Lyrics With Good Quotes

The best portion of a good man's life: his little, nameless unremembered acts of kindness and love.

Gonna change my way of thinking, make my self a different set of rules. Gonna put my good foot forward and stop being influenced by fools.

I am no king, and I am no lord, And I am no soldier at-arms," said he. "I'm none but a harper, and a very poor harper, That am come hither to wed with ye." "If you were a lord, you should be my lord, And the same if you were a thief," said she. "And if you are a harper, you shall be my harper, For it makes no matter to me, to me, For it makes no matter to me." "But what if it prove that I am no harper? That I lied for your love most monstrously?" "Why, then I'll teach you to play and sing, For I dearly love a good harp," said she.

I’m sorry you couldn’t find me. I have been in the woods. I put myself there because I couldn’t be good. I have been running with foxes and running with crows and I have found myself a home where no one goes.

You forget all of it anyway. First, you forget everything you learned-the dates of the Hay-Herran Treaty and Pythagorean Theorem. You especially forget everything you didn't really learn, but just memorized the night before. You forget the names of all but one or two of your teachers, and eventually you'll forget those, too. You forget your junior class schedule and where you used to sit and your best friend's home phone number and the lyrics to that song you must have played a million times. For me, it was something by Simon & Garfunkel. Who knows what it will be for you? And eventually, but slowly, oh so slowly, you forget your humiliations-even the ones that seemed indelible just fade away. You forget who was cool and who was not, who was pretty, smart, athletic, and not. Who went to a good college. Who threw the best parties Who could get you pot. You forget all of them. Even the ones you said you loved, and even the ones you actually did. They're the last to go. And then once you've forgotten enough, you love someone else.

There are young men and women up and down the land who happily (or unhappily) tell anyone who will listen that they don’t have an academic turn of mind, or that they aren’t lucky enough to have been blessed with a good memory, and yet can recite hundreds of pop lyrics and reel off any amount of information about footballers. Why? Because they are interested in those things. They are curious. If you are hungry for food, you are prepared to hunt high and low for it. If you are hungry for information it is the same. Information is all around us, now more than ever before in human history. You barely have to stir or incommode yourself to find things out. The only reason people do not know much is because they do not care to know. They are incurious. Incuriosity is the oddest and most foolish failing there is.

We should get jerseys, cause we make a good team; but yours would look better than mine, cause you're outta my league.

..I find it incredible impossible not to cry when I hear Stevie Nicks's "Landslide," especially the lyric: "I've been afraid of changing, because I've built my life around you." I think a good test to see if a human is actually a robot/android/cylon is to have them listen to this song lyric and study their reaction. If they don't cry, you should stab them through the heart. You will find a fusebox.

There are more than enough to fight and oppose; why waste good time fighting the people you like?

A novel is never anything but a philosophy expressed in images. And in a good novel the philosophy has disappeared into the images.

If a thing can be said in ten words, I may be relied upon to take a hundred to say it. I ought to apologize for that. I ought to prune, pare and extirpate excess growth, but I will not. I like words—strike that, I love words—and while I am fond of the condensed and economical use of them in poetry, in song lyrics, in Twitter, in good journalism and smart advertising, I love the luxuriant profusion and mad scatter of them too.

Oh, there ain't no love, no Montagues or Capulets Just banging tunes and DJ sets And dirty dancefloors and dreams of naughtiness I Bet that You Look Good on the Dancefloor

Maybe I didn't treat you Quite as good as I should have Maybe I didn't love you Quite as often as I could have Little things I should have said and done I just never took the time You were always on my mind You were always on my mind

What if I can't forget you? I'll burn your name into my throat, I'll be the fire that'll catch you. What's so good about picking up the pieces? What if I don't even want to?

Good authors, too, who once knew better words now only use four-letter words writing prose... anything goes.

