Line Marking Quotes

I will love you always. When this red hair is white, I will still love you. When the smooth softness of youth is replaced by the delicate softness of age, I will still want to touch your skin. When your face is full of the lines of every smile you have ever smiled, of every surprise I have seen flash through your eyes, when every tear you have ever cried has left its mark upon your face,I will treasure you all the more, because I was there to see it all. I will share your life with you, Meredith, and I will love you until the last breath leaves your body or mine.

Who has never killed an hour? Not casually or without thought, but carefully: a premeditated murder of minutes. The violence comes from a combination of giving up, not caring, and a resignation that getting past it is all you can hope to accomplish. So you kill the hour. You do not work, you do not read, you do not daydream. If you sleep it is not because you need to sleep. And when at last it is over, there is no evidence: no weapon, no blood, and no body. The only clue might be the shadows beneath your eyes or a terribly thin line near the corner of your mouth indicating something has been suffered, that in the privacy of your life you have lost something and the loss is too empty to share.

Pulvis et umbra sumus. It's a line from Horace. 'We are dust and shadows'. Appropriate, don't you think?" Will said. "It's not a long life, killing demons; one tends to die young, and then they burn your body - dust to dust, in the literal sense. And then we vanish into the shadows of history, nary a mark on the page of a mundane book to remind the world that once we existed at all.

Your face is marked with lines of life, put there by love and laughter, suffering and tears. It's beautiful.

I don't deserve you." "You're not allowed to say that." "Why not?" "It's a breakup line. Unless you're breaking up-" Jason leaned over and kissed her. The colors of the Roman afternoon suddenly seemed sharper, as it the world had switched to high definition. "No breakups," he promised. "I may have busted my head a few times, but I'm not that stupid.

Conventionality is not morality. Self-righteousness is not religion. To attack the first is not to assail the last. To pluck the mask from the face of the Pharisee, is not to lift an impious hand to the Crown of Thorns. These things and deeds are diametrically opposed: they are as distinct as is vice from virtue. Men too often confound them: they should not be confounded: appearance should not be mistaken for truth; narrow human doctrines, that only tend to elate and magnify a few, should not be substituted for the world-redeeming creed of Christ. There is – I repeat it – a difference; and it is a good, and not a bad action to mark broadly and clearly the line of separation between them.

Murder calls were never welcome, but this one had a small silver lining.it was going to get Merlin out of a sticky predicament.

Decision-making based on emotional intuition, without the aid of reason to keep it in line, pretty much always sucks. You know who bases their entire lives on their emotions? Three-year-old kids. And dogs. You know what else three-year-olds and dogs do? Shit on the carpet.

...she took her hand and raised her brush. For a moment it stayed trembling in a painful but exciting ecstacy in the air. Where to begin?--that was the question at what point to make the first mark? One line placed on the canvas committed her to innumerable risks, to frequent and irrevocable decisions. All that in idea seemed simple became in practice immediately complex; as the waves shape themselves symmetrically from the cliff top, but to the swimmer among them are divided by steep gulfs, and foaming crests. Still the risk must run; the mark made.

It's often said that a traumatic experience early in life marks a person forever, pulls her out of line, saying, "Stay there. Don't move.

You hate America, don't you?' That would be as silly as loving it,' I said. 'It's impossible for me to get emotional about it, because real estate doesn't interest me. It's no doubt a great flaw in my personality, but I can't think in terms of boundaries. Those imaginary lines are as unreal to me as elves and pixies. I can't believe that they mark the end or the beginning of anything of real concern to a human soul. Virtues and vices, pleasures and pains cross boundaries at will.

Fuck yeah. Bite me, gorgeous. Mark up my whole body. I want everyone to know who I belong to. Who I get hard for. Just you, Story. Just you.

Snake Street is an area I should avoid. Yet that night I was drawn there as surely as if I had an appointment.  The Snake House is shabby on the outside to hide the wealth within. Everyone knows of the wealth, but facades, like the park’s wall, must be maintained. A lantern hung from the porch eaves. A sign, written in Utte, read ‘Kinship of the Serpent’. I stared at that sign, at that porch, at the door with its twisted handle, and wondered what the people inside would do if I entered. Would they remember me? Greet me as Kin? Or drive me out and curse me for faking my death?  Worse, would they expect me to redon the life I’ve shed? Staring at that sign, I pissed in the street like the Mearan savage I’ve become. As I started to leave, I saw a woman sitting in the gutter. Her lamp attracted me. A memsa’s lamp, three tiny flames to signify the Holy Trinity of Faith, Purity, and Knowledge.  The woman wasn’t a memsa. Her young face was bruised and a gash on her throat had bloodied her clothing. Had she not been calmly assessing me, I would have believed the wound to be mortal. I offered her a copper.  She refused, “I take naught for naught,” and began to remove trinkets from a cloth bag, displaying them for sale. Her Utte accent had been enough to earn my coin. But to assuage her pride I commented on each of her worthless treasures, fighting the urge to speak Utte. (I spoke Universal with the accent of an upper class Mearan though I wondered if she had seen me wetting the cobblestones like a shameless commoner.) After she had arranged her wares, she looked up at me. “What do you desire, O Noble Born?” I laughed, certain now that she had seen my act in front of the Snake House and, letting my accent match the coarseness of my dress, I again offered the copper.  “Nay, Noble One. You must choose.” She lifted a strand of red beads. “These to adorn your lady’s bosom?”             I shook my head. I wanted her lamp. But to steal the light from this woman ... I couldn’t ask for it. She reached into her bag once more and withdrew a book, leather-bound, the pages gilded on the edges. “Be this worthy of desire, Noble Born?”  I stood stunned a moment, then touched the crescent stamped into the leather and asked if she’d stolen the book. She denied it. I’ve had the Training; she spoke truth. Yet how could she have come by a book bearing the Royal Seal of the Haesyl Line? I opened it. The pages were blank. “Take it,” she urged. “Record your deeds for study. Lo, the steps of your life mark the journey of your soul.”   I told her I couldn’t afford the book, but she smiled as if poverty were a blessing and said, “The price be one copper. Tis a wee price for salvation, Noble One.”   So I bought this journal. I hide it under my mattress. When I lie awake at night, I feel the journal beneath my back and think of the woman who sold it to me. Damn her. She plagues my soul. I promised to return the next night, but I didn’t. I promised to record my deeds. But I can’t. The price is too high.

One of them had something small and black in his hand that Johnson very much feared was  a gun. He was considering his options when he saw Goldberg’s head emerge above the latch door.

Then as he had kept watch Sam had noticed that at times a light seemed to be shining faintly within; but now the light was even clearer and stronger. Frodo's face was peaceful, the marks of fear and care had left it; but it looked old, old and beautiful, as if the chiseling of the shaping years was now revealed in many fine lines that had before been hidden, though the identity of the face was not changed. Not that Sam Gamgee put it that way to himself. He shook his head, as if finding words useless, and murmured: "I love him. He's like that, and sometimes it shines through, somehow. But I love him, whether or no.

I wake sometimes in the dark terrified by my life's precariousness, its thready breath. Beside me, my husband's pulse beats at his throat; in their beds, my children's skin shows every faintest scratch. A breeze would blow them over, and the world is filled with more than breezes: diseases and disasters, monsters and pain in a thousand variations. I do not forget either my father and his kind hanging over us, bright and sharp as swords, aimed at our tearing flesh. If they do not fall on us in spite and malice, then they will fall by accident or whim. My breath fights in my throat. How can I live on beneath such a burden of doom? I rise then and go to my herbs. I create something, I transform something. My witchcraft is as strong as ever, stronger. This too is good fortune. How many have such power and leisure and defense as I do? Telemachus comes from our bed to find me. He sits with me in the greensmelling darkness, holding my hand. Our faces are both lined now, marked with our years. Circe, he says, it will be all right. It is not the saying of an oracle or a prophet. They are words you might speak to a child. I have heard him say them to our daughters, when he rocked them back to sleep from a nightmare, when he dressed their small cuts, soothed whatever stung. His skin is familiar as my own beneath my fingers. I listen to his breath, warm upon the night air, and somehow I am comforted. He does not mean it does not hurt. He does not mean we are not frightened. Only that: we are here. This is what it means to swim in the tide, to walk the earth and feel it touch your feet. This is what it means to be alive.

To see the beauty of the world is to put your hands on lines that run uninterrupted through life and through death. Touching them is an act of hope, for perhaps someone on the other side, if there is another side, is touching them, too.

Oh. Wow.' 'What?' He held my hand up between us. 'Look.' I squinted at my hands. 'I don't see anything.' Sighing, he flipped my hand over, and my jaw hit the ground. A faint blue line marked the center of my palm with a smaller line through it. It would've looked like a cross, except the horizontal line was slanted. 'Oh. My. Gods.' I jerked my hand away, scrambling back. 'I have a rune on my hand. It's an Apollyon rune, isn't it.' Seth rested his hands on his knees. 'I think so. I have one like that.' 'But why is it still there? Why is it there at all?' I flipped my palm over several times, shook it, but the faint blue tattoo was still there. 'You can see it, right? Like right now, you can see it?' 'Yes. It hasn't faded.' Seth leaned forward, catching my hand. 'Stop shaking it like it's a damn Etch-A-Sketch. That doesn't make them disappear.

The America of my time line is a laboratory example of what can happen to democracies, what has eventually happened to all perfect democracies throughout all histories. A perfect democracy, a ‘warm body’ democracy in which every adult may vote and all votes count equally, has no internal feedback for self-correction. It depends solely on the wisdom and self-restraint of citizens… which is opposed by the folly and lack of self-restraint of other citizens. What is supposed to happen in a democracy is that each sovereign citizen will always vote in the public interest for the safety and welfare of all. But what does happen is that he votes his own self-interest as he sees it… which for the majority translates as ‘Bread and Circuses.’ ‘Bread and Circuses’ is the cancer of democracy, the fatal disease for which there is no cure. Democracy often works beautifully at first. But once a state extends the franchise to every warm body, be he producer or parasite, that day marks the beginning of the end of the state. For when the plebs discover that they can vote themselves bread and circuses without limit and that the productive members of the body politic cannot stop them, they will do so, until the state bleeds to death, or in its weakened condition the state succumbs to an invader—the barbarians enter Rome.

Love yourself first and everything else falls into line. You really have to love yourself to get anything done in this world. —Lucille Ball

That’s no little kid. That’s Jason Steed, the biggest damn hero you will ever see!

That was just how we spoke. Every conversation a game of poker, every line a bet or a raise, a bluff or a call.

Look, I'll fight, too. What do you think it is? Bear, coyote...?" "My brother." "Your..." Dismay pooled in Mark. She'd just stepped over the line of acceptable craziness. "Oh.

Clary shut her eyes. You didn't say no to an angel, no matter what it had in mind. Her heart pounding, she sat floating in the darkness behind her eyelids, resolutely trying not to think of Jace. But his face appear against the blank screen of her closed eyelids anyway - not smiling at her but looking sidelong, and she could see the scar at his temple, the uneven curl at the corner of his mouth, and the silver line on his throat where Simon had bitten him - all the marks and flaws and imperfections that made up the person she loved most in the world. Jace. A bright light lit her vision to scarlet, and she fell back against the sand, wondering if she was going to pass out - or maybe she was dying - but she didn't want to die, not now that she could see Jace's face so clearly in front of her. She could almost hear his voice, too, saying her name, the way he'd whispered it at Renwick's, over and over again. Clary. Clary. Clary. "Clary," Jace said. "Open your eyes.

I saw, for the first time, how thin the line was between fear and love, between reverence and adoration.

Two black boots came into view, then a pair of knees as someone crouched on the edge of the ring. “Get up,” Chaol whispered. She couldn’t bring herself to look him in the face. It was over.(...) “Get up,” Chaol said again, louder. She could only stare at the white line of chalk that marked the ring.(...) “Celaena,” Chaol said gently. And then she heard the scraping noise as his hand came into view, sliding across the flagstones. His fingertips stopped just at the edge of the white line. “Celaena,” he breathed, his voice laced with pain—and hope. This was all she had left—his outstretched hand, and the promise of hope, of something better waiting on the other side of that line. Moving her arm made sparks dance before her eyes, but she extended it until her fingertips reached the line of chalk, and stayed there, not a quarter of an inch from Chaol, the thick white mark separating them. She lifted her eyes to his face, and found his gaze lined with silver. “Get up,” was all he said. And in that moment, somehow his face was the only thing that mattered. She stirred, and couldn’t stop her sob as her body erupted with pain that made her lie still again. But she kept her focus on his brown eyes, on his tightly pressed lips as they parted and whispered, “Get up.

A description of Zaira as it is today should contain all Zaira’s past. The city, however, does not tell its past, but contains it like the lines of a hand, written in the corners of the streets, the gratings of the windows, the banisters of the steps, the antennae of the lightning rods, the poles of the flags, every segment marked in turn with scratches, indentations, scrolls.

Maybe you saw her first? Caught a glimpse between the lines, between the letters, like a ghost in the mirror, a ghost in the wings?

Capitalist realism insists on treating mental health as if it were a natural fact, like weather (but, then again, weather is no longer a natural fact so much as a political-economic effect). In the 1960s and 1970s, radical theory and politics (Laing, Foucault, Deleuze and Guattari, etc.) coalesced around extreme mental conditions such as schizophrenia, arguing, for instance, that madness was not a natural, but a political, category. But what is needed now is a politicization of much more common disorders. Indeed, it is their very commonness which is the issue: in Britain, depression is now the condition that is most treated by the NHS. In his book The Selfish Capitalist, Oliver James has convincingly posited a correlation between rising rates of mental distress and the neoliberal mode of capitalism practiced in countries like Britain, the USA and Australia. In line with James’s claims, I want to argue that it is necessary to reframe the growing problem of stress (and distress) in capitalist societies. Instead of treating it as incumbent on individuals to resolve their own psychological distress, instead, that is, of accepting the vast privatization of stress that has taken place over the last thirty years, we need to ask: how has it become acceptable that so many people, and especially so many young people, are ill?

Time quickens the older you get, as if the universe is trying to push you toward the finish line, to make room for the younger, the stronger, to mark your brief place in history and move on.

Tom said to himself that it was not such a hollow world, after all. He had discovered a great law of human action, without knowing it -- namely, that in order to make a man or a boy covet a thing, it is only necessary to make the thing difficult to attain. If he had been a great and wise philosopher, like the writer of this book, he would now have comprehended that Work consists of whatever a body is obliged to do, and that Play consists of whatever a body is not obliged to do. And this would help him to understand why constructing artificial flowers or performing on a tread-mill is work, while rolling ten-pins or climbing Mont Blanc is only amusement. There are wealthy gentlemen in England who drive four-horse passenger-coaches twenty or thirty miles on a daily line, in the summer, because the privilege costs them considerable money; but if they were offered wages for the service, that would turn it into work and then they would resign.

When [beauty pornography is] aimed at men, its effect is to keep them from finding peace in sexual love. The fleeting chimera of the airbrushed centerfold, always receding before him, keeps the man destabilized in pursuit, unable to focus on the beauty of the woman--known, marked, lined, familiar—-who hands him the paper every morning.

He believed that life, true life, was something that was stored in music. True life was kept safe in the lines of Tchaikovsky's Eugene Onegin while you went out in the world and met the obligations required of you. Certainly he knew (though did not completely understand) that opera wasn't for everyone, but for everyone he hoped there was something. The records he cherished, the rare opportunities to see a live performance, those were the marks by which he gauged his ability to love.

There's a fine line between funny and annoying – and it's exactly the width of a quotation mark.

I hadn't, at the last moment, felt like washing off the two diagonal lines of dried blood that marked my cheeks. They seemed touching, and rather spectacular, and I thought I would carry them around with me, like the relic of a dead lover, till they wore off of their own accord.

It's good to steer a man in the direction he intended to go. It blurs the line between what he wants and what you want.

Man never creates, he only recombines the lines and colors of his own existance.

Life—life was pain. Pain, and joy. Joy because of the pain. He saw it in Elide’s face. In every line and age mark. In every white hair. A life lived—together. The pain of parting because of how wonderful it had been.

I watched as she added a question mark at the end. Arc, line, space, dot.

So Jason, in England, do you eat these ‘Farmer burgers?’” Wong Tong asked. “Farmer burgers? I don’t know what they are?” “Maybe I have the name wrong. I remember the name from the song,” Wong Tong explained. “What song?” Jason asked. “You know the ‘E, I, E, I, O’ song.” ‘E, I, E, I, O’ song? Jason started to roar with laughter. He tried to speak but was laughing, much to the annoyance of Wong Tong. He held his chest, laughing still hurt his ribs. “You mean the ‘Old Macdonald had a farm’ song. You mean Macdonald’s burgers,” he said, laughing. “Yes, I have had them. They’re good.

The city, however, does not tell its past, but contains it like the lines of a hand, written in the corners of the streets, the gratings of the windows, the banisters of the steps, the antennae of the lightning roads, the poles of the flags, every segment marked in turn with scratches, indetations, scrolls.

