Loop Line Quotes

I wrote your name across my heart So I would not forget. The way I felt when you were born Before we'd even met   I wrote your name across my heart So your heart beats with mine And when I miss you most I trace Each loop and every line   I wrote your name across my heart, So we could be together So I could hold you close to me And keep you there forever.

The next time you want to make a point,' Jude says, 'I beg you not to make it so dramatically.' His shoulder hurts, and she may be right about the iron poisoning. He certainly feels as though his head is swimming. But he smiles up at the trees, the looping electrical lines, the streaks of clouds. 'So long as you're begging,' he says.

Vocabularies are crossing circles and loops. We are defined by the lines we choose to cross or to be confined by.

And didn't it always go like that--body parts not lining up the way you wanted them to, all of it a little bit off, as if the world itself were an animated sequence of longing and envy and self-hatred and grandiosity and failure and success, a strange and endless cartoon loop that you couldn't stop watching, because, despite all you knew by now, it was still so interesting.

It is as though the space between us were time: an irrevocable quality. It is as though time, no longer running straight before us in a diminishing line, now runs parallel between us like a looping string, the distance being the doubling accretion of the thread an not the interval between.

I understand now that history only moves forward in a straight line when we learn from it. Otherwise it loops past the same mistakes over and over again,

A floorboard cracked; knuckles tapped once on the open door. Adam looked up to see Niall Lynch standing in the doorway. No, it was Ronan, face lit bright on one side, in stark shadow on the other, looking powerful and at ease with his thumbs tucked in the pockets of his jeans, leather bracelets looped over his wrist, feet bare. He wordlessly crossed the floor and sat beside Adam on the mattress. When he held out his hand, Adam put the model into it. “This old thing,” Ronan said. He turned the front tyre, and again the music played out of it. They sat like that for a few minutes, as Ronan examined the car and turned each wheel to play a different tune. Adam watched how intently Ronan studied the seams, his eyelashes low over his light eyes. Ronan let out a breath, put the model down on the bed beside him, and kissed Adam. Once, when Adam had still lived in the trailer park, he had been pushing the lawn mower around the scraggly side yard when he realized that it was raining a mile away. He could smell it, the earthy scent of rain on dirt, but also the electric, restless smell of ozone. And he could see it: a hazy gray sheet of water blocking his view of the mountains. He could track the line of rain travelling across the vast dry field towards him. It was heavy and dark, and he knew he would get drenched if he stayed outside. It was coming from so far away that he had plenty of time to put the mower away and get under cover. Instead, though, he just stood there and watched it approach. Even at the last minute, as he heard the rain pounding the grass flat, he just stood there. He closed his eyes and let the storm soak him. That was this kiss. They kissed again. Adam felt it in more than his lips. Ronan sat back, his eyes closed, swallowing. Adam watched his chest rise and fall, his eyebrows furrow. He felt as bright and dreamy and imaginary as the light through the window. He did not understand anything. It was a long moment before Ronan opened his eyes, and when he did, his expression was complicated. He stood up. He was still looking at Adam, and Adam was looking back, but neither said anything. Probably Ronan wanted something from him, but Adam didn’t know what to say. He was a magician, Persephone had said, and his magic was making connections between disparate things. Only now he was too full of white, fuzzy light to make any sort of logical connections. He knew that of all the options in the world, Ronan Lynch was the most difficult version of any of them. He knew that Ronan was not a thing to be experimented with. He knew his mouth still felt warm. He knew he had started his entire time at Aglionby certain that all he wanted to do was get as far away from this state and everything in it as possible. He was pretty sure he had just been Ronan’s first kiss. “I’m gonna go downstairs,” Ronan said.

But when I took up my pen, my hand made big, jerky letters like those of a child, and the lines sloped down the page from left to right horizontally, as if they were loops of string lying on the paper, and someone had come along and blown them askew.

Love was a messy emotion that didn’t walk a straight line. It worked in waves and loops of ups and downs. It was a screwy emotion that could somehow still exist amidst the ultimate heartbreak and betrayal.

All my life, I'd been unable to think straight, unable to even finish having a thought because my thoughts came not in lines but in knotted loops curling in upon themselves, in sinking quicksand, in light-swallowing wormholes.

Wow," she said weakly. "That's even more amazing than I thought it would be." Alex's arms were still looped around her waist; it took a serious effort not to draw her back to him and start kissing her again. He managed to control himself and grinned. "You mean with me or just in general?" "In general," she said. "But I have a feeling it's especially amazing with you." She leaned back in his arms, studying him. Shaking her head with a slight smile, she reached out and stroked the line of his cheekbone. "Do you even realize how gorgeous you are?" What he realized was that he was happier than he'd ever been. He gazed at Willow, drinking in her face, feeling amazed that this was happening--that she was here with him and that she actually felt the same way. "Come here," he said softly. And pulling her toward him, he simply held her, cradling her against his chest.

I wrote your name across my heart So I would not forget. The way I felt when you were born Before we'd even met   I wrote your name across my heart So your heart beats with mine And when I miss you most I trace Each loop and every line   I wrote your name across my heart, So we could be together So I could hold you close to me And keep you there forever.

You didn't hear the story I told," he goes on. "A shame. It featured a handsome boy with a heart of stone and a natural aptitude for villainy. Everything you could like." She laughs. "You really are terrible, you know that? I don't even understand why the things you say make me smile." He lets himself lean against her, lets himself hear the warmth in her voice. "There is one thing I did like about playing the hero. The only good bit. And that was not having to be terrified for you." "The next time you want to make a point," Jude says, "I beg you not to make it so dramatically." His shoulder hurts, and she may be right about the iron poisoning. He certainly feels as though his head is swimming. But he smiles up at the trees, the looping electrical lines, the streaks of clouds. "So long as you're begging," he says.

I understand now that history only moves forward in a straight line when we learn from it. Otherwise it loops past the same mistakes over and over again.

On the edge of a tropical ocean, in a thousand reflections of the silver light of an invisible moon, among undulations of restless waters, ceaselessly changing... Among silent breakers, the tremors of the shining surface, in the swift flux and reflux martyrizing the patches of light, in the rendings of luminous loops and arcs, and lines, in the occultations and reappearances of dancing bursts of light being decomposed, recomposed, contracted, spread out, only to be re-distributed once more before me, with me, within me, drowned, and unendurably buffeted, my calm violated a thousand times by the tongues of infinity, oscillating, sinusoidally overrun by the multitude of liquid lines. enormous with a thousand folds, I was and I was not, I was caught, I was lost, I was in a state of complete ubiquity. The thousands upon thousands of rustlings were my own thousand shatterings.

I am trying to think of where the beginning is. Who decides where things begin and end? I do not know if time moves in a straight line, or a circle. Here, the years do not pass so much as loop back on themselves: winter becomes spring becomes summer becomes autumn becomes winter again. Sometimes I think that all of time is happening at once.

Permaculture Economics views businesses as interconnected parts of a larger ecosystem. By understanding and optimizing these relationships, companies can create positive feedback loops that benefit not only their bottom line but also the environment, their communities, and society as a whole.

I cannot bring myself to even idly wish any of it—not even the most painful parts—away. Eighteen years. Change even one moment, and the whole thing unravels. The narrative thread doesn’t stretch in a line from end to end, but rather, spools and unspools, loops around and returns again and again to the same spot.

The river itself is not a hundred yards across, and pa and Vernon and Vardaman and Dewey Dell are the only things in sight not of that single monotony of desolation leaning with that terrific quality a little from right to left, as though we had reached the place where the motion of the wasted world accelerates just before the final precipice. Yet they appear dwarfed. It is as though the space between us were time: an irrevocable quality. It is as though time, no longer running straight before us in a diminishing line, now runs parallel between us like a looping string, the distance being the doubling accretion of the thread and not the interval between. The mules stand, their fore quarters already sloped a little, their rumps high. They too are breathing now with a deep groaning sound; looking back once, their gaze sweeps across us with in their eyes a wild, sad, profound and despairing quality as though they had already seen in the thick water the shape of the disaster which they could not speak and we could not see.

Rhonda looped, as unmitigated suffering descended on her; one wave of thought crashed over another without sensible demarcation; bamboo leaves swayed in maddening winds; jaded wetness danced upon purpled drizzles on towering trapeze; grapefruit vines bottled in brine; dewdrops on her eyes. All this, as though, a nonsensical midsummer’s night dream had occurred in an enchanted forest under the influence of Puck’s flower juices, wavering in the moonlight like many of her dreams. A thin line separated reality from dream; like being on a continuum, further up, cross over to another reality; an illusory realisation of a past hollered. Our roles played, but in innate imperfection, to the tune of some charm thrust upon as disposition in this enchanted forest of life.

Nostos algos. I want to go home. A phrase that's stuck on a loop, that I hear before falling asleep, waiting in line for my coffee, tapping the elevator button and rising through the sky to my apartment...and yet my desire is not attached to a particular place...I want to go home but what I mean, what I'm grasping for, is not a place. It's a feeling. I want to go back. But back where? Maybe to the first time I heard Stevie Nicks, to watching the snow fall outside the window with a paperback folded open in my lap, to the moment before I tasted alcohol, to virginity and not really knowing that things die, back to believing that something great is still up ahead, back to before I made the choices that would hem me in to the life I live now. A life that I regret sometimes, I think, only because it's mine, because it's turned out this way and not some other way, because I can't go back and change what will happen.

There’s no finish line in Bosnia, all roads seem to be equally languid and pointless; they lead you in circles even when it looks like you’re making progress. Driving through Bosnia requires a different dimension: a twisted, cosmic wormhole that doesn’t take you to a real, external goal, but into the gloomy, barely traversable depths of your own being.

At the mention of children, Connor halted his steps. For a moment Beatrice thought he was going to storm off, turn away from her and never look back. Instead he fell to one knee before her. Time went momentarily still. In some dazed part of her mind Beatrice remembered Teddy, kneeling stiffly at her feet as he swore to be her liege man. This felt utterly different. Even kneeling, Connor looked like a warrior, every line of his body radiating a tensed power and strength. "It kills me that I don't have more to offer you," he said roughly. "I have no lands, no fortune, no title. All I can give you is my honor, and my heart. Which already belongs to you." She would have fallen in love with him right then, if she didn't already love him so fiercely that every cell of her body burned with it. "I love you, Bee. I've loved you for so long I've forgotten what it felt like not to love you." "I love you, too." Her eyes stung with tears. "I get that you have to marry someone before your dad dies. But you can't marry Teddy Eaton." She watched as he fumbled in his jacket for something - had he bought a ring? She thought wildly - but what he pulled out instead was a black Sharpie. Still kneeling before her, he slid the diamond engagement ring off Beatrice's finger and tucked it in the pocket of her jacket. Using the Sharpie, he traced a thin loop around the skin of Beatrice's finger, where the ring had been. "I'm sorry it isn't a real ring, but I'm improvising here." There was a nervous catch to Connor's voice that Beatrice hadn't heard before. But when he looked up and spoke his next words, his face glowed with a fierce, fervent hope. "Marry me.