Where do babies come from? Don't bother asking adults. They lie like pigs. However, diligent independent research and hours of playground consultation have yielded fruitful, if tentative, results. There are several theories. Near as we can figure out, it has something to do with acting ridiculous in the dark. We believe it is similar to dogs when they act peculiar and ride each other. This is called "making love". Careful study of popular song lyrics, advertising catch-lines, TV sitcoms, movies, and T-Shirt inscriptions offers us significant clues as to its nature. Apparently it makes grown-ups insipid and insane. Some graffiti was once observed that said "sex is good". All available evidence, however, points to the contrary.

You say: 'Oh, please forgive' You say: 'Oh, live and let live.' But sorry doesn't help us. Sorry will not save us. Sorry is just a word you find so easy to say (so you say it anyway). Sorry doesn't help us. Sorry won't protect us. Sorry won't undo all the good gone wrong.

Life is the bad with all the good. The deadly sharks with the beautiful sea stars. The gigantic waves with the sand castles. The licorice with the lemon and lime. The loud lyrics with the rhythm of the music. The liver disease with the love of a father and son. It’s life. Sweet, beautiful, wind on your face, air in your lungs, kisses on your lips. life.

You know I'm no good

And Goodness knows The Wicked's lives are lonely Goodness knows The Wicked die alone

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

The first thing you notice about New Orleans are the burying grounds - the cemeteries - and they're a cold proposition, one of the best things there are here. Going by, you try to be as quiet as possible, better to let them sleep. Greek, Roman, sepulchres- palatial mausoleums made to order, phantomesque, signs and symbols of hidden decay - ghosts of women and men who have sinned and who've died and are now living in tombs. The past doesn't pass away so quickly here. You could be dead for a long time. The ghosts race towards the light, you can almost hear the heavy breathing spirits, all determined to get somewhere. New Orleans, unlike a lot of those places you go back to and that don't have the magic anymore, still has got it. Night can swallow you up, yet none of it touches you. Around any corner, there's a promise of something daring and ideal and things are just getting going. There's something obscenely joyful behind every door, either that or somebody crying with their head in their hands. A lazy rhythm looms in the dreamy air and the atmosphere pulsates with bygone duels, past-life romance, comrades requesting comrades to aid them in some way. You can't see it, but you know it's here. Somebody is always sinking. Everyone seems to be from some very old Southern families. Either that or a foreigner. I like the way it is. There are a lot of places I like, but I like New Orleans better. There's a thousand different angles at any moment. At any time you could run into a ritual honoring some vaguely known queen. Bluebloods, titled persons like crazy drunks, lean weakly against the walls and drag themselves through the gutter. Even they seem to have insights you might want to listen to. No action seems inappropriate here. The city is one very long poem. Gardens full of pansies, pink petunias, opiates. Flower-bedecked shrines, white myrtles, bougainvillea and purple oleander stimulate your senses, make you feel cool and clear inside. Everything in New Orleans is a good idea. Bijou temple-type cottages and lyric cathedrals side by side. Houses and mansions, structures of wild grace. Italianate, Gothic, Romanesque, Greek Revival standing in a long line in the rain. Roman Catholic art. Sweeping front porches, turrets, cast-iron balconies, colonnades- 30-foot columns, gloriously beautiful- double pitched roofs, all the architecture of the whole wide world and it doesn't move. All that and a town square where public executions took place. In New Orleans you could almost see other dimensions. There's only one day at a time here, then it's tonight and then tomorrow will be today again. Chronic melancholia hanging from the trees. You never get tired of it. After a while you start to feel like a ghost from one of the tombs, like you're in a wax museum below crimson clouds. Spirit empire. Wealthy empire. One of Napoleon's generals, Lallemaud, was said to have come here to check it out, looking for a place for his commander to seek refuge after Waterloo. He scouted around and left, said that here the devil is damned, just like everybody else, only worse. The devil comes here and sighs. New Orleans. Exquisite, old-fashioned. A great place to live vicariously. Nothing makes any difference and you never feel hurt, a great place to really hit on things. Somebody puts something in front of you here and you might as well drink it. Great place to be intimate or do nothing. A place to come and hope you'll get smart - to feed pigeons looking for handouts