[Greens] don't come through the back door the same as other groceries. They don't cower at the bottom of paper bags marked 'Liberty.' They wave over the top. They don't stop to be checked off the receipt. They spill out onto the counter. No going onto shelves with cans in orderly lines like school children waiting for recess. No waiting, sometimes for years beyond the blue sell by date, to be picked up and taken from the shelf. Greens don't stack or stand at attention. They aren't peas to be pushed around. Cans can't contain them. Boxed in they would burst free. Greens are wild. Plunging them into a pot took some doing. Only lobsters fight more. Either way, you have to use your hands. Then, retrieving them requires the longest of my mother's wooden spoons, the one with the burnt end. Swept onto a plate like the seaweed after a storm, greens sit tall, dark, and proud.

I don’t look at the wound. I don’t need to. I watched the Commandant as she carved it into me, a thick-lined, precise K stretching from my collarbone to the skin over my heart. She branded me. Marked me as her property. It’s a scar I’ll carry to the grave.

There is a very thin line between fighting for what you believe to be right and becoming that which you are fighting against.

Irony? Irony can never be more than our own personal Maginot line; the drawing of it, for the most part, purely arbitrary.

Public schools were not only created in the interests of industrialism—they were created in the image of industrialism. In many ways, they reflect the factory culture they were designed to support. This is especially true in high schools, where school systems base education on the principles of the assembly line and the efficient division of labor. Schools divide the curriculum into specialist segments: some teachers install math in the students, and others install history. They arrange the day into standard units of time, marked out by the ringing of bells, much like a factory announcing the beginning of the workday and the end of breaks. Students are educated in batches, according to age, as if the most important thing they have in common is their date of manufacture. They are given standardized tests at set points and compared with each other before being sent out onto the market. I realize this isn’t an exact analogy and that it ignores many of the subtleties of the system, but it is close enough.

My teacher, Mrs. Marks, makes this big production out of trying to decode what the poets were trying to say. From my perspective, it's pretty clear what they were saying: I'm depressed and I want to die. It's painful to watch all my classmates tear apart each line, looking for the significance/ There's no significance. Anyone who has actually been that sad can tell you that there's nothing beautiful or literary or mysterious about depression.

That night we danced, I marked you as mine and I made it stick. There wasn’t a boy or a man on that lake that didn’t know who you belonged to, and the minute there was even a whiff one of them was stepping over the line, they walked funny for a week.

You could see the signs of female aging as diseased, especially if you had a vested interest in making women too see them your way. Or you could see that a woman is healthy if she lives to grow old; as she thrives, she reacts and speaks and shows emotion, and grows into her face. Lines trace her thought and radiate from the corners of her eyes as she smiles. You could call the lines a network of 'serious lesions' or you could see that in a precise calligraphy, thought has etched marks of concentration between her brows, and drawn across her forehead the horizontal creases of surprise, delight, compassion and good talk. A lifetime of kissing, of speaking and weeping, shows expressively around a mouth scored like a leaf in motion. The skin loosens on her face and throat, giving her features a setting of sensual dignity; her features grow stronger as she does. She has looked around in her life and it shows. When gray and white reflect in her hair, you could call it a dirty secret or you could call it silver or moonlight. Her body fills into itself, taking on gravity like a bather breasting water, growing generous with the rest of her. The darkening under her eyes, the weight of her lids, their minute cross-hatching, reveal that what she has been part of has left in her its complexity and richness. She is darker, stronger, looser, tougher, sexier. The maturing of a woman who has continued to grow is a beautiful thing to behold.

he would now have comprehended that work consists of whatever a body is obliged to do, and that play consists of whaterver a body is not obliged to do. And this would help him to understand why construcing artificial flowers or performing on a tread-mill, is work, whilst rolling nine-pins or climbing Mont Blanc is only amusement. There are wealthy gentlemen in England who drive four-horse passenger-coaches twenty or thirty miles on a daily line, in the summer, because the privilege costs them considerable money; but if they were offered wages for the service that would turn it into work, then they would resign.

What do you think? Does everything look right? " " You really expect me to look at anything but you? " She laughed even as her pulse jittered. " Boy, I must be in bad shape when a shopworn line like that hits the mark. " " I mean it, " he said and watched her smile fade. " I adore looking at you. " Laying a hand on her knees with a long, slow, thorough kiss. " Beautiful Margo. mine. " " Well, you're certainly taking my mind off my ... kiss me again. " " Glad to.

Whenever she came across lines she liked, she'd mark them in pencil and commit them to memory as if they were Holy Writ.

The number of your antagonists are far more greater than that of your companions, so you have to keep a stone of awareness to mark the boundary line.

The horse could not do without Manhattan. It drew him like a magnet, like a vacuum, like oats, or a mare, or an open, never-ending, tree-lined road.

Humility before the flower at the timber line is the gate which gives access to the path up the open fell.

Reading is a dangerous sport, never more so than when we turn the page and find ourselves there among the lines. Blunt Instruments, by Joshua Semple

There was something different about her, though I could not say exactly what it was. It was as if she were more certain. If someone were sketching her they would use clear, strong lines, whereas before they might have used faint marks and more shading. She was like a fossil that’s been cleaned and set so everyone can see what it is.

Let me tell you the truth about the world to which you so desperately want to return. It is a place of pain and suffering and grief. When you left it, cities were being attacked. Women and children were being blasted to pieces or burned alive by bombs dropped from planes flown by men with wives and children of their own. People were being dragged from their homes and shot in the street. Your world is tearing itself apart, and the most amusing thing of all is that it was little better before the war started. War merely gives people an excuse to indulge themselves further, to murder with impunity. There were wars before it, and there will be wars after it, and in between people will fight one another and hurt one another and maim one another and betray one another, because that is what they have always done. And even if you avoid warfare and violent death, little boy, what else do you think life has in store for you? You have already seen what it is capable of doing. It took your mother from you, drained her of health and beauty, and then cast her aside like the withered, rotten husk of a fruit. It will take others from you too, mark me. Those whom you care about--lovers, children--will fall by the wayside, and your love will not be enough to save them. Your health will fail you. You will become old and sick. Your limbs will ache, your eyesight will fade, and your skin will grow lined and aged. There will be pains deep within that no doctor will be able to cure. Diseases will find a warm, moist place inside you and there they will breed, spreading through your system, corrupting it cell by cell until you pray for the doctors to let you die, to put you out of your misery, but they will not. Instead you will linger on, with no one to hold your hand or soothe your brow, as Death comes and beckons you into his darkness. The life you left behind you is no life at all. Here, you can be king, and I will allow you to age with dignity and without pain, and when the time comes for you to die, I will send you gently to sleep and you will awaken in the paradise of your choosing, for each man dreams his own heaven.

Youth was the time for happiness, its only season; young people, leading a lazy, carefree life, partially occupied by scarcely absorbing studies, were able to devote themselves unlimitedly to the liberated exultation of their bodies. They could play, dance, love, and multiply their pleasures. They could leave a party, in the early hours of the morning, in the company of sexual partners they had chosen, and contemplate the dreary line of employees going to work. They were the salt of the earth, and everything was given to them, everything was permitted for them, everything was possible. Later on, having started a family, having entered the adult world, they would be introduced to worry, work, responsibility, and the difficulties of existence; they would have to pay taxes, submit themselves to administrative formalities while ceaselessly bearing witness--powerless and shame-filled--to the irreversible degradation of their own bodies, which would be slow at first, then increasingly rapid; above all, they would have to look after children, mortal enemies, in their own homes, they would have to pamper them, feed them, worry about their illnesses, provide the means for their education and their pleasure, and unlike in the world of animals, this would last not just for a season, they would remain slaves of their offspring always, the time of joy was well and truly over for them, they would have to continue to suffer until the end, in pain and with increasing health problems, until they were no longer good for anything and were definitively thrown into the rubbish heap, cumbersome and useless. In return, their children would not be at all grateful, on the contrary their efforts, however strenuous, would never be considered enough, they would, until the bitter end, be considered guilty because of the simple fact of being parents. From this sad life, marked by shame, all joy would be pitilessly banished. When they wanted to draw near to young people's bodies, they would be chased away, rejected, ridiculed, insulted, and, more and more often nowadays, imprisoned. The physical bodies of young people, the only desirable possession the world has ever produced, were reserved for the exclusive use of the young, and the fate of the old was to work and to suffer. This was the true meaning of solidarity between generations; it was a pure and simple holocaust of each generation in favor of the one that replaced it, a cruel, prolonged holocaust that brought with it no consolation, no comfort, nor any material or emotional compensation.

Twenty-seven was ideal age to make the Drop, they'd decided together, after years of mercilessly judging the various immortals who marked their lives by centuries and millennia. Read before any prominent lines or wrinkles are Gray hairs. They merely said to anyone who inquired, What's the point of being a mortal basses if we have sagging tits?

I find the act of writing very painful. I can go a whole month without managing a single line, or write three days and nights straight, only to find the whole thing has missed the mark. At the same time, though, I love writing. Ascribing meaning to life is a piece of cake compared to actually living it.

Parvaneh gives him a look studded with a long line of question marks and exclamation marks,

Yes, he was a good man, but he was also a black man. And when you’re black, being good isn’t always enough.” “No, sweetheart, it isn’t. A black man walks a different line, a tightrope. Sometimes that line is hard to see. That seems to be what happened here.

The universe seeks equilibriums; it prefers to disperse energy, disrupt organization, and maximize chaos. Life is designed to combat these forces. We slow down reactions, concentrate matter, and organize chemicals into compartments; we sort laundry on Wednesdays. "It sometimes seems as if curbing entropy is our quixotic purpose in the universe," James Gleick wrote. We live in the loopholes of natural laws, seeking extensions, exceptions and excuses. The laws of nature still mark the outer boundaries of permissibility - but life, in all its idiosyncratic, mad weirdness, flourishes by reading between the lines.

Only bad actors memorize lines. Good actors are perpetually writing them as they act.

It was 7 minutes after midnight. The dog was lying on the grass in the middle of the lawn in front of Mrs. Shears's house.

Lines for Winter" Tell yourself as it gets cold and gray falls from the air that you will go on walking, hearing the same tune no matter where you find yourself— inside the dome of dark or under the cracking white of the moon's gaze in a valley of snow. Tonight as it gets cold tell yourself what you know which is nothing but the tune your bones play as you keep going. And you will be able for once to lie down under the small fire of winter stars. And if it happens that you cannot go on or turn back and you find yourself where you will be at the end, tell yourself in that final flowing of cold through your limbs that you love what you are.

What are these? They look like scars." Meryn glanced down and realized he was talking about her stretch marks. Had he never seen stretch marks before?” “Those are called stretch marks." "Stretch marks? How did you get them?"  "Human females get them when we grow. If we grow too fast our skin rips apart and heals. It's a very painful process." Meryn lied through her teeth. There was no way she was going to discuss stretch marks after the most mind blowing sex of her life. Nope. Wasn't going to happen. Aiden's expression became reverent. "Human females are amazing creatures, you endure so much pain yet are so fragile." He kissed each shiny line. I'm going to hell.

Look for the hand that points the way, And take the path where children play. Then where the face with breath that sighs Bends to admire its gleaming eyes, You way is marked by lines of light That mean escape from endless night.

There are always more questions. Science as a process is never complete. It is not a foot race, with a finish line.... People will always be waiting at a particular finish line: journalists with their cameras, impatient crowds eager to call the race, astounded to see the scientists approach, pass the mark, and keep running. It's a common misunderstanding, he said. They conclude there was no race. As long as we won't commit to knowing everything, the presumption is we know nothing.

An Eskimo custom offers an angry person release by walking the emotion out of his or her system in a straight line across the landscape; the point at which the anger is conquered is marked with a stick, bearing witness to the strength or length of the rage.

I'm sure that there must have been times when you have read books or watched films and found yourself secretly wishing for the villain to win. Why? Isn't that against the rules by which our society lives? Why should you feel this way? It's simple, really; the villain is the true hero of these tales, not the well-intentioned moron who somehow foils their diabolical scheme. The villain get's all the best lines, has the best costumes, has unlimited power and wealth- why on earth would anyone not want to be the villain?

It was Bill Clinton who once pithily captured the contrast between the two parties when it came to selecting a presidential standard-bearer: "Democrats want to fall in love; Republicans just fall in line.

The bottom line is the driver was twenty to twenty-five years older than the robbery suspect. Both husband and wife were college- educated, middle-class American citizens, like you and me.” “Except that they were black, and we are not,” Jennifer states the obvious.

it’s wise to regularly deny ourselves from getting what we want, whether through a practice as intense as fasting or as minor as picking the longest checkout line. That way when somebody else denies us from getting what we want, we don’t respond with anger. We’re already acclimated. We don’t have to get our way to be happy.

Satan had been making admiring remarks about certain of the Creator's sparkling industries -- remarks which, being read between the lines, were sarcasms.

The truth never had any shades of grey – there was always a discernible line between black and white.

The man who doesn't read good books has no advantage over the fellow who can't read a line.

There was a ringing in his ears, like a dead phone line that he couldn’t hang up on.

Zoya picked up a kefta hanging over the back of my chair. It was gold brocade, the sleeves and hem embroidered lavishly in blue, the cuffs marked with jeweled sunbursts. "Sable," she said to me, stroking the lining. "I have never loathed you more.

Not long ago, I advertised for perverse rules of grammar, along the lines of "Remember to never split an infinitive" and "The passive voice should never be used." The notion of making a mistake while laying down rules ("Thimk," "We Never Make Misteaks") is highly unoriginal, and it turns out that English teachers have been circulating lists of fumblerules for years. As owner of the world's largest collection, and with thanks to scores of readers, let me pass along a bunch of these never-say-neverisms: * Avoid run-on sentences they are hard to read. * Don't use no double negatives. * Use the semicolon properly, always use it where it is appropriate; and never where it isn't. * Reserve the apostrophe for it's proper use and omit it when its not needed. * Do not put statements in the negative form. * Verbs has to agree with their subjects. * No sentence fragments. * Proofread carefully to see if you any words out. * Avoid commas, that are not necessary. * If you reread your work, you will find on rereading that a great deal of repetition can be avoided by rereading and editing. * A writer must not shift your point of view. * Eschew dialect, irregardless. * And don't start a sentence with a conjunction. * Don't overuse exclamation marks!!! * Place pronouns as close as possible, especially in long sentences, as of 10 or more words, to their antecedents. * Writers should always hyphenate between syllables and avoid un-necessary hyph-ens. * Write all adverbial forms correct. * Don't use contractions in formal writing. * Writing carefully, dangling participles must be avoided. * It is incumbent on us to avoid archaisms. * If any word is improper at the end of a sentence, a linking verb is. * Steer clear of incorrect forms of verbs that have snuck in the language. * Take the bull by the hand and avoid mixed metaphors. * Avoid trendy locutions that sound flaky. * Never, ever use repetitive redundancies. * Everyone should be careful to use a singular pronoun with singular nouns in their writing. * If I've told you once, I've told you a thousand times, resist hyperbole. * Also, avoid awkward or affected alliteration. * Don't string too many prepositional phrases together unless you are walking through the valley of the shadow of death. * Always pick on the correct idiom. * "Avoid overuse of 'quotation "marks."'" * The adverb always follows the verb. * Last but not least, avoid cliches like the plague; seek viable alternatives." (New York Times, November 4, 1979; later also published in book form)

As I shut the door, I notice marks in the wood. Long thin lines running down the length of the door at about the level of my shoulder. I run my fingers over the indentations. They almost seem like… Scratches. Like somebody was scraping at the door.

It was a stick-figure drawing. Two people holding hands. A thin man in black and a girl, half his height with short hair, and wide eyes. The stick-girl’s head was cocked slightly, and a small red spot marked her arm. Three similar spots, no bigger than periods, dotted the stick-man’s chest. The stick-man’s mouth was nothing more than a faint grim line. Beneath the drawing ran a single sentence: I made a friend.

Some writers are the kind of solo violinists who need complete silence to tune their instruments. Others want to hear every member of the orchestra—they’ll take a cue from a clarinet, from an oboe, even. I am one of those. My writing desk is covered in open novels. I read lines to swim in a certain sensibility, to strike a particular note, to encourage rigour when I’m too sentimental, to bring verbal ease when I’m syntactically uptight. I think of reading like a balanced diet; if your sentences are baggy, too baroque, cut back on fatty Foster Wallace, say, and pick up Kafka, as roughage. If your aesthetic has become so refined it is stopping you from placing a single black mark on white paper, stop worrying so much about what Nabokov would say; pick up Dostoyevsky, patron saint of substance over style.