Staring at a blank piece of paper, I can't think of anything original. I feel utterly uninspired and unreceptive. It's the familiar malaise of 'artist's block' and in such circumstances there is only one thing to do: just start drawing. The artist Paul Klee refers to this simple act as 'taking a line for a walk', an apt description of my own basic practice: allowing the tip of a pencil to wander through the landscape of a sketchbook, motivated by a vague impulse but hoping to find something much more interesting along the way. Strokes, hooks, squiggles and loops can resolve into hills, faces, animals, machines -even abstract feelings- the meanings of which are often secondary to the simple act of making (something young children know intuitively). Images are not preconceived and then drawn, they are conceived as they are drawn. Indeed, drawing is its own form of thinking, in the same way birdsong is 'thought about' within a bird's throat.

He slouches,' DeeDee contributes. 'True--he needs to work on his posture,' Thelma says. 'You guys,' I say. 'I'm serious,' Thelma says. 'What if you get married? Don't you want to go to fancy dinners with him and be proud?' 'You guys. We are not getting married!' 'I love his eyes,' Jolene says. 'If your kids get his blue eyes and your dark hair--wouldn't that be fabulous?' 'The thing is,' Thelma says, 'and yes, I know, this is the tricky part--but I'm thinking Bliss has to actually talk to him. Am I right? Before they have their brood of brown-haired, blue-eyed children?' I swat her. "I'm not having Mitchell's children!' 'I'm sorry--what?' Thelma says. Jolene is shaking her head and pressing back laughter. Her expressing says, Shhh, you crazy girl! But I don't care. If they're going to embarrass me, then I'll embarrass them right back. 'I said'--I raise my voice--'I am not having Mitchell Truman's children!' Jolene turns beet red, and she and DeeDee dissolve into mad giggles. 'Um, Bliss?' Thelma says. Her gaze travels upward to someone behind me. The way she sucks on her lip makes me nervous. 'Okaaay, I think maybe I won't turn around,' I announce. A person of the male persuasion clears his throat. 'Definitely not turning around,' I say. My cheeks are burning. It's freaky and alarming how much heat is radiating from one little me. 'If you change your mind, we might be able to work something out,' the person of the male persuasion says. 'About the children?' DeeDee asks. 'Or the turning around?' 'DeeDee!' Jolene says. 'Both,' says the male-persuasion person. I shrink in my chair, but I raise my hand over my head and wave. 'Um, hi,' I say to the person behind me whom I'm still not looking at. 'I'm Bliss.' Warm fingers clasp my own. 'Pleased to meet you,' says the male-persuasion person. 'I'm Mitchell.' 'Hi, Mitchell.' I try to pull my hand from his grasp, but he won't let go. 'Um, bye now!' I tug harder. No luck. Thelma, DeeDee, and Jolene are close to peeing their pants. Fine. I twist around and give Mitchell the quickest of glances. His expressions is amused, and I grow even hotter. He squeezes my hand, then lets go. 'Just keep me in the loop if you do decide to bear my children. I'm happy to help out.' With that, he stride jauntily to the food line. Once he's gone, we lost it. Peals of laughter resound from our table, and the others in the cafeteria look at us funny. We laugh harder. 'Did you see!' Thelma gasps. 'Did you see how proud he was?' 'You improve his posture!' Jolene says. 'I'm so glad, since that was my deepest desire,' I say. 'Oh my God, I'm going to have to quit school and become a nun.' 'I can't believe you waved at him,' DeeDee says. 'Your hand was like a little periscope,' Jolene says. 'Or, no--like a white surrender flag.' 'It was a surrender flag. I was surrendering myself to abject humiliation.' 'Oh, please,' Thelma says, pulling me into a sideways hug. 'Think of it this way: Now you've officially talked to him.

I knew how that felt—all my life, I’d been unable to think straight, unable to even finish having a thought because my thoughts came not in lines but in knotted loops curling in upon themselves, in sinking quicksand, in light-swallowing wormholes.

Where There’s Pattern, There’s Reason The key thought in the preceding few lines is the article of faith that this pattern cannot merely be a coincidence. A mathematician who finds a pattern of this sort will instinctively ask, “Why? What is the reason behind this order?” Not only will all mathematicians wonder what the reason is, but even more importantly, they will all implicitly believe that whether or not anyone ever finds the reason, there must be a reason for it. Nothing happens “by accident” in the world of mathematics.

He wrote you a poem?" Evelyn looped her hand around Georgiana's arm and led the way to the chairs lining one side of the room. "He did." Grateful to see Luxley select one of the debutantes as his next victim, Georgiana accepted a glass of Madeira from one of the footman. After three hours of quadrilles, waltzes, and country dances, her feet ached. "And you know what rhymes with Georgiana, don't you?" Evelyn wrinkled her brow, her gray eyes twinkling. "No, what?" "Nothing. He just put 'iana' after every ending word. In iambic trimeter, yet. 'Oh, Georgiana, your beauty is my sunlightiana, your hair is finer than goldiana, your—' " Lucinda made a choking sound.

There is something very strange and unaccountable about a tow-line. You roll it up with as much patience and care as you would take to fold up a new pair of trousers, and five minutes afterwards, when you pick it up, it is one ghastly, soul-revolting tangle. I do not wish to be insulting, but I firmly believe that if you took an average tow-line, and stretched it out straight across the middle of a field, and then turned your back on it for thirty seconds, that, when you looked round again, you would find that it had got itself altogether in a heap in the middle of the field, and had twisted itself up, and tied itself into knots, and lost its two ends, and become all loops; and it would take you a good half-hour, sitting down there on the grass and swearing all the while, to disentangle it again. That is my opinion of tow-lines in general. Of course, there may be honourable exceptions; I do not say that there are not. There may be tow-lines that are a credit to their profession—conscientious, respectable tow-lines—tow-lines that do not imagine they are crochet-work, and try to knit themselves up into antimacassars the instant they are left to themselves. I say there may be such tow-lines; I sincerely hope there are. But I have not met with them.

It's a thousand tiny impulses, building on one another. First you decide it's a good idea to check the oatmeal bin for bugs. Next you're going through all the canisters, and before you know it, you're wearing a hazmat suit and examining the frosted flakes for ground-up glass. Each action further enforces the obsessive-compulsive circuit. When the disease is full-blown, sufferers are firmly entrenched in the neural loops that make them repeat thoughts and actions over and over. In other words, your brain keeps getting back in line for the same carnival ride it didn't enjoy in the first place. You lose your sunglasses, you throw up on your shirt, and two minutes later you're back on the Whizzer. Wheeee.

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.

As he fills me, I wonder if—in the same way that sex makes its own unique perfume—we don’t really “make” love. As in create, manufacture, evoke an independent element in the air around us, and if enough of us did it really well, for real, not just for the hell of it, we could change the world. Because when he’s in me, I feel the space around us changing, charging, and it seems to set off some kind of feedback loop, where the more he touches me, the more I need him to. Having sex with Barrons sates my need. Then feeds it. Sates, then feeds. It’s a never-ending cycle. I get out of bed with him, frantic to be back in it again. And I— “—hated you for it,” he says gently. That was my line. “I never get enough, Mac. Drives me bug-fuck. I should kill you for what you make me feel.” I understand perfectly. He is my vulnerability. I would become Shiva, the world-eater, for him.

A curiosity: my name, Rem, will someday come to mean a line of text in a language spoken only by machines. Specifically, it will mean a line that the machines can safely ignore--one that's only there as a mnemonic, a placeholder, for the people who give the machines their orders. A REM line might say something like "this bit is a self-contained sub loop" or "Steve Perlman in Marketing is a shit." The program as a whole rolls on past and around the REM lines, ignores them completely as it takes its shape, moves through its pre-ordained sequences, unfolds its wonders. My mother named me well.

The walls on either side were lined with curtains. Folds of damson velvet spilled onto the white marble floor. Gold fringes looped along the curtain rods above them. High overhead, rich reddish-brown slats formed the ceiling. Elaborate carvings in the wood depicted strange scenes of badgers and borlan and men.

Her whisper was, Lyman thought, like a Marlin ripping all the line out of a fishing rod.

history only moves forward in a straight line when we learn from it. Otherwise it loops past the same mistakes over and over again.

That girl is just plain crazy," Chey said as she looped her arm through Arkadia's. 'I swear when they were handing out social skills she was still in the line for shoes.

There was a map by the door, showing all the Toyko train lines looping around one another like a tangle of blood vessels.

The whole thing starts with a single knot and needles. A word and pen. Tie a loop in nothing. Look at it. Cast on, repeat the procedure till you have a line that you can work with. It’s a pattern made of relation alone, my patience, my rhythm, till empty bights create a fabric that can be worn, if you’re lucky and practised. It’s never too late to pick up dropped stitches... (from "How to Knit a Poem")

For instance, the previous run-on sentence is a sentence fragment, and it happened in part because of the really nice time my body was having making this lavender Le Pen make the loop-de-looping we call language. I mean writing. The point: I’d no sooner allow that fragment to sit there like a ripe zit if I was typing on a computer. And consequently, some important aspect of my thinking, particularly the breathlessness, the accruing syntax, the not quite articulate pleasure that evades or could give a fuck about the computer’s green corrective lines (how they injure us!) would be chiseled, likely with a semicolon and a proper predicate, into something correct, and, maybe, dull. To be sure, it would have less of the actual magic writing is, which comes from our bodies, which we actually think with, quiet as it’s kept.

In the 1880s Chicago was experiencing explosive growth that propelled land values to levels no one could have imagined, especially within the downtown “Loop,” named for the turn-around loops of streetcar lines.

Debugging tip: For server applications, be sure to always specify the -server JVM command line switch when invoking the JVM, even for development and testing. The server JVM performs more optimization than the client JVM, such as hoisting variables out of a loop that are not modified in the loop; code that might appear to work in the development environment (client JVM) can break in the deployment environment (server JVM).