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

Too much of anything can make you sick, even the good can be a curse - Cheryl Cole

There is only one good thing about a small town You know that you want to get out - Songs for Drella

It seemed so good when it started. I gave my trust to you. I came to you open-hearted, Hoping it was true. Now I've gotten smart. Now I've learned some things. Now I know that what once was a start, Is just an ending. The longest good-bye I ever knew, The longest good-bye Was the day I said hello to you.

In the land of Gods and Monsters I was an Angel Living in the garden of evil Screwed up, scared, doing anything that I needed Shining like a fiery beacon You got that medicine I need Fame, Liquor, Love give it to me slowly Put your hands on my waist, do it softly Me and God, we don't get along so now I sing No one's gonna take my soul away I'm living like Jim Morrison Headed towards a fucked up holiday Motel sprees sprees and I'm singing 'Fuck yeah give it to me this is heaven, what I truly Want' It's innocence lost Innocence lost In the land of Gods and Monsters I was an Angel Looking to get fucked hard Like a groupie incognito posing as a real singer Life imitates art You got that medicine I need Dope, shoot it up, straight to the heart please I don't really wanna know what's good for me God's dead, I said 'baby that's alright with me' No one's gonna take my soul away I'm living like Jim Morrison Headed towards a fucked up holiday Motel sprees sprees and I'm singing 'Fuck yeah give it to me this is heaven, what I truly Want' It's innocence lost Innocence lost When you talk it's like a movie and you're making me Crazy - Cause life imitates art If I get a little prettier can I be your baby? You tell me, "life isn't that hard" No one's gonna take my soul away I'm living like Jim Morrison Headed towards a fucked up holiday Motel sprees sprees and I'm singing 'Fuck yeah give it to me this is heaven, what I truly Want' It's innocence lost Innocence lost

A good rock band is like a great lover. Their rhythms simultaneously jolt and calm you. They know when and where to tease you to make it feel the best, how to draw from you the ultimate pleasure.

Soon the Boov was in the ghost suit and Pig was in the car, which would be a good lyric for a bluegrass song, now that I think of it.

I feel there is always room for good music. I want to reach people's soul with my lyrics through whatever vessel God chooses.

God is great, but sometimes life ain't good and when I pray it doesn't always turn out like I think it should. But I do it anyway.

I've come down in the world. I've slid to a place where the ceiling is low and there isn't much room for me to move.Most of the time I'm good. I accepted my sentence and do not brood or look back. But sometimes a shift makes me remember. Routine is ruffled and a new start makes me suddenly conscious of what I've become -

A good poem is a tautology. It expands one word by adding a number which clarify it, thus making a new word which has never before been spoken. The seedword is always so ordinary that hardly anyone perceives it. Classical odes grow from and or because, romantic lyrics from but and if. Immature verses expand a personal pronoun ad nauseam, the greatest works bring glory to a common verb. Good poems, therefore, are always close to banality, over which, however, they tower like precipices.

I have always seen great value in practicing kindness. Although I had no money to buy gifts as a child, I gave my friends the gift of song to cheer them up. Depending on the situation, I’d sing to them and make up melodies and lyrics on the spot about whatever was going on in their lives. If a girlfriend was lonely or heartbroken, I’d make up a song about the handsome and adoring boyfriend I imagined coming into her life. Or if a friend felt deprived or neglected, I’d make up a song about a gift of a shiny new doll, or a velvet party dress, that I knew would make her happy.

Chaos isn't good for your health.

All of my words, if not well put nor well taken, are well meant.