There was once a line marked out by God, through which were divided Heaven and Hell. And thus was chaos banished from the world. The Devil created lawyers to make amends. They argued the thickness of the line until there was room enough within it for all the sins of men to fit. And all the sins of women too. – The Bullet Catcher’s Handbook  

There is evidence that the honoree [Leonard Cohen] might be privy to the secret of the universe, which, in case you're wondering, is simply this: everything is connected. Everything. Many, if not most, of the links are difficult to determine. The instrument, the apparatus, the focused ray that can uncover and illuminate those connections is language. And just as a sudden infatuation often will light up a person's biochemical atmosphere more pyrotechnically than any deep, abiding attachment, so an unlikely, unexpected burst of linguistic imagination will usually reveal greater truths than the most exacting scholarship. In fact. The poetic image may be the only device remotely capable of dissecting romantic passion, let alone disclosing the inherent mystical qualities of the material world. Cohen is a master of the quasi-surrealistic phrase, of the "illogical" line that speaks so directly to the unconscious that surface ambiguity is transformed into ultimate, if fleeting, comprehension: comprehension of the bewitching nuances of sex and bewildering assaults of culture. Undoubtedly, it is to his lyrical mastery that his prestigious colleagues now pay tribute. Yet, there may be something else. As various, as distinct, as rewarding as each of their expressions are, there can still be heard in their individual interpretations the distant echo of Cohen's own voice, for it is his singing voice as well as his writing pen that has spawned these songs. It is a voice raked by the claws of Cupid, a voice rubbed raw by the philosopher's stone. A voice marinated in kirschwasser, sulfur, deer musk and snow; bandaged with sackcloth from a ruined monastery; warmed by the embers left down near the river after the gypsies have gone. It is a penitent's voice, a rabbinical voice, a crust of unleavened vocal toasts -- spread with smoke and subversive wit. He has a voice like a carpet in an old hotel, like a bad itch on the hunchback of love. It is a voice meant for pronouncing the names of women -- and cataloging their sometimes hazardous charms. Nobody can say the word "naked" as nakedly as Cohen. He makes us see the markings where the pantyhose have been. Finally, the actual persona of their creator may be said to haunt these songs, although details of his private lifestyle can be only surmised. A decade ago, a teacher who called himself Shree Bhagwan Rajneesh came up with the name "Zorba the Buddha" to describe the ideal modern man: A contemplative man who maintains a strict devotional bond with cosmic energies, yet is completely at home in the physical realm. Such a man knows the value of the dharma and the value of the deutschmark, knows how much to tip a waiter in a Paris nightclub and how many times to bow in a Kyoto shrine, a man who can do business when business is necessary, allow his mind to enter a pine cone, or dance in wild abandon if moved by the tune. Refusing to shun beauty, this Zorba the Buddha finds in ripe pleasures not a contradiction but an affirmation of the spiritual self. Doesn't he sound a lot like Leonard Cohen? We have been led to picture Cohen spending his mornings meditating in Armani suits, his afternoons wrestling the muse, his evenings sitting in cafes were he eats, drinks and speaks soulfully but flirtatiously with the pretty larks of the street. Quite possibly this is a distorted portrait. The apocryphal, however, has a special kind of truth. It doesn't really matter. What matters here is that after thirty years, L. Cohen is holding court in the lobby of the whirlwind, and that giants have gathered to pay him homage. To him -- and to us -- they bring the offerings they have hammered from his iron, his lead, his nitrogen, his gold.

We live in the loopholes of natural laws, seeking extensions, exceptions, and excuses. The laws of nature still mark the outer boundaries of permissibility—but life, in all its idiosyncratic, mad weirdness, flourishes by reading between the lines.

I watched her fade, but I loved her always. Because it was her love that made me real, Merry. Not faerie, not wild magic, but the magic of love. I thought I was giving up what life I had to save Rose, but the consort had asked if I would give up everything I was, and I did. I became what she needed me to be. When I realized that I would not age with her I wept, because I could not imagine being without her." He came to his knees and put his hands on my arms, and stared down into my face. "I will love you always. When this red hair is white, I will still love you. When the smooth softness of youth is replaced by the delicate softness of age, I will still want to touch your skin. When your face is full of the lines of every smile you have ever smiled, of every surprise I have seen flash through your eyes, when every tear you have ever cried has left its mark upon your face, I will treasure you all the more, because I was there to see it all. I will share your life with you, Meredith, and I will love you until the last breath leaves your body or mine

Mori smiled properly. The lines around his eyes were deeper than usual now. They made him look like an old photograph of a young man, often crushed, but ironed carefully so that only the ghosts of the marks remained.

Prophecy is a good line of business, but it is full of risks.

Wrinkles ? Why all the fuss ? Think of them as lines of distinction; marks of maturity.

After a long time and many questions, Satan said, "The spider kills the fly, and eats it; the bird kills the spider and eats it; the wildcat kills the goose; the -- well, they all kill each other. It is murder all along the line. Here are countless multitudes of creatures, and they all kill, kill, kill, they are all murderers. And they are not to blame, Divine One?

And what does it amount to?" said Satan, with his evil chuckle. "Nothing at all. You gain nothing; you always come out where you went in. For a million years the race has gone on monotonously propagating itself and monotonously reperforming this dull nonsense--to what end? No wisdom can guess! Who gets a profit out of it? Nobody but a parcel of usurping little monarchs and nobilities who despise you; would feel defiled if you touched them; would shut the door in your face if you proposed to call; whom you slave for, fight for, die for, and are not ashamed of it, but proud; whose existence is a perpetual insult to you and you are afraid to resent it; who are mendicants supported by your alms, yet assume toward you the airs of benefactor toward beggar; who address you in the language of master to slave, and are answered in in the language of slave to master; who are worshiped by you with your mouth, while in your heart--if you have one--you despise yourselves for it. The first man was hypocrite and a coward, qualities which have not yet failed in his line; it is the foundation upon which all civilizations have been built. Drink to their perpetuation! Drink to their augmentation! Drink to--" Then he saw by our faces how much we were hurt, and he cut his sentence short and stopped chuckling...

I blew through her like baby’s breath through a dandelion, and my soul left its mark on hers. Forever. In one night, I’d bound her too me for as long as she lived, and I had no words to tell her. When I woke the next night, to see her there, above me, the relief radiating from every line of her body, I thought it was more of a miracle than my first rising.

Fuck anyone who thinks anything on someone like you could ever be anything beautiful. You should be proud of them, baby.” “Proud?” “Yes, proud. They make you powerful. Each line is a road travelled, an experience you had, whether it was good or bad. Each mark is proof of pain in the past, not the present. You are a survivor, you are a warrior. These are the scalps hanging from your fucking belt. You took the beatings and here you are, in front of me. You are fucking amazing.

They make you powerful. Each line is a road traveled, an experience you had, whether it was good or bad. Each mark is proof of pain in the past, not the present. You are a survivor, you are a warrior.

There's always a strange feeling you get when you come across one particular line by chance. It feels somehow significant. That's irrational of course, but humans are irrational creatures. Even the sturdiest, most down-to-earth chap will turn pale if he opens a book at random and sees the words PREPARE TO MEET THY DEATH.

I realized then why people call suicide hotlines. The person on the other end of the line wasn’t a therapist, wasn’t going to prescribe medicine, wasn’t going to try to convince the caller to feel differently, wasn’t going to love the caller the way a family member would. The person on the other end of the line was going to listen without judgment or fear, an invaluable gift that the suicidal rarely receive.

Some people think the Milky Way is a long line of stars, but it isn't. Our galaxy is a huge disk of stars millions of light-years across, and the solar system is somewhere near the outside edge of the disk.

Worry! What a waste of time. All the holy books were right. Clearly ‘worry’ was the mark of a primitive and spiritually unevolved person. What was that line from Yeats, about the bemused Chinese sages? All things fall and are built again. Ancient glittering eyes. This was wisdom. People had been raging and weeping and destroying things for centuries and wailing about their puny individual lives, when—what was the point? All this useless sorrow? Consider the lilies of the field. Why did anyone ever worry about anything? Weren’t we, as sentient beings, put upon the earth to be happy, in the brief time allotted to us?

And now, a heap of roses beside the sea, white rugosa beside the foaming hem of shore: brave, waxen candles… And we talk as if death were a line to be crossed. Look at them, the white roses. Tell me where they end.

Where the Spirit of the Lord is, there is freedom," says Paul. And we are most in line with the Spirit, most faithfully obedient, when instead of trying to manipulate people into faith, we simply live in that freedom and let the Spirit do the work of transformation.

The line between the Rebel and Union element in Georgetown was so marked that it led to divisions even in the churches. There were churches in that part of Ohio where treason was preached regularly, and where, to secure membership, hostility to the government, to the war and to the liberation of the slaves, was far more essential than a belief in the authenticity or credibility of the Bible. There were men in Georgetown who filled all the requirements for membership in these churches.

There is a sacredness in tears. They are not the mark of weakness, but of power. They speak more eloquently than ten thousand tongues. They are messengers of overwhelming grief...and unspeakable love.”                                                    ~ Washington Irving

(Golden Globe acceptance speech in the style of Jane Austen's letters): "Four A.M. Having just returned from an evening at the Golden Spheres, which despite the inconveniences of heat, noise and overcrowding, was not without its pleasures. Thankfully, there were no dogs and no children. The gowns were middling. There was a good deal of shouting and behavior verging on the profligate, however, people were very free with their compliments and I made several new acquaintances. Miss Lindsay Doran, of Mirage, wherever that might be, who is largely responsible for my presence here, an enchanting companion about whom too much good cannot be said. Mr. Ang Lee, of foreign extraction, who most unexpectedly apppeared to understand me better than I undersand myself. Mr. James Schamus, a copiously erudite gentleman, and Miss Kate Winslet, beautiful in both countenance and spirit. Mr. Pat Doyle, a composer and a Scot, who displayed the kind of wild behavior one has lernt to expect from that race. Mr. Mark Canton, an energetic person with a ready smile who, as I understand it, owes me a vast deal of money. Miss Lisa Henson -- a lovely girl, and Mr. Gareth Wigan -- a lovely boy. I attempted to converse with Mr. Sydney Pollack, but his charms and wisdom are so generally pleasing that it proved impossible to get within ten feet of him. The room was full of interesting activitiy until eleven P.M. when it emptied rather suddenly. The lateness of the hour is due therefore not to the dance, but to the waiting, in a long line for horseless vehicles of unconscionable size. The modern world has clearly done nothing for transport. P.S. Managed to avoid the hoyden Emily Tomkins who has purloined my creation and added things of her own. Nefarious creature." "With gratitude and apologies to Miss Austen, thank you.

Shakespeare was not a genius. He was, without the distant shadow of doubt, the most wonderful writer who ever breathed. But not a genius. No angels handed him his lines, no fairies proofread for him. Instead, he learnt techniques, he learnt tricks, and he learnt them well.

Robe him in white," said Shinyun, "so the mark of the crimson hand will show upon him." Magnus crossed his arms and raised his voice and his eyebrows. "You can poison me and throw me in a dungeon. You can beat me and even sacrifice me to a Greater Demon. But I draw the line at wearing a white suit for an evening event.

This was a face such as I had never seen before, even in the most fanciful of dreams, a face that was, in its way, a work of art. For it was light and dark, night and day, this world and the Otherworld. On the left side, the face of a youngish man, the skin weathered but fair, the eye gray and clear, the mouth well formed if unyielding in character. On all the right side, extending from an undrawn mark down the exact center, an etching of line and curve and feathery pattern, like the mask of some fierce bird of prey. An eagle? A goshawk? No, it was, I thought, a raven, even as far as the circles about the eye and the suggestion of predatory beak around the nostril. The mark of the raven. If I had not been so frightened, I might have laughed at the irony of it. The pattern extended down his neck and under the border of his leather jerkin and the linen shirt he wore beneath it. His head was completely shaven, and the skull, too, was colored the same, half-man, half-wild creature; some great artist of the inks and needle had wrought this over many days, and I imagined the pain must have been considerable.

[Hating America] would be as silly as loving it,” I said. “It’s impossible for me to get emotional about it, because real estate doesn’t interest me. It’s no doubt a great flaw in my personality, but I can’t think in terms of boundaries. Those imaginary lines are as unreal to me as elves and pixies. I can’t believe that they mark the end or the beginning of anything of real concern to the human soul. Virtues and vices, pleasures and pains cross boundaries at will.

I believe our Heavenly Father invented man because he was disappointed in the monkey. I believe that whenever a human being, of even the highest intelligence and culture, delivers an opinion upon a matter apart from his particular and especial line of interest, training and experience, it will always be an opinion of so foolish and so valueless a sort that it can be depended upon to suggest our Heavenly Father that the human being is another disappointment and that he is no considerable improvement upon the monkey.

Glanced up and caught Ammu's gaze. Centuries telescoped into one evanescent moment. History was wrong-footed, caught off guard. Sloughed off like an old snakeskin. Its marks , its scars its wouns from old wars and the walking backwards days all fell away. In its abscence it left an aura, a palpable shimmering that was as plain as water in a river or the sun in the sky. As plain to feel the heat on a hot day, or the tug of a fish on a taut line. So obvious that no-one noticed. In that brief moment, Velutha looked up and saw things that he hadn't seen before. Things that had been out of bounds so far, obscured by histor's blinkers. ...This knowing slid into him cleanly, like the sharp edge of a knife. Cold and hot at once. It only took a moment. Ammu saw that he saw. She looked away. He did too. History's fiends returned to claim them. To rewrap them in its old scarred pelt and drag them back to where they really lived. Where the Love Laws lay down who should be loved. And how. And how much.

Now then, in the earth these people cannot stand much church -- an hour and a quarter is the limit, and they draw the line at once a week. That is to say, Sunday. One day in seven; and even then they do not look forward to it with longing. And so -- consider what their heaven provides for them: "church" that lasts forever, and a Sabbath that has no end! They quickly weary of this brief hebdomadal Sabbath here, yet they long for that eternal one; they dream of it, they talk about it, they think they think they are going to enjoy it -- with all their simple hearts they think they think they are going to be happy in it!

And the most glorious exploits do not always furnish us with the clearest discoveries of virtue or vice in men; sometimes a matter of less moment, an expression or a jest, informs us better of their characters and inclinations, than the most famous sieges, the greatest armaments, or the bloodiest battles whatsoever. Therefore as portrait-painters are more exact in the lines and features of the face, in which the character is seen, than in the other parts of the body, so I must be allowed to give my more particular attention to the marks and indications of the souls of men, and while I endeavor by these to portray their lives, may be free to leave more weighty matters and great battles to be treated of by others.

It would mark the end of a year that he might look back on as hands, a pivot between two lines. Or not: maybe enough time, would pass that eventually he would look back on his life, all of it, as a series of events both logical and continuous.

In life, the visible surface of the Sperm Whale is not the least among the many marvels he presents. Almost invariably it is all over obliquely crossed and re-crossed with numberless straight marks in thick array, something like those in the finest Italian line engravings. But these marks do not seem to be impressed upon the isinglass substance above mentioned, but seem to be seen through it, as if they were engraved upon the body itself. Nor is this all. In some instances, to the quick, observant eye, those linear marks, as in a veritable engraving, but afford the ground for far other delineations. These are hieroglyphical; that is, if you call those mysterious cyphers on the walls of pyramids hieroglyphics, then that is the proper word to use in the present connexion. By my retentive memory of the hieroglyphics upon one Sperm Whale in particular, I was much struck with a plate representing the old Indian characters chiselled on the famous hieroglyphic palisades on the banks of the Upper Mississippi. Like those mystic rocks, too, the mystic-marked whale remains undecipherable.

There is one key area in which Zuma has made no attempt at reconciliation whatsoever: criminal justice and security. The ministers of justice, defence, intelligence (now called 'state security' in a throwback to both apartheid and the ANC's old Stalinist past), police and communications are all die-hard Zuma loyalists. Whatever their line functions, they will also play the role they have played so ably to date: keeping Zuma out of court—and making sure the state serves Zuma as it once did Mbeki.

Tom's army won a great victory, after a long and hard-fought battle. Then the dead were counted, prisoners exchanged, the terms of the next disagreement agreed upon, and the day for the necessary battle appointed; after which the armies fell into line and marched away, and Tom turned homeward alone.

But then there are those people who overidentify with their emotions. Everything is justified for no other reason than they felt it. “Oh, I broke your windshield, but I was really mad; I couldn’t help it.” Or “I dropped out of school and moved to Alaska just because it felt right.” Decision-making based on emotional intuition, without the aid of reason to keep it in line, pretty much always sucks. You know who bases their entire lives on their emotions? Three-year-old kids. And dogs. You know what else three-year-olds and dogs do? Shit on the carpet.

Homer, in the second book of the Iliad says with fine enthusiasm, "Give me masturbation or give me death." Caesar, in his Commentaries, says, "To the lonely it is company; to the forsaken it is a friend; to the aged and to the impotent it is a benefactor. They that are penniless are yet rich, in that they still have this majestic diversion." In another place this experienced observer has said, "There are times when I prefer it to sodomy." Robinson Crusoe says, "I cannot describe what I owe to this gentle art." Queen Elizabeth said, "It is the bulwark of virginity." Cetewayo, the Zulu hero, remarked, "A jerk in the hand is worth two in the bush." The immortal Franklin has said, "Masturbation is the best policy." Michelangelo and all of the other old masters--"old masters," I will remark, is an abbreviation, a contraction--have used similar language. Michelangelo said to Pope Julius II, "Self-negation is noble, self-culture beneficent, self-possession is manly, but to the truly great and inspiring soul they are poor and tame compared with self-abuse." Mr. Brown, here, in one of his latest and most graceful poems, refers to it in an eloquent line which is destined to live to the end of time--"None knows it but to love it; none name it but to praise.