When I wasn't internally grumbling about my physical state, I found my mind playing and replaying scraps of songs and jingles in an eternal, nonsensical loop, as if there were a mix-tape radio station in my head. Up against the silence, my brain answered back with fragmented lines from tunes I'd heard over the course of my life - bits from songs I loved and clear renditions of jingles from commercials that almost drove me mad.

The trash bags are gone, the bar wiped clean. The lights have been hung; they line the stage and loop around the Snakehead, making the old axe glow. Stalled in the doorway, Lorca experiences a stomachache he can only call Christmas.

The common denominator in all these problems is that the world is not a line of dominoes in which each event causes exactly one event and is caused by exactly one event. The world is a tissue of causes and effects that criss and cross in tangled patterns. The embarrassments for Hume's two theories of causation (conjunction and counterfactuals) can be diagrammed as a family of networks in which the lines fan in or out or loop around, as in the diagram on the following page.

Time for me had always been measured in terms of the rising sun, its setting sister, and the dependable cycle of the moon. but at sea, I learned that time can also be measured in terms of water, in terms of the distance traveled while drifting on it. When measured in this way, nearer and farther are the path of time's movement, not continuously forward along a fast straight line. When measured in this way, time loops and curlicues, and at any given moment it can spiral me away and then bring me rushing home again.

In the 1880s Chicago was experiencing explosive growth that propelled land values to levels no one could have imagined, especially within the downtown “Loop,” named for the turn-around loops of streetcar lines. As land values rose, landowners sought ways of improving the return on their investments. The sky beckoned. The most fundamental obstacle to height was man’s capacity to walk stairs, especially after the kinds of meals men ate in the nineteenth century, but this obstacle had been removed by the advent of the elevator

Now the terror is beginning. Now taking her lump 0£ chalk she draws figures, six, seven, eight, and then a cross and then a line on the blackboard. What is the answer? The others look; they look with understanding. Louis writes; Susan writes; Neville writes; Jinny writes; even Bernard has now begun to write. But I cannot write. I see only figures. The others are handing in their answers, one by one. Now it is my turn. But I have no answer. The others are allowed to go. They slam the door. Miss Hudson goes. I am left alone to find an answer. The figures mean nothing now. Meaning has gone. The clock ticks. The two hands are convoys marching through a desert. The black bars on the clock face are green oases. The long hand has marched ahead to find water. The other painfully stumbles among hot stones in the desert. It will die in the desert. The kitchen door slams. Wild dogs bark far away. Look, the loop 0£ the figure is beginning to fill with time; it hole rorld in it. I begin to draw a figure and the world is looped in it, and I myself am outside the loop; which I now join-and seal up, and make entire.

After watching—with a twinge of satisfaction—the letters burn to ashes in the fireplace, Evie felt sleepy. She went to the master bedroom for a nap. In spite of her weariness, it was difficult to relax while she was worried about Sebastian. Her thoughts chased round and round, until her tired brain put an end to the useless fretting and she dropped off to sleep. When she awakened an hour or so later, Sebastian was sitting on the bed beside her, a lock of her bright hair clasped loosely between a thumb and forefinger. He was watching her closely, his eyes the color of heaven at daybreak. She sat up and smiled self-consciously. Gently Sebastian stroked back her tumbled hair. “You look like a little girl when you sleep,” he murmured. “It makes me want to guard you every minute.” “Did you find Mr. Bullard?” “Yes, and no. First tell me what you did while I was gone.” “I helped Cam to arrange things in the office. And I burned all your letters from lovelorn ladies. The blaze was so large, I’m surprised no one sent for a fire brigade.” His lips curved in a smile, but his gaze probed hers carefully. “Did you read any of them?” Evie lifted a shoulder in a nonchalant half shrug. “A few. There were inquiries as to whether or not you’ve yet tired of your wife.” “No.” Sebastian drew his palm along the line of her thigh. “I’m tired of countless evenings of repetitive gossip and tepid flirtation. I’m tired of meaningless encounters with women who bore me senseless. They’re all the same to me, you know. I’ve never given a damn about anyone but you.” “I don’t blame them for wanting you,” Evie said, looping her arms around his neck. “But I’m not willing to share.” “You won’t have to.” He cupped her face in his hands and pressed a swift kiss to her lips.

But I just don’t think I’m meeting the right people.” “Yeah, but maybe this is why,” he said. “It’s exhausting, starting over all the time, again and again. Like there’s no point. Like I’m trapped in some loop, partnered over and over with people I’m just supposed to redistribute down the line to someone else.

She's probably just tired of seeing you miserable.Like we all are," I add. "I'm sure...I'm sure she's as crazy about you as ever." "Hmm." He watches me put away my own shoes and empty the contents of my pockets. "What about you?" he asks, after a minute. "What about me?" St. Clair examines his watch. "Sideburns. You'll be seeing him next month." He's reestablishing...what? The boundary line? That he's taken, and I'm spoken for? Except I'm not. Not really. But I can't bear to say this now that he's mentioned Ellie. "Yeah,I can't wait to see him again. He's a funny guy, you'd like him.I'm gonna see his band play at Christmas. Toph's a great guy, you'd really like him. Oh. I already said that,didn't I? But you would. He's really...funny." Shut up,Anna. Shut.Up. St. Clair unbuckles and rebuckles and unbuckles his watchband. "I'm beat," I say. And it's the truth. As always, our conversation has exhausted me. I crawl into bed and wonder what he'll do.Lie on my floor? Go back to his room? But he places his watch on my desk and climbs onto my bed. He slides up next to me. He's on top of the covers, and I'm underneath. We're still fully dressed,minus our shoes, and the whole situation is beyond awkward. He hops up.I'm sure he's about to leave,and I don't know whether to be relieved or disappointed,but...he flips off my light.My room is pitch-black. He shuffles back toward my bed and smacks into it. "Oof," he says. "Hey,there's a bed there." "Thanks for the warning." "No problem." "It's freezing in here.Do you have a fan on or something?" "It's the wind.My window won't shut all the way.I have a towel stuffed under it, but it doesn't really help." He pats his way around the bed and slides back in. "Ow," he says. "Yes?" "My belt.Would it be weird..." I'm thankful he can't see my blush. "Of course not." And I listen to the slap of leather as he pulls it out of his belt loops.He lays it gently on my hardwood floor. "Um," he says. "Would it be weird-" "Yes." "Oh,piss off.I'm not talking trousers. I only want under the blankets. That breeze is horrible." He slides underneath,and now we're lying side by side. In my narrow bed. Funny,but I never imagined my first sleepover with a guy being,well,a sleepover. "All we need now are Sixteen Candles and a game of Truth or Dare." He coughs. "Wh-what?" "The movie,pervert.I was just thinking it's been a while since I've had a sleepover." A pause. "Oh." "..." "..." "St. Clair?" "Yeah?" "Your elbow is murdering my back." "Bollocks.Sorry." He shifts,and then shifts again,and then again,until we're comfortable.One of his legs rests against mine.Despite the two layers of pants between us,I feel naked and vulnerable. He shifts again and now my entire leg, from calf to thigh, rests against his. I smell his hair. Mmm. NO! I swallow,and it's so loud.He coughs again. I'm trying not to squirm. After what feels like hours but is surely only minutes,his breath slows and his body relaxes.I finally begin to relax, too. I want to memorize his scent and the touch of his skin-one of his arms, now against mine-and the solidness os his body.No matter what happens,I'll remember this for the rest of my life. I study his profile.His lips,his nose, his eyelashes.He's so beautiful.

I am slowly learning to disregard the insatiable desire to be special. I think it began, the soft piano ballad of epiphanic freedom that danced in my head, when you mentioned that "Van Gogh was her thing" while I stood there in my overall dress, admiring his sunflowers at the art museum. And then again on South Street, while we thumbed through old records and I picked up Morrissey and you mentioned her name like it was stuck in your teeth. Each time, I felt a paintbrush on my cheeks, covering my skin in grey and fading me into a quiet, concealed background that hummed everything you've ever loved has been loved before, and everything you are has already been on an endless loop. It echoed in your wrists that I stared at, walking (home) in the middle of the street, and I felt like a ghost moving forward in an eternal line, waiting to haunt anyone who thought I was worth it. But no one keeps my name folded in their wallet. Only girls who are able to carve their names into paintings and vinyl live in pockets and dust bunnies and bathroom mirrors. And so be it, that I am grey and humming in the background. I am forgotten Sundays and chipped fingernail polish and borrowed sheets. I'm the song you'll get stuck in your head, but it will remind you of someone else. I am 2 in the afternoon, I am the last day of winter, I am a face on the sidewalk that won't show up in your dreams. And I am everywhere, and I am nothing at all.

The disappointing thing about the auto-trainer is that you don’t remember the training. ‘Which is just as well,’ Xzaltar explained twenty-four Earth hours later, as we were lining up ready to go home. ‘The machine stretches, separates and reconstitutes every fibre of every muscle in your entire body. If you weren’t asleep during training, the pain would make your eyes explode.

And didn’t it always go like that–body parts not quite lining up the way you wanted them to, all of it a little bit off, as if the world itself were an animated sequence of longing and envy and self-hatred and grandiosity and failure and success, a strange and endless cartoon loop that you couldn’t stop watching, because, despite all you knew by now, it was still so interesting.

And didn't it always go like that - body parts not quite lining up the way you wanted them to, all of it a little bit off, as if the world itself were an animated sequence of longing and envy and self-hatred and grandiosity and failure and success, a strange and endless cartoon loop that you couldn't stop watching, because, despite all you knew by now, it was still so interesting.

Are you saying people aren’t interested in the truth?” “Listen, what’s true to a lot of people is that they need the money for the rent by the end of the week. Look at Mr. Ron and his friends. What’s the truth mean to them? They live under a bridge!” She held up a piece of lined paper, crammed edge to edge with the careful looped handwriting of someone for whom holding a pen was not a familiar activity. “This is a report of the annual meeting of the Ankh-Morpork Caged Birds Society,” she said. “They’re just ordinary people who breed canaries and things as a hobby. Their chairman lives next door to me, which is why he gave me this. This stuff is important to him! My goodness, but it’s dull. It’s all about Best of Breed and some changes in the rules about parrots which they argued about for two hours. But the people who were arguing were people who mostly spend their day mincing meat or sawing wood and basically leading little lives that are controlled by other people, do you see? They’ve got no say in who runs the city but they can damn well see to it that cockatoos aren’t lumped in with parrots. It’s not their fault. It’s just how things are. Why are you sitting there with your mouth open like that?