Fundamentalist Christianity: fascinating. These people actually believe that the world is twelve thousand years old. Swear to God. Based on what? I asked them. "Well, we looked at all the people in the Bible and we added 'em up all the way back to Adam and Eve, their ages? Twelve thousand years." "Well, how fucking scientific, OK. I didn't know that you'd gone to so much trouble there. That's good. You believe the world's twelve thousand years old?" "That's right." "OK, I got one word to ask you, a one word question, ready?" "Uh huh." "Dinosaurs." You know, the world's twelve thousand years old and dinosaurs existed, and existed in that time, you'd think it would been mentioned in the fucking Bible at some point: And O, Jesus and the disciples walked to Nazareth. But the trail was blocked by a giant brontosaurus... with a splinter in its paw. And the disciples did run a-screamin'. "What a big fucking lizard, Lord!" "I'm sure gonna mention this in my book," Luke said. "Well, I'm sure gonna mention it in my book," Matthew said. But Jesus was unafraid. And he took the splinter from the brontosaurus paw, and the brontosaurus became his friend. And Jesus sent him to Scotland where he lived in a loch, O so many years, attracting fat American families with their fat fuckin' dollars to look for the Loch Ness Monster. And O the Scots did praise the Lord: "Thank you, Lord! Thank you, Lord!" Twelve thousand years old. But I actually asked this guy, "OK, dinosaur fossils-- how does that fit into your scheme of life? What's the deal?" He goes: "God put those here to test our faith." "I think God put you here to test my faith, dude. I think I've figured this out." Does that-- That's what this guy said. Does that bother anyone here? The idea that God might be fucking with our heads? Anyone have trouble sleeping restfully with that thought in their head? God's running around burying fossils: "Ho ho! We'll see who believes in me now, ha ha! I'm a prankster God. I am killing me, ho ho ho!" You know? You die, you go to St. Peter: "Did you believe in dinosaurs?" "Well, yeah. There were fossils everywhere. (trapdoor opens) Aaaaarhhh!" "You fuckin' idiot! Flying lizards? You're a moron. God was fuckin' with you!" "It seemed so plausible, aaaaaahh!" "Enjoy the lake of fire, fucker!" They believe this. But you ever notice how people who believe in Creationism usually look pretty unevolved. Eyes really close together, big furry hands and feet? "I believe God created me in one day." Yeah, looks like he rushed it. Such a weird belief. Lots of Christians wear crosses around their necks. You think when Jesus comes back he's gonna want to see a fucking cross, man? "Ow." Might be why he hasn't shown up yet. "Man, they're still wearing crosses. Fuck it, I'm not goin' back, Dad. No, they totally missed the point. When they start wearing fishes, I might show up again, but... let me bury fossils with you, Dad. Fuck 'em, let's fuck with 'em! Hand me that brontosaurus head, Dad.

Music teaches us about lyricism in writing, a delicate turn of phrase, selectiveness with words, rhythmic passages. Most of all, music, like good writing, touches our emotions with cadences that slip in like a subtle visitor, familiar and known before.

When something seems unbalanced and out of rhythm, just a song can tune things up in a moment. The power of music is therapy.

I'm a bad motherfucker, don't you know--and I'll crawl over fifty good pussies just to get to one fat boy's asshole," said Stagger Lee.

Plain and simply, a love lyric is one’s soul set in motion. If it’s good, it may do the same to you.

It's confusing when people who do not know me say they miss the old me. You know me merely through the lyrics I write and the pictures I've been in. There is no old or new Hayley. There is however an older Hayley. I'm 25 now. Good on me for living through all these years with a million people's judging eyes all over me and thinking they know me better.

So close I can almost touch you But then you're gone Like mist around the edge...

But l’m good at being uncomfortable So I can’t stop changing all the time.