The Line makes itself felt,-- thro' some Energy unknown, ever are we haunted by that Edge so precise, so near. In the Dark, one never knows. Of course I am seeking the Warrior Path, imagining myself as heroick Scout. We all feel it Looming, even when we're awake, out there ahead someplace, the way you come to feel a River or Creek ahead, before anything else,-- sound, sky, vegetation,-- may have announced it. Perhaps 'tis the very deep sub-audible Hum of its Traffic that we feel with an equally undiscover'd part of the Sensorium,-- does it lie but over the next Ridge? the one after that? We have mileage Estimates from Rangers and Runners, yet for as long as its Distance from the Post Mark'd West remains unmeasur'd, nor is yet recorded as Fact, may it remain, a-shimmer, among the few final Pages of its Life as Fiction.

Putting yourself in a position where you can be rejected, saying a joke that may not be funny, asserting an opinion that may offend others, joining a table of people you don’t know, telling a woman that you like her and want to date her. All of these things require you to stick your neck out on the line emotionally in some way. You’re making yourself vulnerable when you do them. In this way, vulnerability represents a form of power, a deep and subtle form of power.

I recognized the handwriting, and my heart gave a skip; when I opened it I got a turn, for it began, 'To my beloved Hector,' and I thought, by God she's cheating on me, and has sent me the wrong letter by mistake. But in the second line was a reference to Achilles, and another to Ajax, so I understood she was just addressing me in terms which she accounted fitting for a martial paladin; she knew no better. It was a common custom at that time, in the more romantic females, to see their soldier husbands and sweethearts as Greek heroes, instead of the whore-mongering, drunken clowns most of them were. However, the Greek heroes were probably no better, so it was not far off the mark.

This level reach of blue is not my sea; Here are sweet waters, pretty in the sun, Whose quiet ripples meet obediently A marked and measured line, one after one. This is no sea of mine. that humbly laves Untroubled sands, spread glittering and warm. I have a need of wilder, crueler waves; They sicken of the calm, who knew the storm. So let a love beat over me again, Loosing its million desperate breakers wide; Sudden and terrible to rise and wane; Roaring the heavens apart; a reckless tide That casts upon the heart, as it recedes, Splinters and spars and dripping, salty weeds.

when she was 7, a boy pushed her on the playground she fell headfirst into the dirt and came up with a mouthful of gravel and lines of blood chasing each other down her legs when she told her teacher what happened, she laughed and said ‘boys will be boys honey don’t let it bother you he probably just thinks you’re cute’ but the thing is, when you tell a little girl who has rocks in her teeth and scabs on her knees that hurt and attention are the same you teach her that boys show their affection through aggression and she grows into a young woman who constantly mistakes the two because no one ever taught her the difference ‘boys will be boys’ turns into ‘that’s how he shows his love’ and bruises start to feel like the imprint of lips she goes to school with a busted mouth in high school and says she was hit with a basketball instead of his fist the one adult she tells scolds her ‘you know he loses his temper easily why the hell did you have to provoke him?’ so she shrinks folds into herself, flinches every time a man raises his voice by the time she’s 16 she’s learned her job well be quiet, be soft, be easy don’t give him a reason but for all her efforts, he still finds one ‘boys will be boys’ rings in her head ‘boys will be boys he doesn’t mean it he can’t help it’ she’s 7 years old on the playground again with a mouth full of rocks and blood that tastes like copper love because boys will be boys baby don’t you know that’s just how he shows he cares she’s 18 now and they’re drunk in the split second it takes for her words to enter his ears they’re ruined like a glass heirloom being dropped between the hands of generations she meant them to open his arms but they curl his fists and suddenly his hands are on her and her head hits the wall and all of the goddamn words in the world couldn’t save them in this moment she touches the bruise the next day boys will be boys aggression, affection, violence, love how does she separate them when she learned so early that they’re inextricably bound, tangled in a constant tug-of-war she draws tally marks on her walls ratios of kisses to bruises one entire side of her bedroom turns purple, one entire side of her body boys will be boys will be boys will be boys when she’s 20, a boy touches her hips and she jumps he asks her who the hell taught her to be scared like that and she wants to laugh doesn’t he know that boys will be boys? it took her 13 years to unlearn that lesson from the playground so I guess what I’m trying to say is i will talk until my voice is hoarse so that my little sister understands that aggression and affection are two entirely separate things baby they exist in different universes my niece can’t even speak yet but I think I’ll start with her now don’t ever accept the excuse that boys will be boys don’t ever let him put his hands on you like that if you see hate blazing in his eyes don’t you ever confuse it with love baby love won’t hurt when it comes you won’t have to hide it under long sleeves during the summer and the only reason he should ever reach out his hand is to hold yours

In the end Navidson is left with one page and one match. For a long time he waits in darkness and cold, postponing this final bit of illumination. At last though, he grips the match by the neck and after locating the friction strip sparks to life a final ball of light. First, he reads a few lines by match light and then as the heat bites his fingertips he applies the flame to the page. Here then is one end: a final act of reading, a final act of consumption. And as the fire rapidly devours the paper, Navidson's eyes frantically sweep down over the text, keeping just ahead of the necessary immolation, until as he reaches the last few words, flames lick around his hands, ash peels off into the surrounding emptiness, and then as the fire retreats, dimming, its light suddenly spent, the book is gone leaving nothing behind but invisible traces already dismantled in the dark.

Every dark space felt threatening, as if it contained and concealed something horrifying. My imagination filled in the details that my eyes couldn’t see, not just memories from a hundred horror movies and books, but something deeper in my brain, a line that stretched back thousands of years, fear of the dark woods hard-wired into me.

In a thousand years," Alessandro said, "this incident will be remembered. By then, of course, we will have become angels, devils, or a dragon that breathes fire...but we have given this rock a story that will be passed on." "What good is that?" "It isn't to our advantage, if that's what you mean. However, it's pleasurable to cast a line into the future, no matter how tenuously. You never know, the line may be unbroken all the way to the last judgment.

what did you think you were doing, then, when you went up through one door and down through another, turning this way and that, through the pages of a book and a deep mine and an entire ocean and the hideout of a wise old woman? My dear, labyrinths ensnare and entangle; they draw one inexorably inward-but it wouldn't be much of a labyrinth if you waited in line with a ticket to get it and the door was clearly marked, like some country-harvest hay maze. All underworlds are labyrinths, in the end. Perhaps all the sunlit lands, too. A labyrinth, when it is big enough, is just the world.

Don't hide your scars, your stretch marks, your laugh lines, your calloused hands. They are your life story, telling of struggles won and lost, challenges faced, losses overcome, life grown and birthed and nurtured, hard work accomplished, stars reached for, hopes dashed, dreams realized, rock bottoms and mountain tops. They tell the story of your one amazing, awful, beautiful life written in the curves and lines of extraordinary, miraculous, beautiful you.

I taught how to be sociable with ink on paper. I told my students that when they were writing they should be good dates on blind dates, should show strangers good times. Alternatively, they should run really nice whorehouses, come one, come all, although they were in fact working in perfect solitude. I said I expected them to do this with nothing but idiosyncratic arrangements in horizontal lines of twenty-six phonetic symbols, ten numbers, and maybe eight punctuation marks, because it wasn't anything that hadn't been done before. In 1996, with movies and TV doing such good jobs of holding the attention of literates and illiterates alike, I have to question the value of my very strange, when you think about it, charm school. There is this: Attempted seductions with nothing but words on paper are so cheap for would-be ink-stained Don Juans or Cleopatras!They don't have to get a bankable actor or actress to commit to the project, and then a bankable director, and so on, and then raise millions and millions of buckareenies from manic-depressive experts on what most people want. Still and all, why bother? Here's my answer: Many people need desperately to receive this message: "I feel and think much as you do, care about many of the things you care about, although most people don't care about them. You are not alone.

Beauty is not long hair, skinny legs, tanned skin or perfect teeth. Believe me. Beauty is the face of who cried and now smiles, beauty is the scar on your knee since you fell when you were a kid, beauty is the circles when love doesn't let you sleep, beauty is the expression on the face when the alarm rings in the morning, it's the melted makeup when you have a shower, it's the laughter when you make a joke you're the only one who can understand, beauty is meeting his gaze and stopping understanding, beauty is your gaze when you see him, it's when you cry for all you paranoias, beauty is the lines marked by time. Beauty is what we feel in the inside which also shows outside us. Beauty is the marks the life leaves on us, all the kicks and the caresses the memories leave us. Beauty is letting yourself live.

She’s staring at me, her face unreadable in the same way a star chart is unreadable when there are no lines to mark the constellations. It’s not that you can’t make out a shape, it’s that you can make out so many shapes you’ll never know which one is right. If I wanted to, I could read longing in her distance. But if I’m honest, it’s probably just my own reflected back by her indifference.

Neil was moving before the ceiling lights turned on, crossing the inner court to the court walls. He pressed his hands to the thick, cold plastic and looked up, where the scoreboards and replay TVs hung over the court's ceiling, then down to the glossy wood. Orange lines marked first, half, and far court. It was perfect, utterly perfect, and Neil felt at once inspired and horrified by the sight of it.

Prayer is picking a fight with the Enemy. It's spiritual warfare. Intercession transports us from the sidelines to the front lines without going anywhere. And that is where the battle is won or lost. Prayer is the difference between us fighting for God and God fighting for us. But we can't just hit our knees. We also have to take a step, take a stand. And when we do, we never know what God will do next.

Magnus stopped dead. The room was illuminated only by a reading lamp; all the other light came from outside the windows. Alec was painted with streetlights and moonlight, shadows curling around his biceps and the slender indentations of his collarbones, his torso all smooth, sleek, bare skin until the dark line of his jeans. There were runes on the flat planes of his stomach and the silvery scars of old Marks snaked around his ribs, with one on the ridge of his hip. His head was bowed, his hair black as ink, his luminously pale skin white as paper. He looked like a piece of art, chiaroscuro, beautifully and wonderfully made. Magnus had heard the story of how the Nephilim were created many times. They must have forgotten to leave out the bit that said: And the Angel descended from on high and gave his chosen ones fantastic abs.

I'll tell you the problem with engineers and scientists. Scientists have an elaborate line of bullshit about how they are seeking to know the truth about nature. Which is true, but that's not what drives them. Nobody is driven by abstractions like 'seeking truth.' Scientists are actually preoccupied with accomplishment. So they are focused on whether they can do something. They never stop to ask if they should do something. They conveniently define such considerations as pointless. If they don't do it, someone else will. Discovery, they believe, is inevitable. So they just try to do it first. That's the game in science. Even pure scientific discovery is an aggressive, penetrative act. It takes big equipment, and it literally changes the world afterward. Particle accelerators scar the land, and leave radioactive byproducts. Astronauts leave trash on the moon. There is always some proof that scientists were there, making their discoveries. Discovery is always a rape of the natural world. Always. The scientists want it that way. They have to stick their instruments in. They have to leave their mark. They can't just watch. They can't just appreciate. They can't just fit into the natural order. They have to make something unnatural happen. That is the scientist's job, and now we have whole societies that try to be scientific." - Ian Malcolm

And we all nodded at him: the man of finance, the man of accounts, the man of law, we all nodded at him over the polished table that like a still sheet of brown water reflected our faces, lined, wrinkled; our faces marked by toil, by deceptions, by success, by love; our weary eyes looking still, looking always, looking anxiously for something out of life, that while it is expected is already gone – has passed unseen, in a sigh, in a flash – together with the youth, with the strength, with the romance of illusions.

How original and singular each person is. The parts of our bodies that diet culture and photoshopping tell us we should try to erase and hide—human ‘imperfection’—they were what I thought, and still do think, make us works of art. Stretch marks. Wrinkles. Freckles and fine lines and rolls and curves. I realized I wanted to make art celebrating that, defending that belief.

She curled her fingers into his chest instead of complying. “You’re an incredibly handsome male,” she said. “Perfect bone structure, pure blond hair, eyes so blue they should be impossible. Your only ‘flaw’ is this tattoo.” She traced the three jagged lines on his right biceps. “It’s an echo of the markings on your alpha’s face.” He gave a short nod. “A symbol of absolute loyalty.” Her lips parted. “Knowing that just makes you even more dangerously beautiful.

Most traders have absolutely no concept of what it means to be a risk-taker in the way a successful trader thinks about risk. The best traders not only take the risk, they have also learned to accept and embrace that risk. There is a huge psychological gap between assuming you are a risk-taker because you put on trades and fully accepting the risks inherent in each trade. When you fully accept the risks, it will have profound implications on your bottom-line performance.

Of all the tricks played by storytellers on their willing victims, the cheapest is the deception known in English as The End. An ending is an arbitrary thing, an act of cowardice or fatigue, an expedient disguised as an aesthetic choice or, worse, a moral commentary on the finitude of life. Endings are as imaginary as the equator or the poles. They draw a line, mark a point, that is present nowhere in the creation they purport to reflect and explain. Sure, death ties off our little subplot more or less neatly, but it is in no sense he end of the greater tale.

Between the roof of the shed and the big plant that hangs over the fence from the house next door I could see the constellation Orion. People say that Orion is called Orion because Orion was a hunter and the constellation looks like a hunter with a club and a bow and arrow, like this: But this is really silly because it is just stars, and you could join up the dots in any way you wanted, and you could make it look like a lady with an umbrella who is waving, or the coffeemaker which Mrs. Shears has, which is from Italy, with a handle and steam coming out, or like a dinosaur. And there aren't any lines in space, so you could join bits of Orion to bits of Lepus or Taurus or Gemini and say that they were a constellation called the Bunch of Grapes or Jesus or the Bicycle (except that they didn't have bicycles in Roman and Greek times, which was when they called Orion Orion). And anyway, Orion is not a hunter or a coffeemaker or a dinosaur. It is just Betelgeuse and Bellatrix and Alnilam and Rigel and 17 other stars I don't know the names of. And they are nuclear explosions billions of miles away. And that is the truth. I stayed awake until 5:47. That was the last time I looked at my watch before I fell asleep. It has a luminous face and lights up if you press a button, so I could read it in the dark. I was cold and I was frightened Father might come out and find me. But I felt safer in the garden because I was hidden. I looked at the sky a lot. I like looking up at the sky in the garden at night. In summer I sometimes come outside at night with my torch and my planisphere, which is two circles of plastic with a pin through the middle. And on the bottom is a map of the sky and on top is an aperture which is an opening shaped in a parabola and you turn it round to see a map of the sky that you can see on that day of the year from the latitude 51.5° north, which is the latitude that Swindon is on, because the largest bit of the sky is always on the other side of the earth. And when you look at the sky you know you are looking at stars which are hundreds and thousands of light-years away from you. And some of the stars don't even exist anymore because their light has taken so long to get to us that they are already dead, or they have exploded and collapsed into red dwarfs. And that makes you seem very small, and if you have difficult things in your life it is nice to think that they are what is called negligible, which means that they are so small you don't have to take them into account when you are calculating something. I didn't sleep very well because of the cold and because the ground was very bumpy and pointy underneath me and because Toby was scratching in his cage a lot. But when I woke up properly it was dawn and the sky was all orange and blue and purple and I could hear birds singing, which is called the Dawn Chorus. And I stayed where I was for another 2 hours and 32 minutes, and then I heard Father come into the garden and call out, "Christopher...? Christopher...?

Early, I indentured myself to the five horizontal lines where black notes were written on a sheet of music. It is a place of world of signs and notations that speaks to me with perfect clarity. It is a place of time signatures, fermatas, ledger lines, grace notes, and demisemiquavers that are the common tongue and heritage of musicians all over the world. . . . It is something I cannot imagine being without. For without music, life is a journey through a desert that has not ever heard the rumor of God. In music’s sweet harmony, I had all the proof I needed of a God who held the earth together between the staffs, where the heavens lay. Here, he marked all the lines and spaces with notes so perfect that they praised all of his creation with their beauty.

