “let’s get it over with. Best to withhold food or water; water is probably best. I’ll get thirsty before I get hungry.” He shakes his head in disbelief. “Do you really think I’m like that? Why would you think that?” “I was taken by force, and you’re keeping me here against my will,” she says, leaning across the table toward him. She considers spitting in his face, but decides to save that gesture as punctuation for a more appropriate moment. “Imprisonment is still imprisonment, no matter how many layers of cotton you wrap it in.” That makes him lean farther away, and she knows she’s pushed a button. She remembers seeing those pictures of him back when he was all over the news, wrapped in cotton and kept in a bombproof cell. “I really don’t get you,” he says, a bit of anger in his voice this time. “We saved your life. You could at least be a little grateful.” “You have robbed me, and everyone here, of their purpose. That’s not salvation, that’s damnation.” “I’m sorry you feel that way.” Now it’s her turn to get angry. “Yes, you’re sorry I feel that way, everyone’s sorry I feel that way. Are you going to keep this up until I don’t feel that way anymore?” He stands up suddenly, pushing his chair back, and paces, fern leaves brushing his clothes. She knows she’s gotten to him. He seems like he’s about to storm out, but instead takes a deep breath and turns back to her. “I know what you’re going through,” he says. “I was brainwashed by my family to actually want to be unwound—and not just by my family, but by my friends, my church, everyone I looked up to. The only voice who spoke sense was my brother Marcus, but I was too blind to hear him until the day I got kidnapped.” “You mean see,” she says, putting a nice speed bump in his way. “Huh?” “Too blind to see him, too deaf to hear him. Get your senses straight. Or maybe you can’t, because you’re senseless.” He smiles. “You’re good.” “And anyway, I don’t need to hear your life story. I already know it. You got caught in a freeway pileup, and the Akron AWOL used you as a human shield—very noble. Then he turned you, like cheese gone bad.” “He didn’t turn me. It was getting away from my tithing, and seeing unwinding for what it is. That’s what turned me.” “Because being a murderer is better than being a tithe, isn’t that right, clapper?” He sits back down again, calmer, and it frustrates her that he is becoming immune to her snipes. “When you live a life without questions, you’re unprepared for the questions when they come,” he says. “You get angry and you totally lack the skills to deal with the anger. So yes, I became a clapper, but only because I was too innocent to know how guilty I was becoming.” ... “You think I’m like you, but I’m not,” Miracolina says. “I’m not part of a religious order that tithes. My parents did it in spite of our beliefs, not because of ii.” “But you were still raised to believe it was your purpose, weren’t you?” “My purpose was to save my brother’s life by being a marrow donor, so my purpose was served before I was six months old.” “And doesn’t that make you angry that the only reason you’re here was to help someone else?” “Not at all,” she says a little too quickly. She purses her lips and leans back in her chair, squirming a bit. The chair feels a little too hard beneath her. “All right, so maybe I do feel angry once in a while, but I understand why they did it. If I were them, I would have done the same thing.” “Agreed,” he says. “But once your purpose was served, shouldn’t your life be your own?” “Miracles are the property of God,” she answers. “No,” he says, “miracles are gifts from God. To calthem his property insults the spirit in which they are given.” She opens her mouth to reply but finds she has no response, because he’s right. Damn him for being right—nothing about him should be right! “We’ll talk again when you’re over yourself,” he says.
Neal Shusterman (UnWholly (Unwind, #2))
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Divorce is distressing. One does need moral support. Divorce lawyers are professionally adept at persuasively taking your side. A good divorce lawyer will have no trouble agreeing that an errant husband’s adultery killed the marriage and that he is, consequently, tyrannical for holding against his wife her own tiny indiscretion, which was a mere meaningless one-time fling with a friend. Divorce lawyers are the professional adepts at proxying for the kind of emotional support often given by best friends. Attorneys are ready and able to provide you with emotional alliance. But let me ask you: are you ready to pay a divorce lawyer’s hourly rate for emotional support? Why not use lawyers for legal work and reach for emotional support elsewhere? Many people are much better suited to comfort you. Most of them work cheaper or even free: therapists, clergy, primary care physicians. Your mother is often a good choice, and always free. Your best friend may be a good choice—unless your spouse is sleeping with your best friend. Facebook is full of “supporting each other in divorce” groups. Talk to your mother. Talk to your friends. Talk to the fellow-sufferers on Facebook (but do be careful not to give out too many personal details). These resources might not heal all of your emotional scars, but unlike your divorce layers, they are cheap or even free. They will cost less even if you become quite a successful practitioner in the art of stiffing an attorney for his fees.