From time to time I meet people who live among riches I cannot even imagine. I still have to make an effort to realize that others can feel envious of such wealth. A long time ago, I once lived a whole week luxuriating in all the goods of this world: we slept without a roof, on a beach, I lived on fruit, and spent half my days alone in the water. I learned something then that has always made me react to the signs of comfort or of a well-appointed house with irony, impatience, and sometimes anger. Although I live without worrying about tomorrow now, and therefore count myself among the privileged, I don't know how to own things. What I do have, which always comes to me without my asking for it, I can't seem to keep. Less from extravagance, I think, than from another kind of parsimony: I cling like a miser to the freedom that disappears as soon as there is an excess of things.

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

But I assure you those are the correct lyrics that Robert Palmer sings.” “No. It’s addicted to love, Ships. Addicted to love,” he enunciates while fighting back the laugh. “Not a dick with a glove.” “Hmpf.

It’s true—there are only, like, two songs about rainbows, including that one. He should be asking why there are so few songs about rainbows.

I could never understand why people cower from the word storm. Sounds like a good time, to me!

So for now wave good-bye leave your hands held high

We are living in the Klassikan era; where God, Family and Good Life is key. [In The Song Talk About Love]

Yes, I received your letter yesterday
 (About the time the doorknob broke)
 When you asked how I was doing
 Was that some kind of joke? All these people that you mention
 Yes, I know them, they’re quite lame
 I had to rearrange their faces
 And give them all another name
 Right now I can’t read too good
 Don’t send me no more letters, no
 Not unless you mail them
 From Desolation Row -Bob Dylan, “Desolation Row” (1965)

I was about to ask Alec how he was getting on with the dealf when I heard him singing. The fucker was not only good looking, but he could sing and sing really well. His choice of song caused my eyes to roll though. "Sex bomb, sex bomb, I'm a sex bomb-" "You're a sex bomb!" I corrected the lyric cutting him off as I went into the bathroom.

There are only so many people capable of putting together words that stir and move and sing. When it became possible to earn a very good living in advertising by exercising this capability, lyric poetry was left to untalented screwballs who had to shriek for attention and compete by eccentricity.

If you've ever wondered where the good songs go After they've had their day, You'll be glad to meet a man I know, Wrinkled old and gray. He collects the tunes that time has thrown aside— Puts them under lock and key; For a penny he is glad to set them free.

The lyrics, 'Tell me would you kill to save a life...would you kill to prove you're right?' They've often made me wonder, what would make a good man do something...you know, really awful, like kill or whatever. And well, now...I guess I have my answer don't I?

If I'm a guy who doesn't seem so merry, It's just because I'm so misunderstood. When I was young I ate a dictionary, And that did not do me a bit of good. For I've absorbed so many words and phrases— They drive me dizzy when I want to speak. I start explaining but each person gazes As if I spoke in Latin or in Greek.

Courage is a defining factor in the life of any artist. The courage to bare your innermost feelings, to reveal your true voice, or to stand in front of an audience and lay it out there for the world to see. The emotional vulnerability that is often necessary to summon a great song can also work against you when sharing your song for the world to hear. This is the paralyzing conflict of any sensitive artist. A feeling I’ve experienced with every lyric I’ve sung to someone other than myself. Will they like it? Am I good enough? It is the courage to be yourself that bridges those opposing emotions, and when it does, magic can happen.

You don't need this prep but I'm going to give it to you anyway. I can tell, I don't know any of you that well, but I can see it in your faces that and some of you have faces that remind me of what my face looked like when I was younger. I see some of you young people out there and I remember how hard it is to be young. And I remember how hard it is to be rejected the first time when you're young. And so what I want you to do is close your eyes. And I can see you, so don't cheat me here. Close those eyes of yours. Put 'em, real tight. And I want you to imagine the first person who broke you heart. The first person that didn't like you back, the first person that said shitty stuff about you. The first person that dumped you. The first person that changed their phone number because you called them 62 times in one day. The first person that didn't know how good you were and they missed you, they passed you by. Imagine that person and then I want you to sing at the top of your fucking lungs. I want you to sing. I want to heal that with you right now. (sings): Look me in the eye and tell me you dont find me attractive. Look me in the heart and tell me that you wont go. Look me in the eye and promise no love is like our love look me in the heart and unbreak broken it wont happen.