Our lips just trespassed on those inner labyrinths hidden deep within our ears, filled them with the private music of wicked words, hers in many languages, mine in the off color of my own tongue, until as our tones shifted, and our consonants spun and squealed, rattled faster, hesitated, raced harder, syllables soon melting with groans, or moans finding purchase in new words, or old words, or made-up words, until we gathered up our heat and refused to release it, enjoying too much the dark language we had suddenly stumbled upon, craved to, carved to, not a communication really but a channeling of our rumored desires, hers for all I know gone to Black Forests and wolves, mine banging back to a familiar form, that great revenant mystery I still could only hear the shape of, which in spite of our separate lusts and individual cries still continued to drive us deeper into stranger tones, our mutual desire to keep gripping the burn fueled by sound, hers screeching, mine – I didn’t hear mine – only hears, probably counter-pointing mine, a high-pitched cry, then a whisper dropping unexpectedly to practically a bark, a grunt, whatever, no sense any more, and suddenly no more curves either, just the straight away, some line crossed, where every fractured sound already spoken finally compacts into one long agonizing word, easily exceeding a hundred letters, even thunder, anticipating the inevitable letting go, when the heat is ultimately too much to bear, threatening to burn, scar, tear it all apart, yet tempting enough to hold onto for even one second more, to extend it all, if we can, as if by getting that much closer to the heat, that much more enveloped, would prove … - which when we did clutch, hold, postpone, did in fact prove too much after all, seconds too much, and impossible to refuse, so blowing all of everything apart, shivers and shakes and deep in her throat a thousand letters crashing in a long unmodulated fall, resonating deep within my cochlea and down the cochlear nerve, a last fit of fury describing in lasting detail the shape of things already come. Too bad dark languages rarely survive.

I've always known what you were thinking. You're squeezing that marble in your pocket and you're thinking your cattle wouldn't be at risk if it weren't for Louise. And maybe you're right. But take a hard look, son. When you see that woman working up a sweat pitching hay like a hired hand … you're looking at character. "And if we ever have another family dinner that goes like the last one did, you pay attention. I have an idea that your Louise doesn't sit still for too many insults, and I imagine she could cut someone down to size in about three sentences if she wanted to. But she sat silent while Philadelphia ridiculed and belittled her. Louise did this out of respect for you and this family. That is also character. "Maybe you really believe Wally is living your life. If so, then you haven't been honest with yourself. And you haven't taken a good hard look at the life you have. Mark my words, Max. Someday you're going to hold that marble, and it won't be a symbol of all you lost. That marble will be the gold you went to Piney Creek to find. It will be the most precious thing you own. I say this because I didn't raise any stupid sons.

On broader lines he's like those chappies who sit peering sadly over the marble battlements at the Pennsylvania Station in the place marked "Inquiries." You know the Johnnies I mean. You go up to them and say: "When's the next train for Melonsquashville, Tennessee?" and they reply, without stopping to think, "Two-forty-three, track ten, change at San Francisco." And they're right every time. Well, Jeeves gives you just the same impression of omniscience.

1. I told you that I was a roadway of potholes, not safe to cross. You said nothing, showed up in my driveway wearing roller-skates. 2. The first time I asked you on a date, after you hung up, I held the air between our phones against my ear and whispered, “You will fall in love with me. Then, just months later, you will fall out. I will pretend the entire time that I don’t know it’s coming.” 3. Once, I got naked and danced around your bedroom, awkward and safe. You did the same. We held each other without hesitation and flailed lovely. This was vulnerability foreplay. 4. The last eight times I told you I loved you, they sounded like apologies. 5. You recorded me a CD of you repeating, “You are beautiful.” I listened to it until I no longer thought in my own voice. 6. Into the half-empty phone line, I whispered, “We will wake up believing the worst in each other. We will spit shrapnel at each other’s hearts. The bruises will lodge somewhere we don’t know how to look for and I will still pretend I don’t know its coming.” 7. You photographed my eyebrow shapes and turned them into flashcards: mood on one side, correct response on the other. You studied them until you knew when to stay silent. 8. I bought you an entire bakery so that we could eat nothing but breakfast for a week. Breakfast, untainted by the day ahead, was when we still smiled at each other as if we meant it. 9. I whispered, “I will latch on like a deadbolt to a door and tell you it is only because I want to protect you. Really, I’m afraid that without you I mean nothing.” 10. I gave you a bouquet of plane tickets so I could practice the feeling of watching you leave. 11. I picked you up from the airport limping. In your absence, I’d forgotten how to walk. When I collapsed at your feet, you refused to look at me until I learned to stand up without your help. 12. Too scared to move, I stared while you set fire to your apartment – its walls decaying beyond repair, roaches invading the corpse of your bedroom. You tossed all the faulty appliances through the smoke out your window, screaming that you couldn’t handle choking on one more thing that wouldn’t just fix himself. 13. I whispered, “We will each weed through the last year and try to spot the moment we began breaking. We will repel sprint away from each other. Your voice will take months to drain out from my ears. You will throw away your notebook of tally marks from each time you wondered if I was worth the work. The invisible bruises will finally surface and I will still pretend that I didn’t know it was coming.” 14. The entire time, I was only pretending that I knew it was coming.

When she thinks of the toxins built up inside of her from so many years of eating carelessly, of the resentment that has grown steadily over fifteen years of marriage, of the stretch marks and the varicose veins that came from two pregnancies, only one of them fulfilled, she thinks the inside of her body must tell a story like a tree. Were she to break open a bone, perhaps it would look like the inside of a coffee mug - riddled with lines, stained with brown blotches.

When a film's heroine innocently coughs, you know that two scenes later, at most, she'll be in an oxygen tent; when a man bumps into a woman at the train station, you know that man will become the woman's lover and/or murderer. In everyday life, where we cough often and are always bumping into people, our daily actions rarely reverberate so lucidly. Once we love or hate someone, we can think back and remember that first casual encounter. But what of all the chance meetings that nothing ever comes of? While our bodies move ever forward on the time line, our minds continuously trace backward, seeking shape and meaning as deftly as any arrow seeking its mark.

After a long while he sat upright with great effort, exhaled a sigh and reached for a clean sheet of lined paper, smoothing it out on the desk. He unscrewed the lid of his fountain pen, laid it perpendicular to his paper, and began to write. Often he compared his writing to white water. He had only to leap in to be dragged away on its rapids, thrown this way and that with his own will rendered impotent. While writing he found the words came from the muscles in his hands, the feel of the shaft of his pen, the locked joint of his elbow. the scratching noise of the nib marking paper and, underneath all that, some coordinating impulse in his guts. Certainly not from his mind.

I had a sneaking suspicion that time was not constant, but I guess I could never prove it. I suppose it didn’t really matter. I even had a theory that time didn’t go in straight line at all. I knew I was no Albert Einstein, but I had the sneaking suspicion that everything had happened, was happening, or would happen was really happening all the time. There was no past, present, and future. Everything was going on all at once and forever. If that was true, then each moment was eternity.

I finally understood why laughter is a mark of wanderers, from the holy fools of Old Russia to the roadies of rock music. It’s the surprise, the unexpected, the out of control. It turns out that laughter is the only free emotion—the only one that can’t be compelled. We can be made to fear. We can even be made to believe we’re in love because, if we’re kept dependent and isolated for long enough, we bond in order to survive. But laughter explodes like an aha! It comes when the punch line changes everything that has gone before, when two opposites collide and make a third, when we suddenly see a new reality.

He lowers my hand and untangles his fingers. The noise fades, my chest loosening by degrees until I can breathe, like coming up through water. Again my eyes are drawn to the leather cord around his neck, the charm buried beneath the black fabric of his shirt. My gaze drifts down his arms, past his rolled sleeves, toward the hand that just let go of mine. Even in the twilight I can see a faint scar. “Looks like you’ve lost a couple fights of your own,” I say, running my fingers through the air near his hand, not daring to touch. “How did you get that?” “A stint as a spy. I wasn’t much good.” A crooked line runs down the back of his hand. “And that?” “Scuff with a lion.” Watching Wesley lie is fascinating. “And that?” “Caught a piranha bare-handed.” No matter how absurd the tale, he says it steady and simple, with the ease of truth. A scratch runs along his forearm. “And that?” “Knife fight in a Paris alley.” I search his skin for marks, our bodies drawing closer without touching. “Dove through a window.” “Icicle.” “Wolf.” I reach up, my fingers hovering over a nick on his hairline. “And this?” “A History.

Once on yellow sheet of paper with green lines, he wrote a poem and he called it “Spot” because that was the name of his dog and that’s what it was all about and his teacher gave him an “A” and a big gold star and his mother hung it on the kitchen cupboard and showed it to his aunt and that was the year his sister was born-and his parents kissed all the time and the little girl around the corner sent him a postcard with a row of X’s on it and his father tucked him into bed at night and was always there. Then on a white sheet of paper with blue lines, he wrote another poem and he called it “Autumn” because that was the time of year and that’s what it was all about and his teacher gave him an “A” and told him to write more clearly and his mother told him not to hang it on the kitchen cupboard because it left marks and that was the year his sister got glasses and his parents never kissed anymore and the little girl around the corner laughed when he fell down with his bike and his father didn’t tuck him in at night. So, on another piece of paper torn from a notebook he wrote another poem and he called it “Absolutely Nothing” Because that’s what it was all about and his teach gave him an “A” and a hard searching look and he didn’t show it to his mother and that was the year he caught his sister necking on the back porch and the little girl around the corner wore too much make-up so that he laughed when he kissed her but he kissed her anyway and he tucked himself in bed at three AM with his father snoring loudly in the next room Finally, on the inside of a matchbook he wrote another poem and he called it “?” because that’s what it was all about And he gave himself an “A” and a slash on each wrist and hung it on the bathroom mirror Because he couldn’t make it to the kitchen.

Dantes had entered the Chateau d’If with the round, open, smiling face of a young and happy man, with whom the early paths of life have been smooth. and who anticipates a future corresponding with his past. This was now all changed. The oval face was lengthened, his smiling mouth had assumed the firm and marked lines which betoken resolution; his eyebrows were arched beneath a brow furrowed with thought; his eyes were full of melancholy, and from their depths occasionally sparkled gloomy fires of misanthropy and hatred; his complexion, so long kept from the sun, had now that pale color which produces, when the features are encircled with black hair, the aristocratic beauty of the man of the north; the profound learning he had acquired had besides diffused over his features a refined intellectual expression; and he had also acquired, being naturally of a goodly stature, that vigor which a frame possesses which has so long concentrated all its force within itself.

I watched him as he lined up the ships in bottles on his deck, bringing them over from the shelves where they usually sat. He used an old shirt of my mother's that had been ripped into rags and began dusting the shelves. Under his desk there were empty bottles- rows and rows of them we had collected for our future shipbuilding. In the closet were more ships- the ships he had built with his own father, ships he had built alone, and then those we had made together. Some were perfect, but their sails browned; some had sagged or toppled over the years. Then there was the one that had burst into flames in the week before my death. He smashed that one first. My heart seized up. He turned and saw all the others, all the years they marked and the hands that had held them. His dead father's, his dead child's. I watched his as he smashed the rest. He christened the walls and wooden chair with the news of my death, and afterward he stood in the guest room/den surrounded by green glass. The bottle, all of them, lay broken on the floor, the sails and boat bodies strewn among them. He stood in the wreckage. It was then that, without knowing how, I revealed myself. In every piece of glass, in every shard and sliver, I cast my face. My father glanced down and around him, his eyes roving across the room. Wild. It was just for a second, and then I was gone. He was quiet for a moment, and then he laughed- a howl coming up from the bottom of his stomach. He laughed so loud and deep, I shook with it in my heaven. He left the room and went down two doors to my beadroom. The hallway was tiny, my door like all the others, hollow enough to easily punch a fist through. He was about to smash the mirror over my dresser, rip the wallpaper down with his nails, but instead he fell against my bed, sobbing, and balled the lavender sheets up in his hands. 'Daddy?' Buckley said. My brother held the doorknob with his hand. My father turned but was unable to stop his tears. He slid to the floor with his fists, and then he opened up his arms. He had to ask my brother twice, which he had never to do do before, but Buckley came to him. My father wrapped my brother inside the sheets that smelled of me. He remembered the day I'd begged him to paint and paper my room purple. Remembered moving in the old National Geographics to the bottom shelves of my bookcases. (I had wanted to steep myself in wildlife photography.) Remembered when there was just one child in the house for the briefest of time until Lindsey arrived. 'You are so special to me, little man,' my father said, clinging to him. Buckley drew back and stared at my father's creased face, the fine bright spots of tears at the corners of his eyes. He nodded seriously and kissed my father's cheek. Something so divine that no one up in heaven could have made it up; the care a child took with an adult. 'Hold still,' my father would say, while I held the ship in the bottle and he burned away the strings he'd raised the mast with and set the clipper ship free on its blue putty sea. And I would wait for him, recognizing the tension of that moment when the world in the bottle depended, solely, on me.

And that damned man in the White House doesn’t help things any. He represents the type of political hatred I’m talking about. Guys like him play to the worst fears of white men. Are you having a bad time of it right now? Lost your job? Having difficulty making ends meet? It’s not my fault or your fault. It’s the black man’s fault. It’s the Muslims’ fault. Blame a Mexican immigrant. Man’s got everyone lining up, taking sides, white people versus people of color, different religions arguing their way is the right way. This is a bad time in America. It’s an especially terrible time for a black woman to be taking on a white cop or the white establishment.

If she believes that tigers live, then does she believe that Indians are hunted and dying? If she believes in fish the size of men, does she believe in men who string up others like linefuls of catch? Easier to avoid that history, unwritten as it is except in the soughing of dry grass, in the marks of lost trails, in the rumors from the mouths of bored men and mean girls, in the cracked patterns of buffalo bone. Easier by far to read the history that Teacher Leigh teaches, those names and dates orderly as bricks, stacked to build a civilization

Daughter, daughter, shining bright Precious jewel within mine sight Oh, if I could soar with thee As you seek your destiny. To see with you the caves and skies Vistas grand beneath your eyes Taking wing to horizons new Let us wonder who waits for you. A dragon bright? A dragon dark? Victor of duels with battle mark? A dragon strong? A dragon keen? Singer of honors and triumphs seen? Red, Gold, Bronze, and Blue To your lord you shall be true, Copper, Silver, Black, and White, Who will win your mating flight? For in your hearts our future rests To see our line with hatchlings blessed And for those who threaten clutch of flame, To feel the wrath of dragon-dame.

Water everywhere, falling in thundering cataracts, singular drops, and draping sheets. Kellhus paused next to one of the shining braziers, peered beneath the bronze visage that loomed orange and scowling over his father, watched him lean back into absolute shadow. “You came to the world,” unseen lips said, “and you saw that Men were like children.” Lines of radiance danced across the intervening waters. “It is their nature to believe as their fathers believed,” the darkness continued. “To desire as they desired … Men are like wax poured into moulds: their souls are cast by their circumstances. Why are no Fanim children born to Inrithi parents? Why are no Inrithi children born to Fanim parents? Because these truths are made, cast by the particularities of circumstance. Rear an infant among Fanim and he will become Fanim. Rear him among Inrithi and he will become Inrithi … “Split him in two, and he would murder himself.” Without warning, the face re-emerged, water-garbled, white save the black sockets beneath his brow. The action seemed random, as though his father merely changed posture to relieve some vagrant ache, but it was not. Everything, Kellhus knew, had been premeditated. For all the changes wrought by thirty years in the Wilderness, his father remained Dûnyain … Which meant that Kellhus stood on conditioned ground. “But as obvious as this is,” the blurred face continued, “it escapes them. Because they cannot see what comes before them, they assume nothing comes before them. Nothing. They are numb to the hammers of circumstance, blind to their conditioning. What is branded into them, they think freely chosen. So they thoughtlessly cleave to their intuitions, and curse those who dare question. They make ignorance their foundation. They confuse their narrow conditioning for absolute truth.” He raised a cloth, pressed it into the pits of his eyes. When he withdrew it, two rose-coloured stains marked the pale fabric. The face slipped back into the impenetrable black. “And yet part of them fears. For even unbelievers share the depth of their conviction. Everywhere, all about them, they see examples of their own self-deception … ‘Me!’ everyone cries. ‘I am chosen!’ How could they not fear when they so resemble children stamping their feet in the dust? So they encircle themselves with yea-sayers, and look to the horizon for confirmation, for some higher sign that they are as central to the world as they are to themselves.” He waved his hand out, brought his palm to his bare breast. “And they pay with the coin of their devotion.

They were complicated years. The order of the world in which we had grown up was dissolving. The old skills resulting from long study and knowledge of the correct political line suddenly seemed senseless. Anarchist, Marxist, Gramscian, Communist, Leninist, Trotskyite, Maoist, worker were quickly becoming obsolete labels or, worse, a mark of brutality. The exploitation of man by man and the logic of maximum profit, which before had been considered an abomination, had returned to become the linchpins of freedom and democracy everywhere. Meanwhile, by means legal and illegal, all the accounts that remained open in the state and in the revolutionary organizations were being closed with a heavy hand. One might easily end up murdered or in jail, and among the common people a stampede had begun.

On Radcliffe's headstone, in smaller text beneath his name, was written, Here lieth one who sought truth and light and saw beauty in all things, 1842-1882. Leonard [Gilbert] found himself staring as he often did at the dash between the dates. Within that lichen-laced mark there lay the entire life of a man: his childhood, his loves, his losses and fears, all reduced to a single chiseled line on a piece of stone in a quiet churchyard at the end of a country lane. Leonard wasn't sure whether the thought was comforting or distressing; his opinion changed, depending on the day.