Here’s a list (not exhaustive, by any means!) of phrases that make the Bullsh*t Bingo list. Scrub them from your vocabulary! They will make your talk sound dated and stale. • Synergy • Out of the box • Bottom line • Revisit • 24/7 • Out of the loop • Benchmark • Value-added • Proactive • Win-win • Think outside the box • Fast track • Result-driven • Empower (or empowerment) • Knowledge base • At the end of the day • Touch base • Ballpark • Game plan • Leverage

Above the decorous walking around me, sounds of footsteps leaving the verandas of far-flung buildings and moving toward the walks and over the walks to the asphalt drives lined with whitewashed stones, those cryptic messages for men and women, boys and girls heading quietly toward where the visitors waited, and we moving not in the mood of worship but of judgement; as though even here in the filtering dusk, here beneath the deep indigo sky, here, alive with looping swifts and darting moths, here in the hereness of the night not yet lighted by the moon that looms blood-red behind the chapel like a fallen sun, its radiance shedding not upon the here-dusk of twittering bats, nor on the there-night of cricket and whippoorwill, but focused short-rayed upon our place of convergence; and we drifting forward with rigid motions, limbs stiff and voices now silent, as though on exhibit even in the dark, and the moon a white man's bloodshot eye.

Apple’s marketing and communications team works in a building just across from 1 Infinite Loop called M-3, the M standing for “Mariani Avenue”, not for marketing. When the marketers walk through the front door and then two consecutive secured doors, they walk around a light blue wall to get to their desks. On the wall is painted a prominent message in large whitish silver letters. It reads: SIMPLIFY, SIMPLIFY, SIMPLIFY. A broad line is drawn through the first two SIMPLIFYs.

we watched them from our high window and they looked small—they might have been dolls upon a clock, or beads on trailing threads. They spilled into the yards and formed three great elliptical loops, and within a second of their doing that, I could not have said which was the first prisoner to have entered the ground, and which the last, for the loops were seamless, and the women all dressed quite alike, in frocks of brown and caps of white, and with pale blue kerchiefs knotted at their throats. It was only from their poses that I caught the humanity of them: for though they all walked at the same dull pace, there were some, I saw, with drooping heads, and some that limped; some with bodies stiff and hugged against the sudden chill, a few poor souls with faces lifted to the sky—and one, I think, who even raised her eyes to the window that we stood at, and gazed blankly at us. There were all the women of the gaol there, almost three hundred of them, ninety women to each great wheeling line. And in the corner of the yards stood a pair of dark-cloaked matrons, who must stand and watch the prisoners until the exercise is complete.

Gaeltacht region. You can easily spend three fun nights here. In comparison, Kenmare (the best base for the Ring of Kerry loop) is pleasant but forgettable. Those spending a night on the west end of the Ring of Kerry find a rustic atmosphere in Portmagee (the base for a cruise to magical Skellig Michael). Both regions are beyond the reach of the Irish train system and require a car or spotty bus service to access. Both offer memorable scenery, great restaurants, warm B&B hospitality, and similar prices. The bottom line: With limited time, choose Dingle. If you have a day or two to spare, the Ring of Kerry is also a delight.

When Vince came into the room, necklace of onyx draped over his throat, and one attached to his arm like a leash, his eyes changed at the sight of her. He turned to Bellamy. “But where’s Adeline?” “We sent her home,” Malik said. “Then who—” “Me,” Charlie said. “If you can make a stupid decision, then I can make one too.” He shook his head. “This is supposed to be a punishment.” “Oh, I know,” she said. “You’re going to be stuck in my head, with all my secrets. Even I don’t know all my secrets. It’s going to be awful.” He appeared to be seriously considering strangling her. “Char.” “She volunteered,” Vicereine said. “And confessed to quite a few crimes just to convince us.” The look he gave her was scathing. “Did she?” “I’ll need your feet to be bare,” Vicereine said, all business now. Charlie reached down to take off her boots. They were already untied, the laces loose from kicking them off in the tower. Vince appeared to be belatedly wondering if he could break free of the onyx chains and escape. She saw him pull against the shining loop over his wrist. It must have held, because his expression set into grim lines. “You don’t know what I’ll be like, after. No one does,” he said under his breath. “You’ll still be you,” Charlie whispered back.

There were the signed, spiral-bound Spirit-in-the-Woods yearbooks from three summers in a row and the aerial photograph of everyone at camp the second summer. In it, Ethan's feet were planted on Jule's head, and Jule's feet were planted on Goodman's head, and so on and so on. And didn't it always go like that-body parts not quite lining up the way you wanted them to, all of it a little bit off, as if the world itself were an animated sequence of longing and envy and self-hatred and grandiosity and failure and success, a strange and endless cartoon loop that you couldn't stop watching, because, despite all you knew by now, it was still so interesting.

He stroked the filly's neck, and she sniffed at the pouch on his belt, then turned her head away. "She wants to let me know she doesn't care that I've apples in here.No, doesn't matter a bit to her." He looped the line around the fence and took an apple and his knife from his pocket. Idly he cut it in half. "Maybe I'll just offer this token to this other pretty lady here." He held out the apple to Keeley, and Betty gave him a solid rap with her head that rammed him into the fence. "Now she wants my attention. Would you like some of this then?" He shifted, held the apple out. Betty nipped it from his palm with dignified delicacy. "She loves me." "She loves your apples," Keeley commented. "Oh,it's not just that. See here." Before Keeley could evade-could think to-he cupped a hand at the back of her neck, pulled her close and rubbed his lips provocatively over hers. Betty huffed out a breath and butted him. "You see?" Brian let his teeth graze lightly before he released Keeley. "Jealous.She doesn't care to have me give affection to another woman." "Next time kiss her and save yourself a bruise." "It was worth it.On both counts." "Horses are more easily charmed than women, Donnelly." She plucked the apple out of his hand, bit in. "I just like your apples," she told him, and strolled away. "That one's as contrary as you are." He nuzzled Betty's cheek as he watched Keeley walk to her stables. "What is it that makes me find contrary females so appealing?

The fanatic loathes an open-ended situation. Perhaps he does not acknowledge such situation. He always has an urgent need to know what the 'bottom line' is, what the inevitable conclusion is, when we will finally 'come full circle.' Yet history, including the private history of each of us, is usually not a circle but a line: a winding line with retreats and bends, which sometimes changes course and intersects with itself and occasionally draws loops, but nevertheless, a line and not a circle. Being immune to fanaticism entails, among other things, a willingness to exist inside open-ended situations that do not come full circle and cannot be unequivocally settled. A readiness to live with questions and choices whose resolutions hide far beyond the hazy horizon.

This is life. We exist on a straight line. There’s point A, the beginning. Point C, the end. And point B, all the crap in between. And this tiny line, a drop of ink on paper, this is our line. This is all we get. It’s our one shot. And it’s terrifying, isn’t it? Because it ends. It’s not a circle that will loop us back around for another chance. We get stuck in point B, where we grieve and cry and get scared and fall in love and get left and wish that we could outlive our line or draw a better one. But that’s the beauty of point B. No one’s is exactly the same. This is the only line you’ve been drawn, Reggie. And it’s unfair that one line is all you get, but it’s all any of us get. The only way to waste it would be to not live it. and to not love the people who walk their own.” “Like a tightrope.

And something about the rawness of life with the baby was like the rawness of travel, the way it laid you open to the clear blue nerves. You were the five senses pouring down an unknown street; you were the slap of your shoes and hot paper of your palms, streaming past statues of regional Madonnas. The indelibility of a certain thrift shop in Helsinki, the smell of foreign decades in the lining of one leather coat. The loop of "Desert Island Disk" in a certain coffee shop in Cleveland, where the owner warned her not to have a second detoxifying charcoal latte because it would "flush the pills out of her system and get her pregnant". The bridges of other cities, where she would watch their drab green rivers buoy up their rainbow-necked ducks, where she would drink espresso until there was a free and frightening exchange between her and the day--- she was open, flung open, anything could rush in.

A Book of Glass On the table, a book of glass. In the book only a few pages with no words But scratched in a diamond-point pencil to pieces in diagonal Spirals, light triangles; and a French curve fractures lines to elisions. The last pages are simplest. They can be read backwards and thoroughly. Each page bends a bit like ludicrous plastic. He who wrote it was very ambitious, fed up, and finished. He had been teaching the insides and outsides of things To children, teaching the art of Rembrandt to them. His two wives were beautiful and Death begins As a beggar beside them. What is an abstract persona? A painter visits but he prefers to look at perfume in vials. And I see a book in glass—the words go off In wild loops without words. I should Wake and render them! In bed, Mother says each child Will receive the book of etchings, but the book will be incomplete, after all. But I will make the book of glass.

We've known each other for years." "In every sense of the word." Tanya gave him a nudge and they shared another laugh. In every sense of the word... Daisy felt a cold stab of jealousy at their intimate moment. It didn't make sense. Her relationship with Liam wasn't real. But the more time she spent with him, the more the line blurred and she didn't know where she stood. "Daisy is a senior software engineer for an exciting new start-up that's focused on menstrual products," Liam said. "She's in line for a promotion to product manager. The company couldn't run without her." Daisy grimaced. "I think that's a bit of an exaggeration." "Take the compliment," Tanya said. "Liam doesn't throw many around... At least, he didn't used to." At least, he didn't used to... Was the bitch purposely trying to goad her with little reminders about her shared past with Liam? Daisy's teeth gritted together. Well, she got the message. Tanya was a cool, bike-riding, smooth-haired venture capitalist ex who clearly wasn't suffering in any way after her journey. She was probably so tough she didn't need any padding in her seat. Maybe she just sat on a board or the bare steel frame. Liam ran a hand through his hair, ruffling the dark waves into a sexy tangle. Was he subconsciously grooming himself for Tanya? Or was he just too warm? "What are you riding now?" "Triumph Street Triple 675. I got rid of the Ninja. Not enough power." "You like the naked styling?" Liam asked. Tanya smirked. "Naked is my thing, as you know too well." Naked is my thing... As you know too well... Daisy tried to shut off the snarky voice in her head, but something about Tanya set her possessive teeth on edge. "Do you want to join us inside?" Liam asked. "We're going to have a coffee before we finish the loop." Say no. Say no. Say no. "Sounds good." Tanya took a few steps and looked back over her shoulder. "Do you need a hand, Daisy?" Only to slap you.