Portia Porter (Can You Stiff Your Divorce Lawyer? Tales of How Cunning Clients Can Get Free Legal Work, as Told by an Experienced Divorce Attorney)
He carries the past around like a bottle of antacids in his pocket. You outlive your wife, then your colleagues and friends, then your accountant and building doorman. You no longer attend the opera, because the human bladder can only endure so much. Social engagements require strategy and hearing-aid calibrations. Every sports coat you own is too big because you continue to shrink, your shoulders like a rumor behind all that fabric. You are waiting to die without ever thinking about death itself. It's a face at the window, peering in. You live in three rooms of your twenty-room triplex, whole areas cordoned off like cholera wards. You live among the ruins of the past, carry them in your pockets, wishing you'd been decent and loving and talented and brave. Instead you were vain and selfish, capable of love but always giving less than everything you had. You held back. You hoarded. You lived among beautiful things. The paintings on your walls, the Dutch rivers and kitchens, the Flemish peasant frolics, they give off fumes and dull with age, but connect you to a bloodline of want, to shipbuilders and bankers who stared up at them as their own lives tapered off. Like trees, they have breathed in the air around them and now they exhales some of their previous owners' atoms and molecules. They could last for a thousand years, these paintings, and that buoys you as you drift off, a layer just above sleep. Skimming the pond, Rachel used to call it, or was that something you once said to her? You should turn everything off in the room, but you don't. You let the lamps burn all night.
Dominic Smith (The Last Painting of Sara de Vos)
Don’t jump to conclusions over first impressions. They’re often dead wrong. When I first met Mark, I thought he was spoiled. When I met Shirley, I assumed she was tough as nails. But getting to know them both as a member of their family, I saw how wrong I was. Shirley is a teddy bear, a caring, loving person who would do anything for me. And Mark? I think of him as a brother, in every sense of the word. I’ve learned to make a special effort to get to know the people who put up walls and seem cold or tough. It’s like an onion; you have to peel back the layers. I’m sure some of my DWTS partners made an assumption about who I was the first time they worked with me. They probably thought I was a tough taskmaster and cursed me out for putting them through this! But anyone who truly knows me will tell you, I’m harder on myself than I am on anyone else. And I’m a softie who loves to goof around. But to see that side of me, you need to move past the first impression. What’s the lesson here? Dig a little deeper. Get to know people and what makes them tick. Don’t make an assumption till you know someone a lot better. Think of all the people you might have dismissed who could have been great friends, mentors, or allies, if you’d only given them the chance. Perfect example: dancing with Lil’ Kim on DWTS. She had recently spent time in jail and I remember thinking, Oh my gosh, I’m afraid I’m going to get shanked in the middle of the dance! Then I realized I was judging her without knowing her, something that I have hated people doing to me in the past. It took only a few minutes to see the sweet, loving person she truly was. Had I not given us the chance to get to know each other better, I never would have learned that.
Derek Hough (Taking the Lead: Lessons from a Life in Motion)
Each purpose, each mission, is meant to be fully lived to the point where it becomes empty, boring, and useless. Then it should be discarded. This is a sign of growth, but you may mistake it for a sign of failure. For instance, you may take on a business project, work at it for several years, and then suddenly find yourself totally disinterested. You know that if you stayed with it for another few years you would reap much greater financial reward than if you left the project now. But the project no longer calls you. You no longer feel interested in the project. You have developed skills over the last few years working on the project, but it hasn’t yet come to fruition. You may wonder, now that you have the skills, should you stick with it and bring the project to fruition, even though the work feels empty to you? Well, maybe you should stick with it. Maybe you are bailing out too soon, afraid of success or failure, or just too lazy to persevere. This is one possibility. Ask your close men friends if they feel you are simply losing steam, wimping out, or afraid to bring your project to completion. If they feel you are bailing out too soon, stick with it. However, there is also the possibility that you have completed your karma in this area. It is possible that this was one layer of purpose, which you have now fulfilled, on the way to another layer of purpose, closer to your deepest purpose. Among the signs of fulfilling or completing a layer of purpose are these: 1. You suddenly have no interest whatsoever in a project or mission that, just previously, motivated you highly. 2. You feel surprisingly free of any regrets whatsoever, for starting the project or for ending it. 3. Even though you may not have the slightest idea of what you are going to do next, you feel clear, unconfused, and, especially, unburdened. 4. You feel an increase in energy at the prospect of ceasing your involvement with the project. 5. The project seems almost silly, like collecting shoelaces or wallpapering your house with gas station receipts. Sure, you could do it, but why would you want to? If you experience these signs, it is probably time to stop working on this project. You must end your involvement impeccably, however, making sure there are no loose ends and that you do not burden anybody’s life by stopping your involvement. This might take some time, but it is important that this layer of your purpose ends cleanly and does not create any new karma, or obligation, that will burden you or others in the future. The next layer of your unfolding purpose may make itself clear immediately. More often, however, it does not. After completing one layer of purpose, you might not know what to do with your life. You know that the old project is over for you, but you are not sure of what is next. At this point, you must wait for a vision. There is no way to rush this process. You may need to get an intermediary job to hold you over until the next layer of purpose makes itself clear. Or, perhaps you have enough money to simply wait. But in any case, it is important to open yourself to a vision of what is next. You stay open to a vision of your deeper purpose by not filling your time with distractions. Don’t watch TV or play computer games. Don’t go out drinking beer with your friends every night or start dating a bunch of women. Simply wait. You may wish to go on a retreat in a remote area and be by yourself. Whatever it is you decide to do, consciously keep yourself open and available to receiving a vision of what is next. It will come.