Shirt off.” Neil stared at her. “Why?” “I can’t check track marks through cotton, Neil.” “I don’t do drugs.” “Good on you,” Abby said. “Keep it that way. Now take it off.” […] “I want to make this as painless as possible, but I can’t help you if you can’t help me. Tell me why you won’t take off your shirt.” Neil looked for a delicate way to say it. The best he managed was, “I’m not okay.” She put a finger to his chin and turned his face back toward her. “Neil, I work for the Foxes. None of you are okay. Chances are I’ve seen a lot worse than whatever it is you’re trying to hide from me.” Neil’s smile was humorless. “I hope not. “Trust me,” Abby said. “I’m not going to judge you. I’m here to help, remember? I’m your nurse now. That door is closed, and it comes with a lock. What happens in here stays in here.” […] “You can’t ask me about them,” he said at last. “I won’t talk to you about it. Okay?” “Okay,” Abby agreed easily. “But know that when you want to, I’m here, and so is Betsy.” Neil wasn’t going to tell that psychiatrist a thing, but he nodded. Abby dropped her hand and Neil pulled his shirt over his head before he could lose his nerve. Abby thought she was ready. Neil knew she wouldn’t be, and he was right. Her mouth parted on a silent breath and her expression went blank. She wasn’t fast enough to hide her flinch, and Neil saw her shoulders go rigid with tension. He stared at her face as she stared at him, watching her gaze sweep over the brutal marks of a hideous childhood. It started at the base of his throat, a looping scar curving down over his collarbone. A pucker with jagged edges was a finger-width away, courtesy of a bullet that hit him right on the edge of his Kevlar vest. A shapeless patch of pale skin from his left shoulder to his navel marked where he’d jumped out of a moving car and torn himself raw on the asphalt. Faded scars crisscrossed here and there from his life on the run, either from stupid accidents, desperate escapes, or conflicts with local lowlifes. Along his abdomen were larger overlapping lines from confrontations with his father’s people while on the run. His father wasn’t called the butcher for nothing; his weapon of choice was a cleaver. All of his men were well-versed in knife-fighting, and more than one of them had tried to stick Neil like a pig. And there on his right shoulder was the perfect outline of half a hot iron. Neil didn’t remember what he’s said or done to irritate his father so much.

That first day I asked my students what they thought fiction should accomplish, why one should bother to read fiction at all. It was an odd way to start, but I did succeed in getting their attention. I explained that we would in the course of the semester read and discuss many different authors, but that one thing these authors all had in common was their subversiveness. Some, like Gorky or Gold, were overtly subversive in their political aims; others, like Fitzgerald and Mark Twain, were in my opinion more subversive, if less obviously so. I told them we would come back to this term, because my understanding of it was somewhat different from its usual definition. I wrote on the board one of my favorite lines from the German thinker Theodor Adorno: “The highest form of morality is not to feel at home in one’s own home.” I explained that most great works of the imagination were meant to make you feel like a stranger in your own home. The best fiction always forced us to question what we took for granted. It questioned traditions and expectations when they seemed too immutable. I told my students I wanted them in their readings to consider in what ways these works unsettled them, made them a little uneasy, made them look around and consider the world, like Alice in Wonderland, through different eyes.

And, because in some hard core of me, in some stubborn trench of selfish refusal, I could not, even at ten years of age, surrender to anything or anyone, I fought that pain. I analysed its offensive, and found its lines of attack. It festered, like the corruption in a wound turned sour, drawing strength from me. I knew enough to know the remedy. Hot iron for infection, cauterize, burn, make it pure. I cut from myself all the weakness of care. The love for my dead, I put aside, secure in a casket, an object of study, a dry exhibit, no longer bleeding, cut loose, set free. The capacity for new love, I burned out. I watered it with acid until the ground lay barren and nothing there would sprout, no flower take root.

It's an odd fact of life that you don't really remember the good times all that well. I have only mental snapshots of birthday parties, skiing, beach holidays, my wedding. The bad times too are just impressions. I can see myself standing at the end of some bed while someone I love is dying, or on the way home from a girlfriend's after I've been dumped, but again, they're just pictures. For full Technicolor, script plus subtitles plus commemorative programme in the memory, though, nothing beats embarrassment. You tend to remember the lines pretty well once you've woken screaming them at midnight a few times.

I don’t believe in influence. I think that in order to be an artist, you have to move. When you stop moving, then you’re no longer an artist. And if you move from somebody else’s position, you simply cannot know the next step. I think that everyone is on his own line. I think that after you’ve made one step, the next step reveals itself. I believe that you were born on this line. I don’t say that the actual footsteps were marked before you get to them, and I don’t say that change isn’t possible in your course. But I do believe we unfold out of ourselves, and we do what we are born to do sooner or later, anyway.

But you won’t abdicate." Of course not. It’s my duty to go on, to maintain the line. I can’t possibly fail in that. It’s as if you and I were throwing a ball back and forth to establish a record, and had been doing so for a millennium. You cannot drop a ball that has remained airborne through good effort for most of a thousand years. You cannot stop an unlikely heart that has been beating for so long. I would rather die than betray continuity, for its own sake if for nothing else. And Britain needs a king, just as it needs motormen and cooks and a prime minister. Just as it needs soldiers who will die for it if they must. It’s my job, or it will be, but you should know that I’ve never wanted it. I was only born to it, as if with a deformity, to which I hope I can respond with grace." Fredericka had been running her finger over the carpet, tracing a pattern in the way children do when they have learnt something overwhelming and are moved, but cannot say so. Freddy expected her to look up, with tears, and that in this moment she might have begun the long and arduous process of becoming a queen. She was so beautiful. To embrace her now, with high emotion flowing from her physical majesty, was all he wanted in the world. Her finger stopped moving, and she turned her eyes to him. Freddy?" Yes?" he answered. What’s raw egg? I read a recipe in She that called for a cup of raw egg. What is that?" After a long silence, Freddy asked, "Which part of the formulation escapes you? Egg? Raw? The link between the two?" The two what?" Fredericka?" Yes, Freddy?" Would you like to go dancing?" Oh, yes Freddy!" Come then. We will.

I’m mesmerized by lipstick prints on coffee cups. By the lines of lips against white pottery. By the color chosen by the woman who sat and sipped and lived life. By the mark she leaves behind. Some people read tea leaves and others can tell your future through the lines on your palm. I think I’d like to read lipstick marks on coffee mugs. To learn how to differentiate yearning from satiation. To know the curve of a deep-rooted joy or the line of bottomless grief. To be able to say, this deep blue red you chose and how firmly you planted your lips, this speaks of love on the horizon. But, darling, you must be sure to stand in your own truth. That barely-there nude that circles the entire rim? You are exploding into lightness and possibilities beyond what you currently know. The way the gloss only shows when the light hits it and the coffee has sloshed all over the saucer? people need to take the time to see you whole but my god, you’re glorious and messy and wonderful and free. The deep purple bruise almost etched in a single spot and most of the cup left unconsumed? Oh love. Let me hold the depth of your ache. It is true. He’s not coming back. I know you already know this, but do you also know this is not the end? Love. This is not the end. I imagine that I can know entire stories by these marks on discarded mugs. Imagine that I know something intimate and true of the woman who left them. That I could take those mugs home one day and an entire novel worth of characters would pour out, just like that.

One thing of great importance can affect a small number of people. Equally so, a thing of little importance can affect a multitude. Either way, a happening - big or small - can affect an entire string of people. Occurrences can join us all together. You see, we're all made up of the same stuff. When something happens, it triggers something inside us that connects us to a situation, connects us to other people, lighting us up and linking us like little lights on a Christmas tree, twisted and turned but still connected to a wire. Some go out, others flicker, others burn strong and bright, yet we are all on the same line. I said at the beginning of this story that this was about people who find out who they are. About people who are unraveled and whose cores are revealed to all who count. And that all that count are revealed to them. You thought I was talking about Lou Suffern and the Turkey Boy, about Raphie, Jessica, and Ruth, didn't you? Wrong. I was talking about each of us. A lesson finds the common denominatior and links us all together, like a chain. At the end of that chain dangles a clock, and on the face of the clock registers the passing of time. We see it and we hear it, the hushed tick-tock, but often we don't feel it. Each second makes its mark on every single person's life - comes and then goes, quietly disappearing without fanfare, evaporating into air like steam from a piping hot Christmas pudding. Enough time leaves us warm; when our time is gone, it leaves us cold. Time is more precious than gold, more precious than diamonds, more precious than oil or any valuable treasures. It is time of which we do not have enough; it is time that causes the war within our hearts, and so we must spend it wisely. Time cannot be packaged and ribboned and left under trees for Christmas morning. Time can't be given. But it can be shared.

I never had a book get angry or yell at me, never had a book show disappointment in me or consider me stupid because I didn't understand a line or needed to reread a paragraph or didn't know a word, never had a book mock me, never had a book turn its back on me or slap me in the face or fire me from reading it or decide it was in love with a faster, more intelligent, handsomer reader, I never even had a book get bored with me, or question my logic, I never had a book look suddenly crestfallen because I shut it and left it on its own, I've never met a book too shy to come into the bathroom with me or under the covers, I never met a book that refused to read me to sleep.

By all that’s wonderful, it is the sea, I believe, the sea itself — or is it youth alone? Who can tell? But you here — you all had something out of life: money, love — whatever one gets on shore — and, tell me, wasn’t that the best time, that time when we were young at sea; young and had nothing, on the sea that gives nothing, except hard knocks — and sometimes a chance to feel your strength — that only — what you all regret?” And we all nodded at him: the man of finance, the man of accounts, the man of law, we all nodded at him over the polished table that like a still sheet of brown water reflected our faces, lined, wrinkled; our faces marked by toil, by deceptions, by success, by love; our weary eyes looking still, looking always, looking anxiously for something out of life, that while it is expected is already gone — has passed unseen, in a sigh, in a flash — together with the youth, with the strength, with the romance of illusions.

I hold the hands of people I never touch. I provide comfort to people I never embrace. I watch people walk into brick walls, the same ones over and over again, and I coax them to turn around and try to walk in a different direction. People rarely see me gladly. As a rule, I catch the residue of their despair. I see people who are broken, and people who only think they are broken. I see people who have had their faces rubbed in their failures. I see weak people wanting anesthesia and strong people who wonder what they have done to make such an enemy of fate. I am often the final pit stop people take before they crawl across the finish line that is marked: I give up. Some people beg me to help. Some people dare me to help. Sometimes the beggars and the dare-ers look the same. Absolutely the same. I'm supposed to know how to tell them apart. Some people who visit me need scar tissue to cover their wounds. Some people who visit me need their wounds opened further, explored for signs of infection and contamination. I make those calls, too. Some days I'm invigorated by it all. Some days I'm numbed. Always, I'm humbled by the role of helper. And, occasionally, I'm ambushed. ~ Stephen White "Critical Conditions

In my opinion, Jan is mistaken in thinking that the border is a line that crosses a man’s life at a specific point, that it marks a break in time, a particular second on the clock of a human life. No. I am certain, on the contrary, that the border is constantly with us, irrespective of time and our stage of life, that it is omnipresent, even though circumstances might make it more or less visible. The woman Jan had loved most was right to say she held onto life by a spider thread. It takes so little, a tiny puff of air, for things to shift imperceptibly, and whatever it was that a man was ready to lay down his life for a few seconds earlier seems suddenly to be sheer nonsense.

There is coming a day, when freedom will just be a essence of the mind, an inner dwelling that was once physically attainable. They will tell you where you can live, and what you can wear and drive, what and how much you can eat and drink, and how to purchase those. They will strip you of your religion, race, gender, national origin, age, color, creed, views and power, and have control of the population. They will set in a new world order, and put you in the back of the line, marked and branded. Everything before will be erased, and the new will be manipulated. And what you believe most, can only be kept secret, for all must fall in line of their govern. Anything outside will be abolished. Even death, will be sought, but restrained. They will execute complete and total control over everything, and be sole owners of your soul. The light, that once guided will go dim, and liberty will be like an unwilled bird, suppressed in the cage of your ribs; wings cut off.

The late Dr. Larry Hurtado, historian of early Christianity, in his wildly celebrated book Destroyer of the Gods, told the story of how a tiny Jewish sect of Jesus followers overcame the bastion of paganism and won over the Roman Empire in only a few centuries. His thesis was that it wasn’t the church’s relevance or relatability to the culture but its difference and distinctness that made it compelling to so many. The church was marked by five distinctive features, all of which made it stand out against the backdrop of the empire: The church was multiracial and multiethnic, with a high value for diversity, equity, and inclusion. The church was spread across socioeconomic lines as well, and there was a high value for caring for the poor; those with extra were expected to share with those with less. It was staunch in its active resistance to infanticide and abortion. It was resolute in its vision of marriage and sexuality as between one man and one woman for life. It was nonviolent, both on a personal level and a political level.

This story is one for which some people will have to suspend their belief. If it wasn't me and this wasn't happening to me, I would be one of those people. Many won't struggle to believe it, though, for their minds have been opened; unlocked by whatever kind of key causes people to believe. Those people are either born that way or, as babies, when their minds are like little buds, they are nurtured until their petals slowly open and prepare for the very nature of life to feed them. As the rain falls and the sun shines, they grow, grow, grow; minds so open, they go through life aware and accepting, seeing light where there is dark, seeing possibility in dead ends, tasting victory as others spit out failure, questioning when others accept. Just a little less jaded, a little less cynical. A little less likely to throw in the towel. Some peoples' minds open later in life, through tragedy or triumph. Either thing acting as the key to unlatch and lift the lid on that know-it-all box, to accept the unknown, to say goodbye to pragmatism and straight lines. But then there are those whose minds are merely a bouquet of stalks, which bud as they learn new information - a new bud for a new fact - but yet they never open, never flourish. They are the people of capital letters and full stops, but never of question marks and ellipses...

And cried for mamma, at every turn'-I added, 'and trembled if a country lad heaved his fist against you, and sat at home all day for a shower of rain.-Oh, Heathcliff, you are showing a poor spirit! Come to the glass, and I'll let you see what you should wish. Do you mark those two lines between your eyes, and those thick brows, that instead of rising arched, sink in the middle, and that couple of black fiends, so deeply buried, who never open their windows boldly, but lurk glinting under them, like devil's spies? Wish and learn to smooth away the surly wrinkles, to raise your lids frankly, and change the fiends to confident, innocent angels, suspecting and doubting nothing, and always seeing friends where they are not sure of foes-Don't get the expression of a vicious cur that appears to know the kicks it gets are its desert, and yet, hates all the world, as well as the kicker, for what it suffers.' 'In other words, I must wish for Edgar Linton's great blue eyes, and even forehead,' he replied. 'I do - and that won't help me to them.' 'A good heart will help you to a bonny face, my lad,' I continued, 'if you were a regular black; and a bad one will turn the bonniest into something worse than ugly. And now that we've done washing, and combing, and sulking - tell me whether you don't think yourself rather handsome? I'll tell you, I do. You're fit for a prince in disguise. Who knows, but your father was Emperor of China, and your mother an Indian queen, each of them able to buy up, with one week's income, Wuthering Heights and Thrushcross Grange together? And you were kidnapped by wicked sailors, and brought to England. Were I in your place, I would frame high notions of my birth; and the thoughts of what I was should give me courage and dignity to support the oppressions of a little farmer!

You struggle because you’re locating all of the magic in your life outside of yourself. When you are loved, then you are lovable. When you are left behind, you are unlovable. When you “arrive” at some point of success and fame as a writer, you will be worthy. Until then, you are worthless. As long as you imagine that the outside world will one day deliver to you the external rewards you need to feel happy, you will always perceive your survival as exhausting and perceive your life as a long slog to nowhere. Instead, you have to savor the tiny struggles of the day: The cold glass of water after a long run. The hot bath after hours of digging through the dirt. The satisfaction of writing a good sentence, a good paragraph. You MUST feel these things, because these aren’t small rewards on the path to some big reward; these tiny things are everything. Savoring these things requires tuning in to your feelings, and it requires loving yourself instead of shoving your nose into your own question marks hour after hour, day after day. You are not lost. You are here. Stop abandoning yourself. Stop repeating this myth about love and success that will land in your lap or evade you forever. Build a humble, flawed life from the rubble, and cherish that. There is nothing more glorious on the face of the earth than someone who refuses to give up, who refuses to give in to their most self-hating, discouraged, disillusioned self, and instead learns, slowly and painfully, how to relish the feeling of building a hut in the middle of the suffocating dust. If you can learn to be where you are, without fear, then sooner than you know it, your life will quite naturally be filled with more love and more wonder than you can possibly handle. When that happens, you’ll look back and see that this was the most romantic time of your whole life. These are those terrible days, those gorgeous days, when you first learned to breathe and stand alone without fear, to believe not in finish lines but in the race itself. Your legs are aching and your heart is pounding and the world is electric. You will have 30 years or 50 years, or maybe you’ll be gone tomorrow. All that matters is this moment, right now. This is the moment you learn to be here, to feel your limbs, to feel your full heart, to realize, for the first time, just how lucky you are.