Sit tight, I'm gonna need you to keep time Come on just snap, snap, snap your fingers for me Good, good now we're making some progress Come on just tap, tap, tap your toes to the beat And I believe this may call for a proper introduction, and well Don't you see, I'm the narrator, and this is just the prologue? Swear to shake it up, if you swear to listen Oh, we're still so young, desperate for attention I aim to be your eyes, trophy boys, trophy wives Swear to shake it up, if you swear to listen Oh, we're still so young, desperate for attention I aim to be your eyes, trophy boys, trophy wives Applause, applause, no wait wait Dear studio audience, I've an announcement to make: It seems the artists these days are not who you think So we'll pick back up on that on another page And I believe this may call for a proper introduction, and well Don't you see, I'm the narrator and this is just the prologue Swear to shake it up, if you swear to listen Oh, we're still so young, desperate for attention I aim to be your eyes, trophy boys, trophy wives Swear to shake it up, if you swear to listen Oh, we're still so young, desperate for attention I aim to be your eyes, trophy boys, trophy wives Swear to shake it up, you swear to listen Swear to shake it up, you swear to listen Swear to shake it up, you swear to listen Swear to shake it up, swear to shake it up Swear to shake it up, if you swear to listen Oh, we're still so young, desperate for attention I aim to be your eyes, trophy boys, trophy wives Swear to shake it up, if you swear to listen Oh, we're still so young, desperate for attention I aim to be your eyes

White institutions are constantly communicating how much Blackness they want. It begins with numbers. How many scholarships are being offered? How many seats are being “saved” for “neighborhood kids”? How many Black bodies must be present for us to have “good” diversity numbers? How many people of color are needed for the website, the commercials, the pamphlets? But numbers are only the beginning. Whiteness constantly polices the expressions of Blackness allowed within its walls, attempting to accrue no more than what’s necessary to affirm itself. It wants us to sing the celebratory “We Shall Overcome” during MLK Day but doesn’t want to hear the indicting lyrics of “Strange Fruit.” It wants to see a Black person seated at the table but doesn’t want to hear a dissenting viewpoint. It wants to pat itself on the back for helping poor Black folks through missions or urban projects but has no interest in learning from Black people’s wisdom, talent, and spiritual depth. Whiteness wants enough Blackness to affirm the goodness of whiteness, the progressiveness of whiteness, the openheartedness of whiteness. Whiteness likes a trickle of Blackness, but only that which can be controlled.

I ain't sayin' I'm no better than anybody else, but I'll be damned if I ain't just as good!

Be patient, is very good advice, but the waiting makes me curious.

Sweet Grace amazes me The way that she can see Beyond the man I am To the man that I could be She's bringing out my best While she covers all the rest Some say her love is blind But I say her love forgets She don't like it when I try so hard to impress her ‘Cause when I do that, it's a lie that makes her love look the lesser The truth is I know I'll never be, I'll never be good enough I'll never deserve her love I'll never be, I'll never be good enough for Grace But she takes me anyway I am the cheatin' kind But she's changing my mind The way she takes me back Though I fail her every time She's got friends who tell her that she Is much too good for me Well, I've told her that myself But she refuses to leave I'd like to think my strength won her affection But the truth is it was my weakness that caught her attention I'm grateful to know When my tears fall down like rain She wipes them from my face She tells me that I'm lovely And if I am, it's all because of Grace This love turns my inside out And my world upside down Grace is changing me