David Deida (The Way of the Superior Man: A Spiritual Guide to Mastering the Challenges of Women, Work, and Sexual Desire)
But among those 150 people, Dunbar stressed that there are hierarchical "layers of friendship" determined by how much time you spend with the person. It's kind of like a wedding cake where the topmost layer consist of only one or two people—say, a spouse and best friend—with whom you are most intimate and interact daily. The next layer can accommodate at most four people for whom you have great affinity, affection, and concern. Friendships at this level require weekly attention to maintain. Out from there, the tiers contain more casual friends who you see less often and thus, your ties are more tenuous. Without consistent contact, they easily fall into the realm of acquaintance. At this point, you are friendly but not really friends, because you've lost touch with who they are, which is always evolving. You could easily have a beer with them, but you wouldn't miss them terribly, or even notice right way, if they moved out of town. Nor would they miss you. An exception might be friends with whom you feel like you can pick up right where you left or even though you haven't talked to them for ages. According to Dunbar, these are usually friendships forged through extensive and deep listening at some point in your life, usually during an emotionally wrought time, like during college or early adulthood, or maybe during a personal crisis like an illness or divorce. It's almost as if you have banked a lot of listening that you can draw on later to help you understand and relate to that person even after significant time apart. Put another way, having listened well and often to someone in the past makes it easier to get back on the same wavelength when you get out of sync, perhaps due to physical separation or following a time of emotional distance caused by an argument.
Kate Murphy (You're Not Listening: What You're Missing and Why It Matters)
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Which is actually good because we’re doing an AP Euro study group this week at the library—I mean good that it got canceled, not good that someone died—so I was wondering too if maybe I can use the car, so you won’t have to come pick me up super late every night?” Alma had been a wildly clingy kid, but now she is a mostly autonomous and wholly inscrutable seventeen-year-old; she is mean and gorgeous and breathtakingly good at math; she has inside jokes with her friends about inexplicable things like Gary Shandling and avocado toast, paints microscopic cherries on her fingernails and endeavors highly involved baking ventures, filling their fridge with oblong bagels and six-layer cakes. “I’m asking now because last time you told me I didn’t give you enough notice,” she says. She has recently begun speaking conversationally to Julia and Mark again after nearly two years of brooding silence, and now it’s near impossible to get her to stop. She regales them with breathless incomprehensible stories at the dinner table; she delivers lengthy recaps of midseason episodes of television shows they have never seen; she mounts elaborate and convincing defenses of things she wants them to give her, or give her permission to do. Conversing with her is a mechanical act requiring the constant ability to shift gears, to backpedal or follow inane segues or catapult from the real world to a fictional one without stopping to refuel. There’s not a snowball’s chance in hell that she won’t be accepted next month to several of the seventeen exalted and appallingly expensive colleges to which she has applied, and because Julia would like the remainder of her tenure at home to elapse free of trauma, she responds to her daughter as she did when she was a napping baby, tiptoeing around her to avoid awakening unrest. The power dynamic in their household is not unlike that of a years-long hostage crisis.