Bro, we're living in the Kali Yuga, a Dark Age of petite bourgeoisie ideology, a petite bourgeoisie ideology whose resources and ruses are infinite and which ubiquitously permeates the world -- high culture, low culture, bienpensant media, prestige literature, pop music, commerce, sports, academia, you name it. The only reasonable response to this situation is to maintain an implacable antipathy toward everything. Denounce everyone. Make war against yourself. Guillotine all groveling intellectuals. That said, I think it's important to maintain a cheery disposition. This will hasten the restoration of Paradise. I've memorized this line from Andre Breton's magnificent homage to Antonin Artaud -- "I salute Antonin Artaud for his passionate, heroic negation of everything that causes us to be dead while alive." Given the state of things, that's what we need to be doing, all the time -- negating everything that causes us to be dead while alive.

I remember when I was a kid at school having to learn a poem of sorts about a fellow named Pig-something—a sculptor he would have been, no doubt—who made a statue of a girl, and what should happen one morning but that the bally thing suddenly came to life. A pretty nasty shock for the chap, of course, but the point I'm working round to is that there were a couple of lines that went, if I remember correctly: She starts. She moves. She seems to feel The stir of life along her keel. And what I'm driving at is that you couldn't get a better description of what happened to Gussie as I spoke these heartening words. His brow cleared, his eyes brightened, he lost that fishy look, and he gazed at the slug, which was still on the long, long trail with something approaching bonhomie. A marked improvement.

Oregon October, when the fields of timothy and rye-grass stubble are being burned, the sky itself catches fire. Flocks of wrens rush up from the red alder thickets like sparks kicked from a campfire, the salmon jumps again, and the river rolls molten and slow . . . Down river, from Andy’s Landing, a burned-off cedar snag held the sun spitted like an apple, hissing and dripping juices against a grill of Indian Summer clouds. All the hillside, all the drying Himalaya vine that lined the big river, and the sugar-maple trees farther up, burned a dark brick and over-lit red. The river split for the jump of a red-gilled silver salmon, then circled to mark the spot where it fell. Spoonbills shoveled at the crimson mud in the shallows, and dowitchers jumped from cattail to cattail, frantically crying “Kleek! Kleek!” as though the thin reeds were as hot as the pokers they resembled. Canvasback and brant flew south in small, fiery, faraway flocks. And in the shabby ruin of broken cornfields rooster ringnecks clashed together in battle so bright, so gleaming polished-copper bright, that the fields seemed to ring with their fighting. This is Hank’s bell.

Introductory paragraph incorporating the thesis: After a challenging childhood marked by adversity, Adam Parrish has become a successful freshman at Harvard University. In the past, he had spent his time doubting himself, fearing he would become like his father, obsessing that others could see his trailer-park roots, and idealizing wealth, but now he has built a new future where no one has to know where he's come from. Before becoming a self-actualized young man at Harvard, Adam had been deeply fascinated by the concept of the ley lines and also supernaturally entangled with one of the uncanny forests located along one, but he has now focused on the real world, using only the ghost of magic to fleece other students with parlor trick tarot card readings. He hasn't felt like himself for months, but he is going to be just fine. Followed by three paragraphs with information that supports the thesis. First: Adam understands that suffering is often transient, even when it feels permanent. This too shall pass, etc. Although college seems like a lifetime, it is only four years. Four years is only a lifetime if one is a guinea pig. Second paragraph, building on the first point: Magic has not always been good for Adam. During high school, he frequently immersed himself in it as a form of avoidance. Deep down, he fears that he is prone to it as his father is prone to abuse, and that it will eventually make him unsuitable for society. By depriving himself of magic, he forces himself to become someone valuable to the unmagic world, i.e. the Crying Club. Third paragraph, with the most persuasive point: Harvard is a place Ronan Lynch cannot be, because he cannot survive there, either physically or socially. Without such hard barriers, Adam will surely continue to return to Ronan Lynch again and again, and thus fall back in with bad habits. He will never achieve the life of financial security and recognition he planned. Thesis restated, bringing together all the information to prove it: Although life is unbearable now, and Adam Parrish seems to have lost everything important to him in the present by pursuing the things important to him in the past, he will be fine. Concluding paragraph describing what the reader just learned and why it is important for them to have learned it: He will be fine. He will be fine. He will be fine. He will be fine.

Ara. Ara, stop.” He propped my body against the wall and unfastened my hands from his neck. “Why? What's wrong?” I wiped my mouth dry with the back of my wrist. “Did I hurt you?” “Yes, you little leech.” He cupped his hand over the bite mark and pulled it away to look at it. “I may not have a heartbeat, but I still feel pain.” “You're bruising.” I squinted through the dull light to see his neck. “I know. I can feel that.” “I'm sorry.” “Are you kidding me?” He looked up at me. “Ara, that felt amazing. It hurt, but damn it was hard for me to control myself.” “Control yourself?” “Yeah. I wanted to...” He looked down and shook his head. “You wanted to what?” I lifted his face. “I wanted to do...things to you.” “What kinds of...things.” Excitement and fear made my heart thump. “Bad things?” “Yes. Bad things.” He reached up slowly and slipped the shoestring strap of my dress down my shoulder, then ran a delicate line of kisses along the curve of my neck, making the skin on my lower back tingle. “That doesn't feel like bad things.” “This is not what I had in mind,” he said into my shoulder.

And not only the world but humanity itself does need dragons” “And why is that?” Chade demanded disdainfully. “To keep the balance,” the Fool replied. He glanced over me, and then past me, out of the window and his eyes went far and pensive. “Humanity fears no rivals. You have forgotten what it was to share the world with creatures as arrogantly superior as yourselves. You think to arrange the world to your liking. So you map the land and draw lines across it, claiming ownership simply because you can draw a picture of it. The plants that grow and the beasts that rove, you mark as your own, claiming not only what lives today, but what might grow tomorrow, to do with as you please. Then, in your conceit and aggression, you wage wars and slay one another over the lines you have imagined on the world’s face.” “And I suppose dragons are better than we are because they don’t do such things, because they simply take whatever they see. Free spirits, nature’s creatures, possessing all the moral loftiness that comes from not being able to think.” The Fool shook his head, smiling. “No. Dragons are no better than humans. They are little different at all from men. They will hold up a mirror to humanity’s selfishness. They will remind you that all your talk of owning this and claiming that is no more than the snarling of a chained dog or a sparrow’s challenge song. The reality of those claims lasts but for the instant of its sounding. Name it as you will, claim it as you will, the world does not belong to men. Men belong to the world. You will not own the earth that eventually your body will become, nor will it recall the name it once answered to.

Back out of all this now too much for us, Back in a time made simple by the loss Of detail, burned, dissolved, and broken off Like graveyard marble sculpture in the weather, There is a house that is no more a house Upon a farm that is no more a farm And in a town that is no more a town. The road there, if you’ll let a guide direct you Who only has at heart your getting lost, May seem as if it should have been a quarry— Great monolithic knees the former town Long since gave up pretense of keeping covered. And there’s a story in a book about it: Besides the wear of iron wagon wheels The ledges show lines ruled southeast-northwest, The chisel work of an enormous Glacier That braced his feet against the Arctic Pole. You must not mind a certain coolness from him Still said to haunt this side of Panther Mountain. Nor need you mind the serial ordeal Of being watched from forty cellar holes As if by eye pairs out of forty firkins. As for the woods’ excitement over you That sends light rustle rushes to their leaves, Charge that to upstart inexperience. Where were they all not twenty years ago? They think too much of having shaded out A few old pecker-fretted apple trees. Make yourself up a cheering song of how Someone’s road home from work this once was, Who may be just ahead of you on foot Or creaking with a buggy load of grain. The height of the adventure is the height Of country where two village cultures faded Into each other. Both of them are lost. And if you’re lost enough to find yourself By now, pull in your ladder road behind you And put a sign up CLOSED to all but me. Then make yourself at home. The only field Now left’s no bigger than a harness gall. First there’s the children’s house of make-believe, Some shattered dishes underneath a pine, The playthings in the playhouse of the children. Weep for what little things could make them glad. Then for the house that is no more a house, But only a belilaced cellar hole, Now slowly closing like a dent in dough. This was no playhouse but a house in earnest. Your destination and your destiny’s A brook that was the water of the house, Cold as a spring as yet so near its source, Too lofty and original to rage. (We know the valley streams that when aroused Will leave their tatters hung on barb and thorn.) I have kept hidden in the instep arch Of an old cedar at the waterside A broken drinking goblet like the Grail Under a spell so the wrong ones can’t find it, So can’t get saved, as Saint Mark says they mustn’t. (I stole the goblet from the children’s playhouse.) Here are your waters and your watering place. Drink and be whole again beyond confusion.

Contemporary writers use animal-transformation themes to explore issues of gender, sexuality, race, culture, and the process of transformation...just as storytellers have done, all over the world, for many centuries past. One distinct change marks modern retellings, however, reflecting our changed relationship to animals and nature. In a society in which most of us will never encounter true danger in the woods, the big white bear who comes knocking at the door [in fairy tales] is not such a frightening prospective husband now; instead, he's exotic, almost appealing. Whereas once wilderness was threatening to civilization, now it's been tamed and cultivated; the dangers of the animal world have a nostalgic quality, removed as they are from our daily existence. This removal gives "the wild" a different kind of power; it's something we long for rather than fear. The shape-shifter, the were-creature, the stag-headed god from the heart of the woods--they come from a place we'd almost forgotten: the untracked forests of the past; the primeval forests of the mythic imagination; the forests of our childhood fantasies: untouched, unspoiled, limitless. Likewise, tales of Animal Brides and Bridegrooms are steeped in an ancient magic and yet powerfully relevant to our lives today. They remind us of the wild within us...and also within our lovers and spouses, the part of them we can never quite know. They represent the Others who live beside us--cat and mouse and coyote and owl--and the Others who live only in the dreams and nightmares of our imaginations. For thousands of years, their tales have emerged from the place where we draw the boundary lines between animals and human beings, the natural world and civilization, women and men, magic and illusion, fiction and the lives we live.

And across these mean Dwellings of Black Step Lane, where as a Boy I dwell'd for a while, the Shaddowe of my last Church will fall: what the Mobb has torn down I will build again in Splendour. And thus will I compleet the Figure: Spittle-Fields, Wapping and Lime-house have made the Triangle; Bloomsbury and St Mary Woolnoth have next created the major Pentacle-starre; and, with Greenwich, all these will form the Sextuple abode of Baal-Berith or the Lord of the Covenant. Then, with the church of Little St Hugh, the Septilateral Figure will rise about Black Step Lane and, in this Pattern, every Straight line is enrich'd with a point at Infinity and every Plane with a line at Infinity. Let him that has Understanding count the Number: the seven Churches are built in conjunction with the seven Planets in the lower Orbs of Heaven, the seven Circles of the Heavens, the seven Starres in Ursa Minor and the seven Starres in the Pleiades. Little St Hugh was flung in the Pitte with the seven Marks upon his Hands, Feet, Sides and Breast which thus exhibit the seven Demons - Beydelus, Metucgayn, Adulec, Demeymes, Gadix, Uquizuz and Sol. I have built an everlasting Order, which I may run through laughing: no one can catch me now.

He was beautiful when he sat alone, he was like me, he had wide lapels, he was holding the mug in the hardest possible way so that his fingers were all twisted but still long and beautiful, he didn’t like to sit alone all the time, but this time, I swear, he didn’t care on way or the other. I’ll tell you why I like to sit alone, because I’m a sadist, that’s why we like to sit alone, because we’re the sadists who like to sit alone. He sat alone because he was beautifully dressed for the occasion and because he was not a civilian. We are the sadists you don’t have to worry about, you think, and we have no opinion on the matter of whether you have to worry about us, and we don’t even like to think about the matter because it baffles us. Maybe he doesn’t mean a thing to me any more but I think he was like me. You didn’t expect to fall in love, I said to myself and at the same time I answered gently, Do you think so? I heard you humming beautifully, your hum said that I can’t ignore you, that I’d finally come around for a number of delicious reasons that only you knew about, and here I am, Miss Blood. And you won’t come back, you won’t come back to where you left me, and that’s why you keep my number, so you don’t dial it by mistake when you’re fooling with the dial not even dialing numbers. You begin to bore us with your pain and we have decided to change your pain. You said you were happiest when you danced, you said you were happiest when you danced with me, now which do you mean? And so we changed his pain, we threw the idea of a body at him and we told him a joke, and then he thought a great deal about laughing and about the code. And he thought that she thought that he thought that she thought the worst thing a woman could do was to take a man away from his work because that made her what, ugly or beautiful? And now you’ve entered the mathematical section of your soul which you claimed you never had. I suppose that this, plus the broken heart, makes you believe that now you have a perfect right to go out and tame the sadists. He had the last line of each verse of the song but he didn’t have any of the other lines, the last line was always the same, Don’t call yourself a secret unless you mean to keep it. He thought he knew, or he actually did know too much about singing to be a singer; and if there is actually such a condition, is anybody in it, and are sadists born there? It is not a question mark, it is not an exclamation point, it is a full stop by the man who wrote Parasites of Heaven. Even if we stated our case very clearly and all those who held as we do came to our side, all of them, we would still be very few.

In your madness you said you loved me," she murmured shyly. His humor fled, and the smile left her lips as she continued, "You said it before, too. When the storm struck, I asked you to love me, and you said you did." Her voice was the barest of whispers. Ruark's gaze turned away from her, and he rubbed the bandage on his leg before he spoke. "Strange that madness should speak the truth, but truth it is." He met her questioning eyes directly. "Aye, I love you." The pain of longing marked his face with a momentary sadness. "And that is madness, in all truth." Shanna raised herself form his side and sat on her heels, staring down at him. "Why do you love me?" Her tone was wondrous. "I beset you at every turn. I deny you as a fit mate. I have betrayed you into slavery and worse. There is no sanity in your plea at all. How can you love me?" "Shanna! Shanna! Shanna!" he sighed, placing his fingers on her hand and gently tracing the lines of her finely boned fingers. "What man would boast the wisdom of his love? How many time has this world heard, 'I don't care, I love.' Do I count your faults and sins to tote them in a book?" ... "I dream of unbelievable softness. I remember warmth at my side the likes of which can set my heart afire. I see in the dark before me softly glowing eyes of aqua, once tender in a moment of love, then flashing with defiance and anger, now dark and blue with some stirring I know I have caused, now green and gay with laughter spilling from them. There is a form within my arms that I tenderly held and touched. There is that one who has met my passion with her own and left me gasping." Ruark caressed Shanna's arm and turned her face to him, making her look into his eyes and willing her to see the truth in them as he spoke. "My beloved Shanna. I cannot think of betrayal when I think of love. I can count no denials when I hold you close. I only wait for that day when you will say, 'I love." Shanna raised her hands as if to plead her case then let them fall dejectedly on her knees. Tears coursed down her cheeks, and she begged helplessly, "But I do not want to love you." She began to sob. "You are a colonial. You are untitled, a murderer condemned, a rogue, a slave. I want a name for my children. I want so much more of my husband." She rolled her eyes in sudden confusion. "And I do not want to hurt you more." Ruark sighed and gave up for the moment. He reached out and gently wiped away the tears as they fell. "Shanna, love," he whispered tenderly, "I cannot bear to see you cry. I will not press the matter for a while. I only beg you remember the longest journey is taken a step at a time. My love can wait, but it will neither yield nor change.

When it grew cold enough to shut the doors, and have fire at night, first thing after supper all of us helped clear the table, then we took our slates and books and learned our lessons for the next day, and then father lined us against the wall, all in a row from Laddie down, and he pronounced words—easy ones that divided into syllables nicely, for me, harder for May, and so up until I might sit down. For Laddie, May and Leon he used the geography, the Bible, Roland's history, the Christian Advocate, and the Agriculturist. My, but he had them so they could spell! After that, as memory tests, all of us recited our reading lesson for the next day, especially the poetry pieces. I knew most of them, from hearing the big folks repeat them so often and practise the proper way to read them. I could do "Rienzi's Address to the Romans," "Casablanca," "Gray's Elegy," or "Mark Antony's Speech," but best of all, I liked "Lines to a Water-fowl." When he was tired, if it were not bedtime yet, all of us, boys too, sewed rags for carpet and rugs. Laddie braided corn husks for the kitchen and outside door mats, and they were pretty, and "very useful too," like the dog that got his head patted in McGuffey's Second.