He lays out the methods to achieve this, which he describes as “mind manipulation.” The goal, Nir says, is to “create a craving” in human beings—and he cites B. F. Skinner as a model for how to do it. His approach can be summarized by the headline on one of his blog posts: “Want to Hook Your Users? Drive Them Crazy.” The goal of the designer is to create an “internal trigger” (remember them?) that will keep the user coming back again and again. To help the designer picture the kind of person they are targeting, he says they should imagine a user he names Julie, who “fears being out of the loop.” He comments: “Now we’ve got something! Fear is a powerful internal trigger, and we can design our solution to help calm Julie’s fear.” Once you have succeeded in playing on feelings like this, “a habit is formed, [and so] the user is automatically triggered to use the product during routine events such as wanting to kill time while waiting in line,” he writes approvingly. Designers

Though Eros and Psyche sat vast and magnificent in the front lawn, a prologue to the grand house itself, there was something wonderful- a mysterious and melancholic aspect- about the smaller fountain, hidden within its sunny clearing at the bottom of the south garden. The circular pool of stacked stone stood two feet high and twenty feet across at its widest point. It was lined with tiny glass tiles, azure blue like the necklace of sapphires Lord Ashbury had brought back for Lady Violet after serving in the Far East. From the center emerged a huge craggy block of russet marble, the height of two men, thick at the base but tapering to a peak. Midway up, creamy marble against the brown, the life-size figure of Icarus had been carved in a position of recline. His wings, pale marble etched to give the impression of feathers, were strapped to his outspread arms and fell behind, weeping over the rock. Rising from the pool to tend the fallen figure were three mermaids, long hair looped and coiled about angelic faces: one held a small harp, one wore a coronet of woven ivy leaves, and one reached beneath Icarus’s torso, white hands on creamy skin, to pull him from the deep.

He was sitting on the roof- in the dark. His great wings were spread behind him, draped over the tiles. I slid into his lap, looping my arms around his neck. He stared at the city around us. 'So few lights. So few lights left tonight.' I did not look. I only traced the lines of his face, then brushed my thumb over his mouth. 'It is not your fault,' I said quietly. His eyes shifted to mine, barely visible in the dark. 'Isn't it? I handed this city over to them. I said I would be willing to risk it, but... I don't know who I hate more: the king, those queens, or myself.' I brushed the hair out of his face. He gripped my hand, halting my fingers. 'You shut me out,' he breathed. 'You- shielded against me. Completely. I couldn't find a way in.' 'I'm sorry.' Rhys let out a bitter laugh. 'Sorry? Be impressed. That shield... What you did to the Attor...' He shook his head. 'You could have been killed.' 'Are you going to scold me for it?' His brow furrowed. Then he buried his face in my shoulder. 'How could I scold you for defending my people? I want to throttle you, yes, for not going back to the town house, but... You chose to fight for them. For Velaris.' He kissed my neck. 'I don't deserve you.' My heart strained. He meant it- truly felt that way. I stroked his hair again. And I said to him, the words the only sound in the silent, dark city, 'We deserve each other. And we deserve to be happy.' Rhys shuddered against me. And when his lips found mine, I let him lay me down upon the roof tiles and make love to me under the stars.

THE IRIS OF THE EYE WAS TOO BIG TO HAVE BEEN FABRICATED AS A single rigid object. It had been built, beginning about nine hundred years ago, out of links that had been joined together into a chain; the two ends of the chain then connected to form a loop. The method would have seemed familiar to Rhys Aitken, who had used something like it to construct Izzy’s T3 torus. For him, or anyone else versed in the technological history of Old Earth, an equally useful metaphor would have been that it was a train, 157 kilometers long, made of 720 giant cars, with the nose of the locomotive joined to the tail of the caboose so that it formed a circular construct 50 kilometers in diameter. An even better analogy would have been to a roller coaster, since its purpose was to run loop-the-loops forever. The “track” on which the “train” ran was a circular groove in the iron frame of the Eye, lined with the sensors and magnets needed to supply electrodynamic suspension, so that the whole thing could spin without actually touching the Eye’s stationary frame. This was an essential design requirement given that the Great Chain had to move with a velocity of about five hundred meters per second in order to supply Earth-normal gravity to its inhabitants. Each of the links had approximately the footprint of a Manhattan city block on Old Earth. And their total number of 720 was loosely comparable to the number of such blocks that had once existed in the gridded part of Manhattan, depending on where you drew the boundaries—it was bigger than Midtown but smaller than Manhattan as a whole. Residents of the Great Chain were acutely aware of the comparison, to the point where they were mocked for having a “Manhattan complex” by residents of other habitats. They were forever freeze-framing Old Earth movies or zooming around in virtual-reality simulations of pre-Zero New York for clues as to how street and apartment living had worked in those days. They had taken as their patron saint Luisa, the eighth survivor on Cleft, a Manhattanite who had been too old to found her own race. Implicit in that was that the Great Chain—the GC, Chaintown, Chainhattan—was a place that people might move to when they wanted to separate themselves from the social environments of their home habitats, or indeed of their own races. Mixed-race people were more common there than anywhere else.

With Marlboro Man’s strong hands massaging my tired shoulders, I walked in front of him down the narrow porch toward the driveway, where my dusty car awaited me. But before I could take the step down he stopped me, grabbing a belt loop on the back of my Anne Kleins, and pulling me back toward him with rapid--almost shocking--force. “Woooo!” I exclaimed, startled at the jolt. My cry was so shrill, the coyotes answered back. I felt awkward. Marlboro Man moved in for the kill, pulling my back tightly against his chest and wrapping his arms slowly around my waist. As I rested my arms on top of his hands and leaned my head back toward his shoulder, he buried his face in my neck. Suddenly, September seemed entirely too far away. I had to have this man to myself 24/7, as soon as humanly possible. “I can’t wait to marry you,” he whispered, each word sending a thousand shivers to my toes. I knew exactly what he meant. He wasn’t talking about the wedding cake. I was speechless, as usual. He had that effect on me. Because whatever he said, when it came to his feelings about me or his reflections on our relationship, made whatever I’d respond with sound ridiculously…lame…bumbling…awkward. If ever I said anything to him in return, it was something along the lines of “Yeah…me, too” or “I feel the same way” or the equally dumb “Aww, that’s nice.” So I’d learned to just soak up the moment and not try to match him…but to show him I felt the same way. This time was no different; I reached my arm backward, caressing the nape of his neck as he nuzzled his face into mine, then turned around suddenly and threw my arms around him with every ounce of passion in my body. Minutes later, we were back at the sliding glass door that led inside the house--me, leaning against the glass, Marlboro Man anchoring me there with his strong, convincing lips. I was a goner. My right leg hooked slowly around his calf. And then, the sound--the loud ringing of the rotary phone inside. Marlboro Man ignored it through three rings, but it was late, and curiosity took over. “I’d better get that,” he said, each word dripping with heat. He ran inside to answer the phone, leaving me alone in a sultry, smoky cloud. Saved by the bell, I thought. Damn. I was dizzy, unable to steady myself. Was it the wine? Wait…I hadn’t had any wine that night. I was drunk on his muscles. Wasted on his masculinity.

Unlike during the previous Gaza operation in 2012, the Iron Dome supply did not run out. After Operation Pillar of Defense I had instructed the army to accelerate production of Iron Dome projectiles and batteries. We accomplished this with our own funds and with generous American financial support. I now asked the Obama administration for an additional $225 million package to continue the production line after Protective Edge. He agreed, and with the help of Tony Blinken, the deputy national security advisor who later became Biden’s secretary of state, the funding provision sailed through both houses of Congress. I deeply appreciated this support and said so publicly. I was therefore very disappointed when the administration held back on the IDF’s request for additional Hellfire rockets for our attack helicopters. Without offensive weapons we could not bring the Gaza operation to a quick and decisive end. Furthermore, as the air war lingered, the administration issued increasingly critical statements against Israel, calling some of our actions “appalling”2 and thereby opening the moral floodgates against us. Hamas took note. As long as it believed that we couldn’t deliver more aggressive punches, and that international support was waning, it would continue to rocket our cities. Unfortunately, it was aided in this belief by an international tug-of-war. On one side: Israel and Egypt. On the other: Turkey and Qatar, which fully supported Hamas. I worked in close collaboration with Egypt’s new leader, el-Sisi, who had deposed the Islamist Morsi a few months earlier. Our common goal was to achieve an unconditional cease-fire. The last thing el-Sisi wanted was a Hamas success in Gaza that would embolden their Islamist allies in the Sinai and beyond. Hamas’s exiled leader, Khaled Mashal, who escaped the Mossad action in Jordan, was now in Qatar. Supported by his Qatari hosts and Erdogan and ensconced in his lavish villa in Doha, Mashal egged Hamas to keep on fighting. To my astonishment, Kerry urged me to accept Qatar and Turkey as mediators instead of the Egyptians, who were negotiating with Hamas representatives in Cairo for a possible cease-fire. Hamas drew much encouragement from this American position. El-Sisi and I agreed to keep the Americans out of the negotiating loop. In the meantime the IDF would have to further degrade Hamas’s fighting and crush their expectations of achieving anything in the cease-fire negotiations.