Claire Lombardo (Same As It Ever Was)
It’s okay if you can’t. No worries. Just an idea,” I say quickly, looking away so she won’t see how disappointed I am. “No—I mean, I want to, but—” Hana sucks in a breath. I hate this, hate how awkward we both are. “I kind of have this party”—she corrects herself quickly— “this thing I’m supposed to go to with Angelica Marston.” My stomach gets that hollowed-out feeling. It’s amazing how words can do that, just shred your insides apart. [...] A rush of hatred overwhelms me. Hatred for my life, for its narrowness and cramped spaces; hatred for Angelica Marston, with her secretive smile and rich parents; hatred for Hana, for being so stupid and careless and stubborn, first and foremost, and for leaving me behind before I was ready to be left; and underneath all those layers something else, too, some white-hot blade of unhappiness flashing in the very deepest part of me. I can’t name it, or even focus on it clearly, but somehow I understand that this—this other thing—makes me the angriest of all. [...] Despite everything, this gives me pause. In the days after the party at Roaring Brook Farms, snatches of music seemed to follow me everywhere: I heard it winging in and out of the wind, I heard it singing off the ocean and moaning through the walls of the house. Sometimes I woke up in the middle of the night, drenched in sweat, my heart pounding, with the notes sounding in my ears. But every time I was awake and trying to remember the melodies consciously, hum a few notes or recall any of the chords, I couldn’t. Hana’s staring at me hopefully, waiting for my response. For a second I actually feel bad for her. I want to make her happy, like I always did, want to see her give a whoop and put her fist in the air and flash me one of her famous smiles. But then I remember she has Angelica Marston now, and something hardens in my throat, and knowing that I’m going to disappoint her gives me a kind of dull satisfaction.
Lauren Oliver (Delirium (Delirium, #1))
Fool. What were we?” It wasn’t an idle question. I needed to know it. I needed to finally understand it to put it in the wolf. “I don’t know.” His reply was guarded. “Friends. But also Prophet and Catalyst. And in that relationship, I did use you, Fitz. You know it and I know it. I’ve told you how sorry I was to do it. I hope you believe me. And that you forgive me.” His words were so intense, but that wasn’t what I wanted to talk about. I waved them away. “Yes, yes. But there was something else there. Always. You were dead, and I called you back. For that moment, when we returned to our proper bodies, as we passed each other, we…” We were one thing. Whole. He was waiting for me to continue b it seemed ridiculous that he could not hear the wolf. “We were one thing. A whole thing. You and I and Nighteyes. I felt a strange sort of peace. As if all the parts of me were finally in one place. All the missing bits that would make me a complete…thing.” I shook my head. “Words don’t reach that far.” H set his gloved hand on my sleeved arm. The layers of fabric deadened at that touch, but it still sang in mr. It was not the stunning touch he had shared with me once in Verity’s Skill-tower. I recalled that well. I’d been left huddled in a ball, for it had been too much, too overwhelming to know, so completely, another living entity. Nighteyes and I, we were simple creatures and our bonding was a simple thing. The Fool was complex, full of secrets and shadows and convoluted ideas. Even now, insulated from it, I felt that unfurling landscape of his being. It was endless, reaching to a distant horizon. But in some way, I knew it. Owned it. Had created it. He lifted his hand. “Did you feel that?” I asked him. He smiled sadly. “Fitz, I have never needed to touch you to feel that. It was always there. No limits.” Some part of me knew that was important. That once it would have mattered terribly to me. I tried to find words. “I will put that in my wolf,” I said, and he turned sadly away from me.
Robin Hobb (Assassin's Fate (The Fitz and the Fool, #3))
What does it mean to truly be yourself? Around this time, in the mid-1900s, the Canadian philosopher Charles Taylor began thinking about how people throughout history had dealt with this question of individual identity. In the past, there was no such thing. You were born into a well-defined position, locked along a hierarchy, and you accepted that this was the natural order of things. With the dissolution of feudal, old-world bonds, new possibilities of economic and social mobility emerged, and this transience infected the soul. People began to wonder whether we possessed some innate essence that might be discovered by peeling away layers of our surface. Or maybe there was nothing innate, and we were always in the process of self discovery, self creation, and revision. For some, this manifested as a kind of endless drifting and searching; others found the possibility of claiming one's own identity empowering. But we were all in search of the same thing, that quality that made you yourself. Taylor called this authenticity, and it became the unreachable horizon of modern life. It's a concept that makes sense only in its absence; we recognize inauthenticity, phoniness, when someone's clearly being a poseur. Yet the struggle to feel authentic -- this is very real, even if we know better. In Taylor's telling, everyone becomes a kind of artist, creatively wrestling with the parameters of our own being. He described the outlook as one where 'being true to myself is being true to my own originality, and that is something that only I can articulate and discover. In articulating it, I am defining it'. Even though all this sounds very navel-gazing, being true to yourself cannot happen in a vacuum. Constructing your personality is a game, one that requires you to joust with the expectations of others. Authenticity, Taylor explained, presumes dialogue, and it is born out of engaging with those around us. We seek recognition, even if what you want to hear from a close friend is that you're a one-of-a-kind weirdo that they'll never truly understand.