One of the reasons there are so many bitter, disenfranchised people who are angry at the church is because of bad theology. It’s really, really important to separate your theology of the kingdom from the church. These are two separate, autonomous entities. Yes, there is overlap and the lines blur and bleed, but they are two different ideas. Jesus’ ultimate goal for the universe is the kingdom, not the church. The kingdom is where the renewal of all things takes place. Where Eden is restored. Where the entire creation is made new.[1] The story of the Bible ends with heaven crashing into earth. The kingdom is a huge, elephantic theology with layers and texture and depth and dimensions. The problem is that most people erase or ignore the theology of the kingdom. In doing so, they pin all their hopes and dreams on the church. These unrealistic expectations are way too much to bear for the frail shoulders of God’s bride. She was never designed to bear the weight of changing the world, much less perfection. I hear people say things like, “The church is God’s plan to save the world.” No, it’s not. Jesus is God’s plan to save the world. He is bringing his kingdom crashing into this present age, and he is saving the world. Yes, the church is part of God’s plan to save the world. That is very true. We are the body of the Messiah. Meaning, we are the arms and legs, the appendages, the extensions of Jesus to the world. We join and partner and work with him for the kingdom; but he is the one saving the universe, not us.

It seems a simple task. We all know what water looks like, feels like in our mouth. Water is ubiquitous. Describing a cup of water feels a little like doing a still life painting. As a child I used to wonder: Why do people spend so much time painting bowls of fruit, when they could be painting dragons? Why learn to describe a cup of water, when the story is about cool magic and (well) dragons? It’s a thing I had trouble with as a teenage writer—I’d try to rush through the “boring” parts to get to the interesting parts, instead of learning how to make the boring parts into the interesting parts. And a cup of water is vital to this. Robert Jordan showed me that a cup of water can be a cultural dividing line–the difference between someone who grew up between two rivers, and someone who’d never seen a river before a few weeks ago. A cup of water can be an offhand show of wealth, in the shape of an ornamented cup. It can be a mark of traveling hard, with nothing better to drink. It can be a symbol of better times, when you had something clean and pure. A cup of water isn’t just a cup of water, it’s a means of expressing character. Because stories aren’t about cups of water, or even magic and dragons. They’re about the people painted, illuminated, and changed by magic and dragons.

We have now reached a level in which many people are not merely unacquainted with the fundamentals of punctuation, but don’t evidently realize that there are fundamentals. Many people—people who make posters for leading publishers, write captions for the BBC, compose letters and advertisements for important institutions—seem to think that capitalization and marks of punctuation are condiments that you sprinkle through any collection of words as if from a salt shaker. Here is a headline, exactly as presented, from a magazine ad for a private school in York: “Ranked by the daily Telegraph the top Northern Co-Educational day and Boarding School for Academic results.” All those capital letters are just random. Does anyone really think that the correct rendering of the newspaper is “the daily Telegraph”? Is it really possible to be that unobservant? Well, yes, as a matter of fact. Not long ago, I received an e-mail from someone at the Department for Children, Schools and Families asking me to take part in a campaign to help raise appreciation for the quality of teaching in Great Britain. Here is the opening line of the message exactly as it was sent to me: “Hi Bill. Hope alls well. Here at the Department of Children Schools and Families…” In the space of one line, fourteen words, the author has made three elemental punctuation errors (two missing commas, one missing apostrophe; I am not telling you more than that) and gotten the name of her own department wrong—this from a person whose job is to promote education. In a similar spirit, I received a letter not long ago from a pediatric surgeon inviting me to speak at a conference. The writer used the word “children’s” twice in her invitation, spelling it two different ways and getting it wrong both times. This was a children’s specialist working in a children’s hospital. How long do you have to be exposed to a word, how central must it be to your working life, to notice how it is spelled?

We've spoken of the Knights of the Holy Grail, Percival. Do you know what I was? The Knight of the Unholy Grail. In times like these when everyone is wonderful, what is needed is a quest for evil. You should be interested! Such a quest serves God's cause! How? Because the Good proves nothing. When everyone is wonderful, nobody bothers with God. If you had ten thousand Albert Schweitzers giving their lives for their fellow men, do you think anyone would have a second thought about God? Or suppose the Lowell Professor of Religion at Harvard should actually find the Holy Grail, dig it up in an Israeli wadi, properly authenticate it, carbon date it, and present it to the Metropolitan Museum. Millions of visitors! I would be as curious as the next person and would stand in line for hours to see it. But what different would it make in the end? People would be interested for a while, yes. This is an age of interest. But suppose you could show me one "sin," one pure act of malevolence. A different cup of tea! That would bring matters to a screeching halt. But we have plenty of evil around you say. What about Hitler, the gas ovens and so forth? What about them? As everyone knows and says, Hitler was a madman. And it seems nobody else was responsible. Everyone was following orders. It is even possible that there was no such order, that it was all a bureaucratic mistake. Show me a single "sin." One hundred and twenty thousand dead at Hiroshima? Where was the evil of that? Was Harry Truman evil? As for the pilot and bombardier, they were by all accounts wonderful fellows, good fathers and family men. "Evil" is surely the clue to this age, the only quest appropriate to the age. For everything and everyone's either wonderful or sick and nothing is evil. God may be absent, but what if one should find the devil? Do you think I wouldn't be pleased to meet the devil? Ha, ha, I'd shake his hand like a long-lost friend. The mark of the age is that terrible things happen but there is no "evil" involved. People are either crazy, miserable, or wonderful, so where does the "evil" come in? There I was forty-five years old and I didn't know whether there was "evil" in the world.

People who think that queer life consists of sex without intimacy are usually seeing only a tiny part of the picture, and seeing it through homophobic stereotype. The most fleeting sexual encounter is, in its way intimate. And in the way many gay men and lesbians live, quite casual sexual relations can develop into powerful and enduring friendships. Friendships, in turn, can cross into sexual relations and back. Because gay social life is not as ritualized and institutionalized as straight life, each relation is an adventure in nearly un-charted territory—whether it is between two gay men, or two lesbians, or a gay man and a lesbian, or among three or more queers, or between gay men and the straight women whose commitment to queer culture brings them the punishment of the "fag hag" label. There are almost as many kinds of relationship as there are people in combination. Where there are -patterns, we learn them from other queers, not from our-parents or schools or the state. Between tricks and lovers and exes and friends and fuckbuddies and bar friends and bar friends' tricks and tricks' bar friends and gal pals and companions "in the life," queers have an astonishing range of intimacies. Most have no labels. Most receive no public recognition. Many of these relations are difficult because the rules have to be invented as we go along. Often desire and unease add to their intensity, and their unpredictability. They can be complex and bewildering, in a way that arouses fear among many gay people, and tremendous resistance and resentment from many straight people. Who among us would give them up? Try standing at a party of queer friends and charting all the histories, sexual and nonsexual, among the people in the room. (In some circles this is a common party sport already.) You will realize that only a fine and rapidly shifting line separates sexual culture from many other relations of durability and care. The impoverished vocabulary of straight culture tells us that people should be either husbands and wives or (nonsexual) friends. Marriage marks that line. It is not the way many queers live. If there is such a thing as a gay way of life, it consists in these relations, a welter of intimacies outside the framework of professions and institutions and ordinary social obligations. Straight culture has much to learn from it, and in many ways has already begun to learn from it. Queers should be insisting on teaching these lessons. Instead, the marriage issue, as currently framed, seems to be a way of denying recognition to these relations, of streamlining queer relations into the much less troubling division of couples from friends.

What we feel and how we feel is far more important than what we think and how we think. Feeling is the stuff of which our consciousness is made, the atmosphere in which all our thinking and all our conduct is bathed. All the motives which govern and drive our lives are emotional. Love and hate, anger and fear, curiosity and joy are the springs of all that is most noble and most detestable in the history of men and nations. The opening sentence of a sermon is an opportunity. A good introduction arrests me. It handcuffs me and drags me before the sermon, where I stand and hear a Word that makes me both tremble and rejoice. The best sermon introductions also engage the listener immediately. It’s a rare sermon, however, that suffers because of a good introduction. Mysteries beg for answers. People’s natural curiosity will entice them to stay tuned until the puzzle is solved. Any sentence that points out incongruity, contradiction, paradox, or irony will do. Talk about what people care about. Begin writing an introduction by asking, “Will my listeners care about this?” (Not, “Why should they care about this?”) Stepping into the pulpit calmly and scanning the congregation to the count of five can have a remarkable effect on preacher and congregation alike. It is as if you are saying, “I’m about to preach the Word of God. I want all of you settled. I’m not going to begin, in fact, until I have your complete attention.” No sermon is ready for preaching, not ready for writing out, until we can express its theme in a short, pregnant sentence as clear as crystal. The getting of that sentence is the hardest, most exacting, and most fruitful labor of study. We tend to use generalities for compelling reasons. Specifics often take research and extra thought, precious commodities to a pastor. Generalities are safe. We can’t help but use generalities when we can’t remember details of a story or when we want anonymity for someone. Still, the more specific their language, the better speakers communicate. I used to balk at spending a large amount of time on a story, because I wanted to get to the point. Now I realize the story gets the point across better than my declarative statements. Omit needless words. Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all his sentences short, or that he avoid all detail and treat his subjects only in outline, but that every word tell. Limits—that is, form—challenge the mind, forcing creativity. Needless words weaken our offense. Listening to some speakers, you have to sift hundreds of gallons of water to get one speck of gold. If the sermon is so complicated that it needs a summary, its problems run deeper than the conclusion. The last sentence of a sermon already has authority; when the last sentence is Scripture, this is even more true. No matter what our tone or approach, we are wise to craft the conclusion carefully. In fact, given the crisis and opportunity that the conclusion presents—remember, it will likely be people’s lasting memory of the message—it’s probably a good practice to write out the conclusion, regardless of how much of the rest of the sermon is written. It is you who preaches Christ. And you will preach Christ a little differently than any other preacher. Not to do so is to deny your God-given uniqueness. Aim for clarity first. Beauty and eloquence should be added to make things even more clear, not more impressive. I’ll have not praise nor time for those who suppose that writing comes by some divine gift, some madness, some overflow of feeling. I’m especially grim on Christians who enter the field blithely unprepared and literarily innocent of any hard work—as though the substance of their message forgives the failure of its form.

My ideal was contained within the word beauty, so difficult to define despite all the evidence of our senses. I felt responsible for sustaining and increasing the beauty of the world. I wanted the cities to be splendid, spacious and airy, their streets sprayed with clean water, their inhabitants all human beings whose bodies were neither degraded by marks of misery and servitude nor bloated by vulgar riches; I desired that the schoolboys should recite correctly some useful lessons; that the women presiding in their households should move with maternal dignity, expressing both vigor and calm; that the gymnasiums should be used by youths not unversed in arts and in sports; that the orchards should bear the finest fruits and the fields the richest harvests. I desired that the might and majesty of the Roman Peace should extend to all, insensibly present like the music of the revolving skies; that the most humble traveller might wander from one country, or one continent, to another without vexatious formalities, and without danger, assured everywhere of a minimum of legal protection and culture; that our soldiers should continue their eternal pyrrhic dance on the frontiers; that everything should go smoothly, whether workshops or temples; that the sea should be furrowed by brave ships, and the roads resounding to frequent carriages; that, in a world well ordered, the philosophers should have their place, and the dancers also. This ideal, modest on the whole, would be often enough approached if men would devote to it one part of the energy which they expend on stupid or cruel activities; great good fortune has allowed me a partial realization of my aims during the last quarter of a century. Arrian of Nicomedia, one of the best minds of our time, likes to recall to me the beautiful lines of ancient Terpander, defining in three words the Spartan ideal (that perfect mode of life to which Lacedaemon aspired without ever attaining it): Strength, Justice, the Muses. Strength was the basis, discipline without which there is no beauty, and firmness without which there is no justice. Justice was the balance of the parts, that whole so harmoniously composed which no excess should be permitted to endanger. Strength and justice together were but one instrument, well tuned, in the hands of the Muses. All forms of dire poverty and brutality were things to forbid as insults to the fair body of mankind, every injustice a false note to avoid in the harmony of the spheres.

Thomas Jefferson's Letter to John Holmes on the Missouri Statehood Question – April 20, 1820 I thank you, dear Sir, for the copy you have been so kind as to send me of the letter to your constituents on the Missouri question. It is a perfect justification to them. I had for a long time ceased to read newspapers, or pay any attention to public affairs, confident they were in good hands, and content to be a passenger in our bark to the shore from which I am not distant. But this momentous question, like a fire bell in the night, awakened and filled me with terror. I considered it at once as the knell of the Union. It is hushed, indeed, for the moment. But this is a reprieve only, not a final sentence. A geographical line, coinciding with a marked principle, moral and political, once conceived and held up to the angry passions of men, will never be obliterated; and every new irritation will mark it deeper and deeper. I can say, with conscious truth, that there is not a man on earth who would sacrifice more than I would to relieve us from this heavy reproach, in any practicable way. The cession of that kind of property, for so it is misnamed, is a bagatelle which would not cost me a second thought, if, in that way, a general emancipation and expatriation could be effected; and, gradually, and with due sacrifices, I think it might be. But as it is, we have the wolf by the ears, and we can neither hold him, nor safely let him go. Justice is in one scale, and self-preservation in the other. Of one thing I am certain, that as the passage of slaves from one State to another, would not make a slave of a single human being who would not be so without it, so their diffusion over a greater surface would make them individually happier, and proportionally facilitate the accomplishment of their emancipation, by dividing the burthen on a greater number of coadjutors. An abstinence too, from this act of power, would remove the jealousy excited by the undertaking of Congress to regulate the condition of the different descriptions of men composing a State. This certainly is the exclusive right of every State, which nothing in the constitution has taken from them and given to the General Government. Could Congress, for example, say, that the non- freemen of Connecticut shall be freemen, or that they shall not emigrate into any other State? I regret that I am now to die in the belief, that the useless sacrifice of themselves by the generation of 1776, to acquire self-government and happiness to their country, is to be thrown away by the unwise and unworthy passions of their sons, and that my only consolation is to be, that I live not to weep over it. If they would but dispassionately weigh the blessings they will throw away, against an abstract principle more likely to be effected by union than by scission, they would pause before they would perpetrate this act of suicide on themselves, and of treason against the hopes of the world. To yourself, as the faithful advocate of the Union, I tender the offering of my high esteem and respect. Th. Jefferson

Patriotism comes from the same Latin word as father. Blind patriotism is collective transference. In it the state becomes a parent and we citizens submit our loyalty to ensure its protection. We may have been encouraged to make that bargain from our public school education, our family home, religion, or culture in general. We associate safety with obedience to authority, for example, going along with government policies. We then make duty, as it is defined by the nation, our unquestioned course. Our motivation is usually not love of country but fear of being without a country that will defend us and our property. Connection is all-important to us; excommunication is the equivalent of death, the finality we can’t dispute. Healthy adult loyalty is a virtue that does not become blind obedience for fear of losing connection, nor total devotion so that we lose our boundaries. Our civil obedience can be so firm that it may take precedence over our concern for those we love, even our children. Here is an example: A young mother is told by the doctor that her toddler is allergic to peanuts and peanut oil. She lets the school know of her son’s allergy when he goes to kindergarten. Throughout his childhood, she is vigilant and makes sure he is safe from peanuts in any form. Eighteen years later, there is a war and he is drafted. The same mother, who was so scrupulously careful about her child’s safety, now waves goodbye to him with a tear but without protest. Mother’s own training in public school and throughout her life has made her believe that her son’s life is expendable whether or not the war in question is just. “Patriotism” is so deeply ingrained in her that she does not even imagine an alternative, even when her son’s life is at stake. It is of course also true that, biologically, parents are ready to let children go just as the state is ready to draft them. What a cunning synchronic-ity. In addition, old men who decide on war take advantage of the timing too. The warrior archetype is lively in eighteen-year-olds, who are willing to fight. Those in their mid-thirties, whose archetype is being a householder and making a mark in their chosen field, will not show an interest in battlefields of blood. The chiefs count on the fact that young braves will take the warrior myth literally rather than as a metaphor for interior battles. They will be willing to put their lives on the line to live out the collective myth of societies that have not found the path of nonviolence. Our collective nature thus seems geared to making war a workable enterprise. In some people, peacemaking is the archetype most in evidence. Nature seems to have made that population smaller, unfortunately. Our culture has trained us to endure and tolerate, not to protest and rebel. Every cell of our bodies learned that lesson. It may not be virtue; it may be fear. We may believe that showing anger is dangerous, because it opposes the authority we are obliged to appease and placate if we are to survive. This explains why we so admire someone who dares to say no and to stand up or even to die for what he believes. That person did not fall prey to the collective seduction. Watching Jeopardy on television, I notice that the audience applauds with special force when a contestant risks everything on a double-jeopardy question. The healthy part of us ardently admires daring. In our positive shadow, our admiration reflects our own disavowed or hidden potential. We, too, have it in us to dare. We can stand up for our truth, putting every comfort on the line, if only we can calm our long-scared ego and open to the part of us that wants to live free. Joseph Campbell says encouragingly, “The part of us that wants to become is fearless.” Religion and Transference Transference is not simply horizontal, from person to person, but vertical from person to a higher power, usually personified as God. When