I had no songs in my repertoire for commercial radio anyway. Songs about debauched bootleggers, mothers that drowned their own children, Cadillacs that only got five miles to the gallon, floods, union hall fires, darkness and cadavers at the bottom of rivers weren't for radiophiles. There was nothing easygoing about the folk songs I sang. They weren't friendly or ripe with mellowness. They didn't come gently to the shore. I guess you could say they weren't commercial. Not only that, my style was too erratic and hard to pigeonhole for the radio, and songs, to me, were more important that just light entertainment. They were my preceptor and guide into some altered consciousness of reality, some different republic, some liberated republic. Greil Marcus, the music historian, would some thirty years later call it "the invisible republic." Whatever the case, it wasn't that I was anti-popular culture or anything and I had no ambitions to stir things up. i just thought of popular culture as lame as hell and a big trick. It was like the unbroken sea of frost that lay outside the window and you had to have awkward footgear to walk on it. I didn't know what age of history we were in nor what the truth of it was. Nobody bothered with that. If you told the truth, that was all well and good and if you told the un-truth, well, that's still well and good. Folk songs taught me that.

As soon as teenage girls start to profess love for something, everyone else becomes totally dismissive of it. Teenage girls are open season for the cruelest bullying that our society can dream up. Everyone's vicious to them. They're vicious to each other. Hell, they're even vicious to themselves. It's terrible. So if teenage girls have something that they love, isn't that a good thing? Isn't it better for them to find some words they believe in, words like the 'fire-proof and fearless' lyrics that Jacqui wrote? Isn't it better for them to put those words on their arm in a tattoo than for them to cut gashes in that same skin? Shouldn't we be grateful when teenage girls love our work? Shouldn't that be a fucking honor? It's used as the cheapest, easiest test of crap, isn't it? If teenage girls love a movie, a book, a band, then it's immediately classified as mediocre shit. Well, I'm not going to stand for that. Someone needs to treat them like they're precious, and if nobody else is ready to step up, I guess it's up to us to put them on the path to recognizing that about themselves.

I’ve been . . . I just finished reading that book you told me about, Accidentally Married to the Billionaire Sheikh.” My mouth fell open in shock. “You have? So, um, did you like it?” “It’s a little predictable, and very explicit, in an oddly lyrical way. I can only imagine how disappointed female readers must be when facing the reality of—” He cleared his throat. “Well, in any case, I’m not certain Hedwardh is a good match for Swanella. And by the way, the refractory period doesn’t work like that.

It's like a battery that has to have a positive and a negative. One doesn't work without the other. You've gotta have the good and the bad in order to know what's right, and in order to know what's real and what ain't.

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

Reminiscing in the drizzle of Portland, I notice the ring that’s landed on your finger, a massive insect of glitter, a chandelier shining at the end of a long tunnel. Thirteen years ago, you hid the hurt in your voice under a blanket and said there’s two kinds of women—those you write poems about and those you don’t. It’s true. I never brought you a bouquet of sonnets, or served you haiku in bed. My idea of courtship was tapping Jane’s Addiction lyrics in Morse code on your window at three A.M., whiskey doing push-ups on my breath. But I worked within the confines of my character, cast as the bad boy in your life, the Magellan of your dark side. We don’t have a past so much as a bunch of electricity and liquor, power never put to good use. What we had together makes it sound like a virus, as if we caught one another like colds, and desire was merely a symptom that could be treated with soup and lots of sex. Gliding beside you now, I feel like the Benjamin Franklin of monogamy, as if I invented it, but I’m still not immune to your waterfall scent, still haven’t developed antibodies for your smile. I don’t know how long regret existed before humans stuck a word on it. I don’t know how many paper towels it would take to wipe up the Pacific Ocean, or why the light of a candle being blown out travels faster than the luminescence of one that’s just been lit, but I do know that all our huffing and puffing into each other’s ears—as if the brain was a trick birthday candle—didn’t make the silence any easier to navigate. I’m sorry all the kisses I scrawled on your neck were written in disappearing ink. Sometimes I thought of you so hard one of your legs would pop out of my ear hole, and when I was sleeping, you’d press your face against the porthole of my submarine. I’m sorry this poem has taken thirteen years to reach you. I wish that just once, instead of skidding off the shoulder blade’s precipice and joyriding over flesh, we’d put our hands away like chocolate to be saved for later, and deciphered the calligraphy of each other’s eyelashes, translated a paragraph from the volumes of what couldn’t be said.