Hua Hsu (Stay True)
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Pam Ayres
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Asa Yoneda
Many of those who have experienced trauma in early childhood grow up to become adults with dysfunctional lives and dysfunctional relationships, never being able to solve such issues within themselves, not even with the help of the best therapists in the world, because the root cause of it has been removed by the institutions in control of mental health training programs, mainstream media and public opinion. And the root cause of all evil, including self-inflicted evil, lays on the capacity to differentiate good from evil, which has helped us survive as a society and as individuals throughout the entirety of human history and up to this day. Once you remove this natural ability from anyone's awareness, no theory, despite the amount of logic and common sense in it, will ever work. As a matter of fact, not many people know what serves their best interest, because they don't even know what is good or evil. They relativize their ignorance to justify their stupidity. And this constitutes a thicker layer on top of their innate capacity to perceive reality. Many problems, including those related to self-esteem, could easily be solved, if one was able of properly differentiating what promotes survival from what leads to death. Whenever a large group of people lacks such capacity, they are promoting a dysfunctional society by default, and in doing so, replicating the same traumas that made them themselves dysfunctional as humans. And that’s how an overall mindset rooted on victimization and justification promotes the power of those in control. One cannot ever be free unless he rebels against his own status quo and towards a higher level of individualization, risking that which he depends the most upon — the respect and acceptance of friends and family. The battle of ego and social validation against ethics, has made many souls captive to a world created to weaken them and blind them. Indeed, it is interesting to see how humanity replicates the tortures of medieval times with more sophisticated weapons, and how wars developed towards a higher degree of abstraction, in order to nullify any resistance, or the mere level of awareness justifying it.
Robin Sacredfire
Why did you come to the United States? Perhaps no one knows the real answer. I know that migrants, when they are still on their way here, learn the Immigrant’s Prayer. A friend who had been aboard La Bestia for a few days, working on a documentary, read it to me once. I didn’t learn the entire thing, but I remember these lines: “Partir es morir un poco / Llegar nunca es llegar”—“To leave is to die a little / To arrive is never to arrive.” I’ve had to ask so many children: Why did you come? Sometimes I ask myself the same question. I don’t have an answer yet. Before coming to the United States, I knew what others know: that the cruelty of its borders was only a thin crust, and that on the other side a possible life was waiting. I understood, some time after, that once you stay here long enough, you begin to remember the place where you originally came from the way a backyard might look from a high window in the deep of winter: a skeleton of the world, a tract of abandonment, objects dead and obsolete. And once you’re here, you’re ready to give everything, or almost everything, to stay and play a part in the great theater of belonging. In the United States, to stay is an end in itself and not a means: to stay is the founding myth of this society. To stay in the United States, you will unlearn the universal metric system so you can buy a pound and a half of cooked ham, accept that thirty-two degrees, and not zero, is where the line falls that divides cold and freezing. You might even begin to celebrate the pilgrims who removed the alien Indians, and the veterans who maybe killed other aliens, and the day of a president who will eventually declare a war on all the other so-called aliens. No matter the cost. No matter the cost of the rent, and milk, and cigarettes. The humiliations, the daily battles. You will give everything. You will convince yourself that it is only a matter of time before you can be yourself again, in America, despite the added layers of its otherness already so well adhered to your skin. But perhaps you will never want to be your former self again. There are too many things that ground you to this new life. Why did you come here? I asked one little girl once. Because I wanted to arrive.
Valeria Luiselli (Tell Me How It Ends: An Essay in 40 Questions)
I couldn’t shake the idea that I, too, was probably one conversation away from changing my own mind about something, maybe a lot of things. But I also recalled how many conversations I’d had that only made my convictions stronger. I thought about the truthers and all the conversations they had in New York. I wondered what made these interactions different. In the training, after the videos, Laura handed things over to Steve, and I got my first clue. He opened by telling the crowd that facts don’t work. A serene man with a gentle and patient spirit, Steve put away his persistent smile and raised his voice to address the audience on this point. “There is no superior argument, no piece of information that we can offer, that is going to change their mind,” he said, taking a long pause before continuing. “The only way they are going to change their mind is by changing their own mind—by talking themselves through their own thinking, by processing things they’ve never thought about before, things from their own life that are going to help them see things differently.” He stood by a paper easel on which Laura had drawn a cartoon layer cake. Steve pointed to the smallest portion at the top with a candle sticking out. It was labeled “rapport,” the next smallest layer was “our story,” and the huge base was “their story.” He said to keep that image in mind while standing in front of someone, to remember to spend as little time as possible talking about yourself, just enough to show that you are friendly, that you aren’t selling anything. Show you are genuinely interested in what they have to say. That, he said, keeps them from assuming a defensive position. You should share your story, he said, pointing to the portion of the cake that sat on top of the biggest layer, but it’s their story that should take up most of the conversation. You want them to think about their own thinking. The team tossed out lots of metaphors like these. For instance, Steve later said to think of questions as keys on a giant ring. If you keep asking and listening, he told the crowd, one of those keys was bound to unlock the door to a personal experience related to the topic. Once that real, lived memory was out in the open, you could (if done correctly) steer the conversation away from the world of conclusions with their facts googled for support, away from ideological abstractions and into the world of concrete details from that individual’s personal experiences. It was there, and only there, he said, that a single conversation could change someone’s mind.