Dr. Sherman VanMeter has made a career of unpacking the densest areas of scientific endeavor in accessible—if not polite—terms. You’ve written books on everything from astrophysics to zoology. How are you able to achieve expertise in so many disparate fields? There’s a perception that scientific disciplines are separate countries, when in fact science is a universal passport. It’s about exploring and thinking critically, not memorization. A question mark, not a period. Can you give me an example? Sure. Kids learn about the solar system by memorizing the names of planets. That’s a period. It’s also scientifically useless, because names have no value. The question mark would be to say instead, “There are hundreds of thousands of sizable bodies orbiting the sun. Which ones are exceptional? What makes them so? Are there similarities? What do they reveal?” But how do you teach a child to grasp that complexity? You teach them to grasp the style of thinking. There are no answers, only questions that shape your understanding, and which in turn reveal more questions. Sounds more like mysticism than science. How do you draw the line? That’s where the critical thinking comes in. I can see how that applies to the categorization of solar objects. But what about more abstract questions? It works there too. Take love, for example. Artists would tell you that love is a mysterious force. Priests claim it’s a manifestation of the divine. Biochemists, on the other hand, will tell you that love is a feedback loop of dopamine, testosterone, phenylethylamine, norepinephrine, and feel-my-pee-pee. The difference is, we can show our work. So you’re not a romantic, then? We’re who we are as a species because of evolution. And at the essence, evolution is the steady production of increasingly efficient killing machines. Isn’t it more accurate to say “surviving machines”? The two go hand in hand. But the killing is the prime mover; without that, the surviving doesn’t come into play. Kind of a cold way to look at the world, isn’t it? No, it’s actually an optimistic one. There’s a quote I love from the anthropologist Robert Ardrey: “We were born of risen apes, not fallen angels, and the apes were armed killers besides. And so what shall we wonder at? Our murders and massacres and missiles, and our irreconcilable regiments? Or our treaties whatever they may be worth; our symphonies however seldom they may be played; our peaceful acres, however frequently they may be converted to battlefields; our dreams however rarely they may be accomplished. The miracle of man is not how far he has sunk but how magnificently he has risen.” You used that as the epigraph to your new book, God Is an Abnorm. But I noticed you left out the last line, “We are known among the stars by our poems, not our corpses.” Why? That’s where Ardrey’s poetic license gets the better of his science, which is a perilous mistake. We aren’t “known among the stars” at all. The sun isn’t pondering human nature, the galaxy isn’t sitting in judgment. The universe doesn’t care about us. We’ve evolved into what we are because humanity’s current model survived and previous iterations didn’t. Simple as that. Why is a little artistic enthusiasm a perilous mistake? Because artists are more dangerous than murderers. The most prolific serial killer might have dozens of victims, but poets can lay low entire generations.

You still want me?” she murmured, a seductive husk to her voice. Gods, this woman could do me in with a single question. My gaze drifted down to my very proud, very erect cock and back to her face. “I think you know I’ll always want you. But right now? I want you more than I want air.” Lust bloomed through our connection, nearly knocking me for a loop. “That’s good. You know, I almost touched myself in the shower without you,” she admitted, opening her towel and showing me her perfect skin. “Almost made myself come all over my fingers just thinking about you tied up out here.” She threw a leg over mine, straddling me, my cock mere inches from Heaven. But did Wren even graze my aching, leaking head? No. No, she did not. Instead, she held herself from me as she grazed her own skin, palming her breasts, plucking her already-tight nipples.    “Fuuuuccccckkkkk,” I groaned, shifting restlessly on the sheets, trying for just a brush of her sex against mine. The pleasure she was giving herself threaded through me—enough that I was ready to rip out of these cuffs and take her over my knee. Her hands traveled down her stomach, her fingers threading through her auburn curls. “Just like this,” she said. “But I thought you’d want to see me. And you want to, don’t you? Watch me fuck myself?” My mouth was as dry as the Sahara. “Yes,” I croaked. “I want to see everything.” She whimpered as she grazed her clit with her thumb, fucking that sweet pussy with her fingers, her delicious heat so far out of reach. “Let me taste you,” I ordered, the thread of command thick in my voice. Wren raised an eyebrow, not giving an inch. “Good boys say please, Nico. Everyone knows that.” “Please,” I whispered, needing her taste on my tongue. Needing it, craving it. If she was going to torture me this way, I wanted something, anything of hers. Wren’s smile widened as she crawled up my body, grazing her luscious tits up my belly and chest. I tried capturing a nipple in my mouth, but she kept it just out of reach. She straddled my chest, her wet, slick heat so close and so far—all at the same time. I wanted her to sit on my face, wanted to lap her up, and drink her down. Wanted her pleasure for my own. But instead of letting me taste her, she went back to work, milking herself of pleasure just out of reach. Her scent filled my nose so much I could almost savor her sweetness, and as her pleasure ramped up, it got thicker in the air. She let her hair down, the wet strands curling over her gorgeous tits as she writhed. She plucked at her nipples, making herself hiss in desire. “That’s it, beautiful,” I growled. “Make yourself come all over my chest. Fuck that gorgeous pussy.” My words must have done the trick because Wren went off like a bomb, her orgasm slamming into both of us, nearly taking me over with it. But she didn’t come to me, didn’t press her body against mine, and that’s when I decided I’d had about enough of this shit. A flick of my wrists later, and Wren was on her back in my bed, her eyes wide. I nearly hissed at her warm skin against mine, but I was too preoccupied with her surprise. It was fucking adorable. “Yo-you just broke out of… How did you… How strong are you?” Like a pair of steel cuffs were a match for any shifter, let alone an Alpha. “Sweetheart, I’m an Acosta Alpha, next in line to take my father’s place if he ever decides to step down. A shifter is strong. I am stronger. Now, you’ve had your fun. It’s my turn.” Her wide green-gold eyes flared as her mouth parted, and even though she’d just had an orgasm, Wren’s desire blazed through us. As reluctant as I was to move,

All the many successes and extraordinary accomplishments of the Gemini still left NASA’s leadership in a quandary. The question voiced in various expressions cut to the heart of the problem: “How can we send men to the moon, no matter how well they fly their ships, if they’re pretty helpless when they get there? We’ve racked up rendezvous, docking, double-teaming the spacecraft, starting, stopping, and restarting engines; we’ve done all that. But these guys simply cannot work outside their ships without exhausting themselves and risking both their lives and their mission. We’ve got to come up with a solution, and quick!” One manned Gemini mission remained on the flight schedule. Veteran Jim Lovell would command the Gemini 12, and his space-walking pilot would be Buzz Aldrin, who built on the experience of the others to address all problems with incredible depth and finesse. He took along with him on his mission special devices like a wrist tether and a tether constructed in the same fashion as one that window washers use to keep from falling off ledges. The ruby slippers of Dorothy of Oz couldn’t compare with the “golden slippers” Aldrin wore in space—foot restraints, resembling wooden Dutch shoes, that he could bolt to a work station in the Gemini equipment bay. One of his neatest tricks was to bring along portable handholds he could slap onto either the Gemini or the Agena to keep his body under control. A variety of space tools went into his pressure suit to go along with him once he exited the cabin. On November 11, 1966, the Gemini 12, the last of its breed, left earth and captured its Agena quarry. Then Buzz Aldrin, once and for all, banished the gremlins of spacewalking. He proved so much a master at it that he seemed more to be taking a leisurely stroll through space than attacking the problems that had frustrated, endangered, and maddened three previous astronauts and brought grave doubts to NASA leadership about the possible success of the manned lunar program. Aldrin moved down the nose of the Gemini to the Agena like a weightless swimmer, working his way almost effortlessly along a six-foot rail he had locked into place once he was outside. Next came looping the end of a hundred-foot line from the Agena to the Gemini for a later experiment, the job that had left Dick Gordon in a sweatbox of exhaustion. Aldrin didn’t show even a hint of heavy breathing, perspiration, or an increased heartbeat. When he spoke, his voice was crisp, sharp, clear. What he did seemed incredibly easy, but it was the direct result of his incisive study of the problems and the equipment he’d brought from earth. He also made sure to move in carefully timed periods, resting between major tasks, and keeping his physical exertion to a minimum. When he reached the workstation in the rear of the Gemini, he mounted his feet and secured his body to the ship with the waist tether. He hooked different equipment to the ship, dismounted other equipment, shifted them about, and reattached them. He used a unique “space wrench” to loosen and tighten bolts with effortless skill. He snipped wires, reconnected wires, and connected a series of tubes. Mission Control hung on every word exchanged between the two astronauts high above earth. “Buzz, how do those slippers work?” Aldrin’s enthusiastic voice came back like music. “They’re great. Great! I don’t have any trouble positioning my body at all.” And so it went, a monumental achievement right at the end of the Gemini program. Project planners had reached all the way to the last inch with one crucial problem still unsolved, and the man named Aldrin had whipped it in spectacular fashion on the final flight. Project Gemini was

Solotol is a city of arches and bridges, where steps and pavements wind past tall buildings and lance out over steep rivers and gullies on slender suspension bridges and fragile stone arches. Roadways flow along the banks of water courses, looping and twisting over and under them; railways splay out in a tangle of lines and levels, swirling through a network of tunnels and caverns where underground reservoirs and roads converge, and from a speeding train passengers can look out to see galaxies of lights reflecting on stretches of dark water crossed by the slants of underground funiculars and the piers and ways of subterranean roads.

Mummy?’ Anna called ahead, as was her habit, making her way along the hallway of their flat, stepping over her school shoes that were lined up side by side underneath the radiator. Their laces had been looped on the outside, making it a doddle for her to slip them on. This was just one of the small things her mummy did to make her life easier. She also cut Anna’s toast into soldiers so she could hold a slice in her fingers and still colour in with her free hand. And she turned down Anna’s bed at night so when her teeth had been cleaned, Anna could, with no more than a hop, a skip and a jump from the bathroom across the narrow hallway, land in her bed and onto the stripey, bobbly, flannelette sheet

John Vernall lifted up his head, the milk locks that had given him his nickname stirring in the third floor winds, and stared with pale grey eyes out over Lambeth, over London. Snowy's dad had once explained to him and his young sister Thursa how by altering one's altitude, one's level on the upright axis of this seemingly three-planed existence, it was possible to catch a glimpse of the elusive fourth plane, the fourth axis, which was time. Or was at any rate, at least in Snowy's understanding of their father's Bedlam lectures, what most people saw as time from the perspective of a world impermanent and fragile, vanished into nothingness and made anew from nothing with each passing instant, all its substance disappeared into a past that was invisible from their new angle and which thus appeared no longer to be there. For the majority of people, Snowy realised, the previous hour was gone forever and the next did not exist yet. They-were trapped in their thin, moving pane of Now: a filmy membrane that might fatally disintegrate at any moment, stretched between two dreadful absences. This view of life and being as frail, flimsy things that were soon ended did not match in any way with Snowy Vernall's own, especially not from a glorious vantage like his current one, mucky nativity below and only reefs of hurtling cloud above. His increased elevation had proportionately shrunken and reduced the landscape, squashing down the buildings so that if he were by some means to rise higher still, he knew that all the houses, churches and hotels would be eventually compressed in only two dimensions, flattened to a street map or a plan, a smouldering mosaic where the roads and lanes were cobbled silver lines binding factory-black ceramic chips in a Miltonic tableau. From the roof-ridge where he perched, soles angled inwards gripping the damp tiles, the rolling Thames was motionless, a seam of iron amongst the city's dusty strata. He could see from here a river, not just shifting liquid in a stupefying volume. He could see the watercourse's history bound in its form, its snaking path of least resistance through a valley made by the collapse of a great chalk fault somewhere to the south behind him, white scarps crashing in white billows a few hundred feet uphill and a few million years ago. The bulge of Waterloo, off to his north, was simply where the slide of rock and mud had stopped and hardened, mammoth-trodden to a pasture where a thousand chimneys had eventually blossomed, tarry-throated tubeworms gathering around the warm miasma of the railway station. Snowy saw the thumbprint of a giant mathematic power, untold generations caught up in the magnet-pattern of its loops and whorls. On the loose-shoelace stream's far side was banked the scorched metropolis, its edifices rising floor by floor into a different kind of time, the more enduring continuity of architecture, markedly distinct from the clock-governed scurry of humanity occurring on the ground. In London's variously styled and weathered spires or bridges there were interrupted conversations with the dead, with Trinovantes, Romans, Saxons, Normans, their forgotten and obscure agendas told in stone. In celebrated landmarks Snowy heard the lonely, self-infatuated monologues of kings and queens, fraught with anxieties concerning their significance, lives squandered in pursuit of legacy, an optical illusion of the temporary world which they inhabited. The avenues and monuments he overlooked were barricades' against oblivion, ornate breastwork flung up to defer a future in which both the glorious structures and the memories of those who'd founded them did not exist.