David McRaney (How Minds Change: The Surprising Science of Belief, Opinion, and Persuasion)
But there were problems. After the movie came out I couldn’t go to a tournament without being surrounded by fans asking for autographs. Instead of focusing on chess positions, I was pulled into the image of myself as a celebrity. Since childhood I had treasured the sublime study of chess, the swim through ever-deepening layers of complexity. I could spend hours at a chessboard and stand up from the experience on fire with insight about chess, basketball, the ocean, psychology, love, art. The game was exhilarating and also spiritually calming. It centered me. Chess was my friend. Then, suddenly, the game became alien and disquieting. I recall one tournament in Las Vegas: I was a young International Master in a field of a thousand competitors including twenty-six strong Grandmasters from around the world. As an up-and-coming player, I had huge respect for the great sages around me. I had studied their masterpieces for hundreds of hours and was awed by the artistry of these men. Before first-round play began I was seated at my board, deep in thought about my opening preparation, when the public address system announced that the subject of Searching for Bobby Fischer was at the event. A tournament director placed a poster of the movie next to my table, and immediately a sea of fans surged around the ropes separating the top boards from the audience. As the games progressed, when I rose to clear my mind young girls gave me their phone numbers and asked me to autograph their stomachs or legs. This might sound like a dream for a seventeen-year-old boy, and I won’t deny enjoying the attention, but professionally it was a nightmare. My game began to unravel. I caught myself thinking about how I looked thinking instead of losing myself in thought. The Grandmasters, my elders, were ignored and scowled at me. Some of them treated me like a pariah. I had won eight national championships and had more fans, public support and recognition than I could dream of, but none of this was helping my search for excellence, let alone for happiness. At a young age I came to know that there is something profoundly hollow about the nature of fame. I had spent my life devoted to artistic growth and was used to the sweaty-palmed sense of contentment one gets after many hours of intense reflection. This peaceful feeling had nothing to do with external adulation, and I yearned for a return to that innocent, fertile time. I missed just being a student of the game, but there was no escaping the spotlight. I found myself dreading chess, miserable before leaving for tournaments. I played without inspiration and was invited to appear on television shows. I smiled.
Josh Waitzkin (The Art of Learning: An Inner Journey to Optimal Performance)
Moreover, Nancy Sinatra was afflicted, as the overwhelming majority of Americans were, with monolingualism. Lana’s richer, more textured version of “Bang Bang” layered English with French and Vietnamese. Bang bang, je ne l’oublierai pas went the last line of the French version, which was echoed by Pham Duy’s Vietnamese version, We will never forget. In the pantheon of classic pop songs from Saigon, this tricolor rendition was one of the most memorable, masterfully weaving together love and violence in the enigmatic story of two lovers who, regardless of having known each other since childhood, or because of knowing each other since childhood, shoot each other down. Bang bang was the sound of memory’s pistol firing into our heads, for we could not forget love, we could not forget war, we could not forget lovers, we could not forget enemies, we could not forget home, and we could not forget Saigon. We could not forget the caramel flavor of iced coffee with coarse sugar; the bowls of noodle soup eaten while squatting on the sidewalk; the strumming of a friend’s guitar while we swayed on hammocks under coconut trees; the football matches played barefoot and shirtless in alleys, squares, parks, and meadows; the pearl chokers of morning mist draped around the mountains; the labial moistness of oysters shucked on a gritty beach; the whisper of a dewy lover saying the most seductive words in our language, anh oi; the rattle of rice being threshed; the workingmen who slept in their cyclos on the streets, kept warm only by the memories of their families; the refugees who slept on every sidewalk of every city; the slow burning of patient mosquito coils; the sweetness and firmness of a mango plucked fresh from its tree; the girls who refused to talk to us and who we only pined for more; the men who had died or disappeared; the streets and homes blown away by bombshells; the streams where we swam naked and laughing; the secret grove where we spied on the nymphs who bathed and splashed with the innocence of the birds; the shadows cast by candlelight on the walls of wattled huts; the atonal tinkle of cowbells on mud roads and country paths; the barking of a hungry dog in an abandoned village; the appetizing reek of the fresh durian one wept to eat; the sight and sound of orphans howling by the dead bodies of their mothers and fathers; the stickiness of one’s shirt by afternoon, the stickiness of one’s lover by the end of lovemaking, the stickiness of our situations; the frantic squealing of pigs running for their lives as villagers gave chase; the hills afire with sunset; the crowned head of dawn rising from the sheets of the sea; the hot grasp of our mother’s hand; and while the list could go on and on and on, the point was simply this: the most important thing we could never forget was that we could never forget.