I turned my attention to three dresses that were definitely not made for dining. They were going-out things, dancing looks. One was a swingy black dress made of a wet suit-like material, with a high neck and stiff A-line skirt. Alexander McQueen. Another was a red Gucci with little loops of textured fringe. It should have looked Elmo-like, but the sophisticated shape overrode the thought. I twisted the dress on the hanger, and the skirt rose and fell like the swelling of the ocean. The last dress was surprisingly heavy even though it was the shortest, narrowest, lowest-cut garment in that day's shipment. The tag said Hervé Léger and the dress was ribbed like a mummy, a very tight, shiny, green-and-gold mummy.

And gradually, very gradually, I would begin to see that this was not so much an ending as a beginning, that my life was not so much a line as one intricate loop, winding back, back, back through time and then spiraling rapidly forward, the past, the present, and the future, the person I was and the person I had yet to become, all tangled into one.

produced my most resonant tone: “Boarrrrr’s Head Turkey.” “OK, do it again.” A little more gusto this time. “Booooarrrrrrr’s Head Turkey!” “Again.” Maybe I wasn’t accentuating the right syllable. “Booooar’s Head TUR-key!” “Again.” “BoaRRRRR’s Head Tur-KEY.” “Again.” “BOOOOOARS Head Turrrrr-key.” “Again.” “Boarrr’s HEAD Tur-KEYYYY.” “Again.” I was stuck in a sadistic loop with this fucker. He knew I’d never get the part, but he was making me repeat this damn line over and over. I couldn’t think of any new ways to say it! I was barely intelligible at this point. It was like that scene at the end of The Miracle Worker when Anne Bancroft gets Patty Duke to say “water” but it sounds like “wwwaaaaaauuhh-waaaahhhhwuh.” I refused to be the first to quit. “BWOOORRRS HEHD TUH-TUH.” “Again.” “TURRRRRRRR GA-BWAW BWAH.” “Again.” “BUHHHH HUH TURRRR TURRRR.” “Again.” A knock at the door. His assistant, asking if he was ready for the next auditioner. “Yes, send him in. Thank you Mister . . . Kelly.” “You are . . . welcome.” I waited years for that commercial to make

Can I ask you a question?” he asks as we complete our first loop on the train. “Okay,” I say, warily, not sure what to expect from him at this point. I mean, he arranged a date that I had no idea about. The possibilities here are endless. “You’re writing this big love story,” he says, his arm casually slung over my shoulder. “What do you think love is?” I can’t help the laugh that escapes. “What?” he asks. “That’s not a question, that’s thequestion,” I say, shaking my head at him. “Okay,” he starts again. “Can I ask you the question?” I look at him for a minute, trying to think if I’m ready to answer this question considering all the things that are happening right now. “Do you know who my favourite fictional character is?” I ask him instead. He shakes his head. “Mr. Darcy,” I answer. “He’s every girl’s favourite character,” Travis says. “And there is a reason why,” I say. “Mr. Darcy was a self-important man. He met Elizabeth Bennet and immediately dismissed her because she didn’t fit into the life that he was comfortable with. Once he got to know her, he discovered that what he should have wanted and what he actually wanted were two completely different things.” “That’s every chick flick I’ve ever watched,” Travis says as he we pass the bumper cars again. “Yes, but here’s the kicker. Hechanges. Not because Elizabeth wants him to, or tells him to. He changes because he wants to be a different person, a better person. Someone who is worthy of her. And in order to do that he has to act in a selfless way with absolutely no hope of reward,” I say, and I know my voice has taken on a slightly dreamy tone. “That’s what I think love is. Loving someone who makes you want to be a better person.” As we make the final turn and the train comes to a stop, Travis still hasn’t said anything. I lightly laugh. “At least I hope that’s what love is. I dart my eyes in Travis’s direction, expecting him to be a little uncomfortable with my declaration, but his face is soft and he seems pleased with my answer. As we stand in line waiting to get on the Merry-Go-Round I turn to him. “So, who is your favourite fictional couple?” I ask. Travis seems to think about it, scrunching up his mouth with the effort. “Mickey and Minnie,” he nods decisively. “As in Mouse?” I laugh. “They like each other, they’re nice to each other, and they always look like they’re having a fun time,” he says, shrugging at his explanation. And the more I think about it, it’s actually a pretty good choice. I mean, obviously it isn’t Elizabeth and Mr. Darcy, but it has some worth.

From that day onwards I spent a lot of time on Park Bridge, and soon became aware of other boys with similar interests leaning out over the engines as they slowed down on their way into the goods yard, or cruised at speed further out on their way up the East Coast main line between Edinburgh and London. For Edinburgh was a rail centre, and I lived at the eastern end of a great loop of lines punctuated by stations, depots, tunnels, repair yards and goods terminals. I could watch the flagship engines of the London and North Eastern Railway rush by, a long procession of carriages drawn after them as they headed for Edinburgh Waverley - the company's very own station and a mecca for train lovers - or catch the smaller, older engines at the head of suburban and country trains. They were all trains, and that was enough for now.

over with mortar. It was impossible to climb. “Clever,” Nikulo said, prodding the wall with a stick. “Anyone have any bright Ideas?” Talis glanced left and right along the wall until he spotted a tree limb rising up and toward the wall, just close enough they might be able to jump and get a grip. “Tree climbing anyone?” Mara smiled and nodded her head as if he were offering her a piece of cake. Nikulo, however, frowned. “You expect me to climb that tree over to the wall, then climb another twenty feet up to the top?” “Fancy torture and a slow, hideous death instead?” Mara said. “We’re a team, but I’m not carrying you.” Rikar shrugged and made his way toward the tree. Mara of course was the first to climb and the first to show them how to jump onto the wall and not fall down in the process. The impish expression on her face as she glanced back at them infuriated Nikulo. He clung to a branch near the main tree trunk. “Okay miss sticky-paws-cat, how am I supposed to do that?” “Luckily, unlike my non-planning, non-thinking companions, I thought that a rope would come in handy.” Rikar unslung the rope and proceeded to tie a lasso. “Catch.” He tossed Mara the rope. She caught it, looped it around her arm and started the climb up. “Are you sure it’s long enough?” Talis said, watching the rope loop out from Rikar’s hands. “Twenty feet?” “Not good enough.” Talis climbed further up the limb toward the wall. “Mara,” he hissed, “we don’t have enough rope. Can you loop it around a rock?” She glanced back and scanned the wall. “Maybe this one.” She climbed over a few feet. “No, then we’ll swing over…it might slip. Try something in line with the branch.” “The rocks are all too flat.” “I have an idea.” Rikar skirted past Talis. “Throw the rope back. I’ll climb higher up… Closer to the wall.

Red Buffalo emerged from the darkness, leading his favorite war pony. Loretta and Hunter, arms looped around one another, turned to face him. When Red Buffalo reached Loretta, he grasped her hand and curled her fingers around the horse’s line. “Red Buffalo, I can’t take your war pony!” This horse, she knew, was Red Buffalo’s most prized possession, precision trained, his greatest edge when he rode into battle. It was a great honor he was bestowing upon her, perhaps the greatest honor a warrior could bestow on anyone, but she couldn’t in good conscience accept. “Please, keep your horse.” “My cousin’s fine Comanche wife must have a fine horse to carry her. You will never make it into the west lands on a scrawny, poorly trained tosi tivo horse.” Red Buffalo extended his hand to her. In friendship. She had vowed once that she would never take his hand in friendship, never. For a moment she hesitated. Then the last hard little knot of hatred within her disintegrated, and she placed her palm across his. Loretta knew that her mother would approve. For Loretta and Hunter, the war between their people had to end. There was no room for the past in their lives, no room for bitterness. Red Buffalo smiled, inclined his head to Hunter, and turned to leave. “Red Buffalo, would you give Swift Antelope a message for me? Tell him Amy hasn’t forgotten her promise, that she’ll wait for him.” Red Buffalo lifted his arm in farewell. “I will tell him.

You like?” “I--um, yes, he’s wonderful. His left ear isn’t notched like so many of the others. Why is that?” “The notched ear says a horse is gentled. He is not. If another puts hands upon him, he fights the big fight.” “Then how can I ride him?” “You will be his good friend. Come close.” Loretta stepped back instead. “But he’s wild.” Tightening his hold on her hand, Hunter tugged her forward. “He is friend to me and no other, eh? He carries me because he wishes it. Now, he will carry you.” With that explanation, which fell far short of reassuring her, he reclaimed the line and lifted her onto the stallion’s back. Loretta looked down. “I-I’m not too sure this is a good idea.” “It is good. You will trust, eh? I have said words to him. He accepts. Lie forward along his neck and whisper your heart into his ear. Run your hands over him. Tighten your legs around him.” Heart in her throat, Loretta did as he told her. She whispered, “Please, horse, don’t get mad and kill me.” The stallion nickered and sniffed her bare foot, the whites of his eyes rolling. Hunter chuckled. “He smells your fear and asks if there is danger, eh? He should run like the wind? He should stand? He is sure enough nuhr-vus, like the little blue-eyes is nuhr-vus when she thinks I will eat her and pick my teeth with her bones. You will say to him as I say to you--it is well.” Loretta jerked her foot back, afraid the horse might bite. “He m-may not understand. He’s a Comanche horse, isn’t he?” “Toquet, it is well. Whisper your heart. The words are in your touch. Be easy and make him easy.” She ran her hands over the stallion’s sleek coat, her fingers splaying on the powerful muscles in his neck and shoulders. When she began to believe the horse wouldn’t rear, she relaxed. The stallion lowered his head and began to graze. Hunter handed Loretta his line. “Let him carry you, eh? Whisper to him. Teach him your hands bring no pain--only good things. He will find sweet grass and listen.” “He’s so beautiful, Hunter.” “Say this to him.” Loretta did. The stallion flickered his ears and nickered. While he grazed, she petted him. Just when she began to feel confident, Hunter lifted her off his back. When he took the stallion’s line from her, he captured her hand as well, his long fingers curling warmly around hers. “He is now your good friend.” He looped his free arm over the stallion’s shoulders. “If you share breath with him often, you can paint yourself and wear leaves on your head, and he will still know you. For always.