Viet Thanh Nguyen (The Sympathizer)
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...maybe you could use an old friend who knows the original color of the paint beneath all those layers life has slapped on you. Maybe I could, too.
Roni Loren (The Ones Who Got Away (The Ones Who Got Away, #1))
Faith is one of the most important elements of human life. It is with faith that you operate your imagination, then gaining upper control over the physical universe around you. It is with faith that you make plans for the future, endure the pains of seeing them fail, and then regain hope again, by replanning, readjusting towards your goals, in order to finally succeed. It is because of your faith that your life gains a higher meaning, enabling you to endure the most profound of chaos, at a mental, physical, and spiritual level. It is due to faith, that we love. And it is because of faith that we keep our relationships. No relationship was ever made possible without faith. That was not, at the very least, a relationship that could be labeled as a loving one. Because we only associate with those who can become recipients of our faith. That faith then assumes different ramifications, in the form of trust, commitment, realistic expectations, and understanding. Whenever these fundamental branches get broken, faith is lost, and so is the relationship or its meaning. Nothing ever ends before ending faith first. Suicide, depression, despair, and anxiety, among many other forms of mental illnesses and emotional challenges in general, cannot emerge without breaking faith first. And that faith is broken first in our social interactions before being broken within us. We do that by violating our own ethical code. Ultimately, faith connects us as a collective and connects the essence of our soul to the meaning of life. Without faith, nothing makes any sense. But the deepest challenge of faith, is always a karmic one, for the heavier your karma, the more faith you will need to overcome it. The worse the actions of the past — the more against your spiritual integrity and the spiritual integrity of others they are — the thicker will be the layers of your karma. And those layers will manifest too in the physical world, leading into the greatest trap of all, which is the idea that your surroundings and those who compose them make you. They do not. And every glimpse of light in the horizon, in the form of an illusion, shows you that. Because that is what pleasant illusions are for, to give you hope. Because it is thanks to hoping that you rediscover your faith and it is with this renewed faith that you rediscover love. Happiness then could be considered a process, but no process is joyful until you look back at the memories that led you towards success, and no success is meaningful except the one that can be shared. Recognition and admiration are then not a goal in itself, but part of such illusion in which we find ourselves, for it either sink us deeper into thicker layers of karma or propels us outwards, and towards love. The difference is as clear as in seeing with whom we associate ourselves with, for we may be too immersed in a karmic fog to realize that the ones who help us the most are not our enemies, and our enemies may be the ones we consider friends. Upon contemplating these different stages of karmic manifestation, one then understands the need to repent, and becomes humble, and focused on his spiritual freedom before even considering a spiritual growth. When this is consciously seen and accepted, he will feel blessed for the glimpses of light, no matter how delusional, and the ones who despite the inner conflicts caused can lead then to the spiritual freedom they seek. As a man in the dark, those who are blinded by their karma, won’t be able to discern their angels from their demons, but faith in oneself is a good start in that direction.
Dan Desmarques (Codex Illuminatus: Quotes & Sayings of Dan Desmarques)
This address book was a snapshot of her world in 1951: layers of friends and acquaintances accumulated over the years, and a few new ones, surely. But who really mattered in this list? Who telephoned her? What numbers did she dial? If someone found our smartphone contacts today, wouldn't they see our favorites, reconstruct the history of our calls, read our texts and emails, listen to our messages? They would know our entires lives. This book of hers was silent as the grave.
Brigitte Benkemoun (Finding Dora Maar: An Artist, an Address Book, a Life)
She haunted many a low resort, Round the grimy road of Tottenham Court. She flitted around the no man’s land From The Rising Sun to The Friend At Hand And the postman sighed as he scratched his head You really would have thought she ought to be dead And who would ever suppose that that Was Grizabella The Glamour Cat. And that was not all. There was a letter from Tom Eliot to his publisher Geoffrey Faber about an event which brought all the Pollicle Dogs and Jellicle Cats together who then ascended to the “Heaviside Layer” in a great big air balloon. There was even a couplet to go with it: “Up, up, up, past the Russell Hotel, / Up, up, up, to the Heaviside Layer.” So Eliot himself had an idea for a bigger structure for these poems, very vague, but it was there. I knew then that I had the bare bones of a stage musical. Most importantly Grizabella the Glamour Cat gave me a tragic character, a character who you would really care about. I asked Cameron and Gillie to join Valerie and Matthew, and the excitement was tangible. There were other poems too, the story of a parrot called Billy McCaw, who lived on the
Andrew Lloyd Webber (Unmasked: A Memoir)
She haunted many a low resort, Round the grimy road of Tottenham Court. She flitted around the no man’s land From The Rising Sun to The Friend At Hand And the postman sighed as he scratched his head You really would have thought she ought to be dead And who would ever suppose that that Was Grizabella The Glamour Cat. And that was not all. There was a letter from Tom Eliot to his publisher Geoffrey Faber about an event which brought all the Pollicle Dogs and Jellicle Cats together who then ascended to the “Heaviside Layer” in a great big air balloon. There was even a couplet to go with it: “Up, up, up, past the Russell Hotel, / Up, up, up, to the Heaviside Layer.” So Eliot himself had an idea for a bigger structure for these poems, very vague, but it was there. I knew then that I had the bare bones of a stage musical. Most importantly Grizabella the Glamour Cat gave me a tragic character, a character who you would really care about. I asked Cameron and Gillie to join Valerie and Matthew, and the excitement was tangible. There were other poems too, the story of a parrot called Billy McCaw, who lived on the bar of an East End pub. There was the saga of a Yorkshire terrier called Little Tom Pollicle which was apparently Eliot’s nickname, and a long poem about a man in white spats who meets a casual diner in a pub called the Princess Louise and starts talking about “this’s and thats and Pollicle Dogs and Jellicle Cats.” I asked Valerie what the words “Pollicle” and “Jellicle” meant. She explained it was Eliot’s private joke about how the British upper class slurred the words “poor little dogs” and “dear little cats.” She also revealed that Eliot intended the “Princess Louise” poem, as we came to call it, to be the preface of a book about dogs and cats, but in the end cats prevailed. “The Awefull Battle of the
Andrew Lloyd Webber (Unmasked: A Memoir)
Some white people don't assume people of color to be dynamic or layered, because many white people have never had to be dynamic or layered themselves.
Frederick Joseph (The Black Friend: On Being a Better White Person)
From an investigative perspective, I wanted to ignore the call.  As a close friend of Melissa’s, I knew I had to at least check the caller identification screen.
Meredith Potts (Murder and Layer Cake (Daley Buzz Mystery, #16), (Mysteries of Treasure Cove #1))
She looked like a gift I wanted to unwrap. All those curves bound in a touchable fabric… her smooth skin just below that thin layer. It was enough to make my brain short-circuit at the sight of her like this. - Tristan
Demi Blaize (Apparently, I'm A Bitch: A Spicy Friends To Lovers Romantic Comedy (Apparently, We're The Problem Book 1))
Beneath the veneer of adulthood, beneath the layers of experience we accrue as the years march stoically onwards, we are all still children, with scraped knees and snotty noses, who need our parents .. and our friends.
C.J.Tudor (The Chalk Man (Chinese Edition))
Beneath the veneer of adulthood, beneath the layers of experience we accrue as the years march stoically onwards, we are all still children, with scraped knees and snotty noses, who need our parents .. and our friends.
C.J. Tudor (The Chalk Man)
Hope had filled our eyes back then. Life hadn’t smacked us down yet and shellacked us with the standard layer of cynicism that developed in one’s thirties.
Laura Wolfe (Her Best Friend's Lie)
Sophie shared a look with her friends before Stina shrugged and followed the Councillors—and the amount of bending and slouching she had to do was both hilarious and impressive. Wylie didn’t look nearly as graceful when it was his turn. Neither did Dex. But of course Biana found a way to saunter through the doorway like a celebrity on the red carpet. And Sophie was the clumsiest of them all—though, in her defense, her gown was also the poofiest, and the layers of tulle made the process a special kind of impossible.
Shannon Messenger (Legacy (Keeper of the Lost Cities, #8))
With my family and friends I am Chimene - layered in cultures and afforded the romance of such a name. With the state I am Shimen - conciliatory and afraid that my difference is a thing of difficulty for the British.
Chimene Suleyman (The Good Immigrant)