The name used as the assignment target in a for header line is usually a (possibly new) variable in the scope where the for statement is coded. There’s not much unique about this name; it can even be changed inside the loop’s body, but it will automatically be set to the next item in the sequence when control returns to the top of the loop again.

Let him carry you, eh? Whisper to him. Teach him your hands bring no pain--only good things. He will find sweet grass and listen.” “He’s so beautiful, Hunter.” “Say this to him.” Loretta did. The stallion flickered his ears and nickered. While he grazed, she petted him. Just when she began to feel confident, Hunter lifted her off his back. When he took the stallion’s line from her, he captured her hand as well, his long fingers curling warmly around hers. “He is now your good friend.” He looped his free arm over the stallion’s shoulders. “If you share breath with him often, you can paint yourself and wear leaves on your head, and he will still know you. For always.” “Well, until I get home, at least.” She swallowed. “I am still going home, aren’t I?” Something flickered in his eyes--a dangerous something. Loretta’s legs felt as heavy as wet clay, and she watched helplessly while he pressed her palm to his cheek. “You wish to go?” His jaw felt hard and warm. “I--yes, I wish to go.” He moved her hand from his cheek to his chest, forcing her palm flat against the vibrant muscle of one breast. His eyes held hers, relentless and piercing. Loretta yearned to move away but knew she had little hope of breaking his hold. She could feel his heart thumping, a steady, sturdy beat in contrast with the uneven flutter of hers. “You will walk backward in your footsteps and go forward a new way?

She studied the fine lines and loops, commas and periods that had come between them, and they etched themselves into her mind.

Precognition, as a time- and dream-bound phenomenon, firmly straddles the fault line between the objective and subjective. I will be arguing on one hand that it is probably a neurobiological function related to memory, and thus we can expect a physical, material explanation in years or decades to come (in Part Two, I sketch what such an explanation might look like in its broad contours). But like a person’s memory, precognition is highly personal and centers on personally meaningful experiences. Thus, except for its defiance of the usual causal order, precognition is little different from anything else in a person’s biography—it needs to be understood within a life context and is subject to the same hermeneutic methods that are familiar to psychoanalysts and literary critics and philosophers. The tools of both the sciences and the humanities must be brought to bear, and neither should be favored over the other. The best we can do is flicker from one perspective to the other.

Dunne’s dreams seemed to him evidence for what Einstein and other physicists and mathematicians were just beginning to assert: that since the present moment depends entirely on where you stand in relation to events—what might be in the past for one observer may still be in the future for another observer, and vice versa—then the future must in some sense already exist. Einstein’s theory of relativity suggested that time was a dimension like space. To help visualize this, his teacher, Hermann Minkowski, pictured “spacetime” as a four-dimensional block. For the purposes of this book, let’s make it a glass block so we can see what is happening inside it. One’s life, and the “life” of any single object or atom in the universe, is really a line—a “world line”—snaking spaghetti-like through that glass block. The solid three-dimensional “you” that you experience at any moment is really just a slice or cross section of a four-dimensional clump of spaghetti-like atoms that started some decades ago as a zygote, gradually expanded in size by incorporating many more spaghetti-strand atoms, and then, after several decades of coherence (as a literal “flying spaghetti monster”) will dissipate into a multitude of little spaghetti atoms going their separate ways after your death. (They will recoalesce in different combinations with other spaghetti-strand atoms to make other objects and other spaghetti beings, again and again and again, until the end of the universe.) What we perceive at any given moment as the present state of affairs is just a narrow slice or cross-section of that block as our consciousness traverses our world-line from beginning to end. (If it helps envision this, the comic artist, occult magician, and novelist Alan Moore has recently revised the “block” to a football—one tip being the big bang, the other the “big crunch” proposed in some cosmological models.32 I will stick with the term “glass block” since I am not a football fan and “glass football” sounds odd.) Precognitive dreams, Dunne argued, show that at night, as well as other times when the brain is in a relaxed state, our consciousness can wriggle free of the present moment and scan ahead (as well as behind) on our personal world-line, like a flashlight at night illuminating a spot on the path ahead. This ability to be both rooted mentally in our body, with its rich sensory “now,” and the possibility of coming unstuck in time (as Vonnegut put it) suggested to Dunne that human consciousness was dual. We not only possess an “individual mind” that adheres to the brain at any given time point, but we also are part of a larger, “Universal Mind,” that transcends the now and that spaghetti-clump body. The Universal Mind, he argued, is ultimately shared—a consciousness-in-common—that is equivalent to what has always been called “God.

Words in my own reality, My own mind, Are trapped there Screaming to escape, As lines and curves, As throbbing black blood, As a dance of loops and coils, Onto the crisp ivory paper, Sitting placidly, Anticipatory, Beneath my trembling hand, Hair falls into my face, Coldness burns in my bones, My thoughts choke me as I sit in pure agony, Plummeting into the Intoxicatingly sweet hands of Madness.

A simple, five-command loop expands into a beautiful segmented structure of fifty lines. Little portions of program detach into reusable parts. Neelay’s father hooks up a cassette tape player, for easy reloading of their hours of work in mere minutes. But the volume button must be set just right, or everything explodes with a read error.

And, 37 years later, in 2013, his breakthrough moment came in another thought experiment, which revealed a system of cycling protocells capable of evolving but also sharing innovations, thereby able to lift ever more complex forms into being. Was this vision simply a motivation for his life’s work, driving him on for decades? Or was it a precognition sent by his future self or from some other mysterious time-shifted source? However you might interpret it, a causal temporal loop seems possible. A clue to this loop came from another point in the interview when Dr Damer told Dr Mossbridge that he had had an even earlier vision, suggesting that future versions of himself were able to communicate back through time. When he was about to turn ten, he wanted to mark that milestone, so he went on a long walk in his neighbourhood. He found himself at the edge of a slough, and asked, “What could I do right now that would have a really positive effect on my future?” Suddenly a vision opened up in his mind’s eye, a line of all his future selves extending to the horizon. They were all busy doing slightly different but interesting things. He felt pleased and began to look forward to this future. Showing remarkable maturity and awareness, the young Bruce decided it would be a good idea to make a deal with these future selves, then and there. He asked them to agree to a written contract, which he held up on an imagined piece of paper. It said: “You will all agree to not send negative thoughts back to the prior, littler selves because they did their best at the time.” One after the next, the future selves each “signed” the only-positive-thoughts contract. Once this was completed, he described experiencing a rush, a sort of force pulling on him as all the doors to the future swung open. He then saw his future path as one flowing, forward movement with no turbulence returning back down to his present. Given this earlier experience, it’s no surprise that just four years later he experienced receiving a clue from the future, setting his life’s work. From a very young age, Bruce felt he was in communication with his future selves and that he also possessed an intimate relationship with some kind of bigger, guiding system. This gave him an abiding sense that his life’s path was somehow mapped out through his intentions toward destinations lit by delivered visions.

Advantages of the ASP I have already explained how the ASP is advantageous with regard to its compactness and ease of carry, but there are other advantages. Carrying an impact weapon gives you the ability to counter a threat with less than lethal force, which may save you a long stint in prison. The compact ASP has advantages over the 28-inch stick of the traditional Filipino martial arts. When you are chest-to-chest against an opponent, it's difficult to hit him decisively with a 26-28 inch long stick. Filipino martial artists practice raising the arm and twisting the wrist to snap the tip into an opponent's head, but these flicking strikes can't be counted on to drop an attacker. Also, because of the stick's light weight, space and distance are needed to wind up and generate power. At very close range the short, heavy stick –such as a blackjack, sap, or an 8-inch steel bar-- is a better weapon. The striking tip of the ASP is made of steel, and the middle section is high-grade aluminum. This solid construction means that the ASP hits hard. The unexpanded ASP can be used like a metal yawara (palm stick), which is devastating in close. The Knife The second weapon in Steel Baton EDC is a knife carried at the neck. The knife should be compact and relatively light so that it is comfortable enough for neck carry. Get a light beaded chain that will break away, so that you aren't strangled with your own neck lanyard. The knife should have a straight handle without loops or fingerholes, because you want to be able to access the knife with either hand in an instant, without having to thread your fingers into holes or work to secure a grip. Avoid folding knives. You want a knife that you can draw in an instant. No matter how much you practice drawing and opening your knife, or even if you get an automatic (switchblade) or assisted opener, you will always be slower getting the folding knife open and into action, particularly under stress. Keep in mind that “under stress” may mean somebody socking you in the face repeatedly. Once again, you want open carry. Open carry is almost always legal and is more easily accessible if you are under attack. You can get a neodymium magnet and put it in the gap between the seam of your shirt, in between the buttons. The magnet will attract the steel blade of your knife so that the knife will stay centered and not flop around if you're moving. My recommended knives for neck carry are the Cold Steel Super Edge and the Cold Steel Hide Out. The Super Edge is small, light, and inconspicuous. It also comes in useful as a day-to-day utility tool, opening packages, trimming threads, removing tags, and so on. Get the Rambo knife image out of your mind. You only need a small knife to deter an attacker, because nobody wants to get cut. And if your life is on the line, you can still do serious damage with a small blade.

...history only moves forward in a straight line when we learn from it. Otherwise it loops past the same mistakes over and over again.

a messy emotion that didn’t walk a straight line. It worked in waves and loops of ups and downs. It was a screwy emotion that could somehow still exist amidst the ultimate heartbreak and betrayal.