Something of this kind, I replied:–God is always to be represented as he truly is, whatever be the sort of poetry, epic, lyric or tragic, in which the representation is given. Right. And is he not truly good? and must he not be represented as such? Certainly.

Metal is made up of many silly cliches, and Dio's songs rarely shied away from a good cheeseball lyric about medieval knights and crystal balls. But the amazing thing is, Dio the man never succumbed to the typical ravages of drugs, booze or hideous all-body tattoos. He never gained 75 pounds later in life or lost most of his voice through merciless shredding and ended it all playing county fairs for 19 drunk dudes in a barn before collapsing in a heap in a motel room in Jersey. There's a lesson in there somewhere. Or everywhere.

I have been bleeding out in public For so long And all I know is, all I have been taught is that it is Both Not good enough And still, somehow Too much

There is a third form of possession or madness, of which the Muses are the source. This seizes a tender, virgin soul and stimulates it to rapt passionate expression, especially in lyric poetry, glorifying the countless mighty deeds of ancient times for the instruction of posterity. But if any man comes to the gates of poetry without the madness of the Muses, persuaded that skill alone will make him a good poet, then shall he and his works of sanity with him be brought to nought by the poetry of madness, and behold, their place is nowhere to be found.

I find it extremely impossible not to cry when I hear Stevie Nicks’s “Landslide,” especially the lyric: “I’ve been afraid of changing, because I’ve built my life around you.” I think a good test to see if a human is actually a robot/android/cylon is to have them listen to this song lyric and study their reaction. If they don’t cry, you should stab them through the heart. You will find a fusebox.

I am not a music snob. If anything, my musical taste is bad by any critical standards. My favorite song of all time is "Come On Eileen" by Dexys Midnight Runners. A close second is "MMMBop" by Hanson. So I am not out there claiming any musical superiority, but Creed really does suck. Bad music, pretentious lyrics, and a messianic front man. Also they are from Florida. No good rock music has ever come from Florida. Undoubtedly, there will be legions of offended readers who think to themselves, What are you talking about! Such-and-such band is from Flordia and they're freaking awesome! No, whatever band you are thinking of, if they are from Flordia, they suck. Not as much as Creed, but they still suck.

I’m sorry if you couldn’t find me I have been in the woods. I put myself there because I couldn’t be good. I have been running with foxes and hunting with crows. And I have found myself a home where no body goes.

At length, one lovely morning, when the green corn lay soaking in the yellow sunlight, and the sky rose above the earth deep and pure and tender like the thought of God about it, Alec became suddenly aware that life was good, and the world beautiful . . . One of God's lyric prophets, the larks, was within earshot, pouring down a vocal summer of jubilant melody. The lark thought nobody was listening but his wife; but God heard in heaven, and the young prodigal heard on the earth.

She breathes music. Lives it and bleeds it. Her headphones have become her heartbeat. Her lyrics are her life. Music is her outlet of pain, love, and rage. Every note unplayed is another minute unlived. Every song unsung is another moment lost forever. She relies on music to show her the way, make fantasies real and to ease the pain of everyday life. Each day is another chance to create pure artistry. Music is the reason she is who she is...the good and the bad. Her life without it is like a bird without wings or lungs with out air. Life is for the living. Death is for the dead. Her life is her music. Her death will be the note unsaid.

We decided to leave early, you wouldn't want to be there in the end, when the lights came on. You'd never sit down in here again. In a depressing shuffle we pushed to the door, now it was good to get up and out, while it was still a black hole, warm, and smokey, full of possibilities...

Now that there is no calling out of injustice, no yelling, no cursing, no finger wagging or head shaking, the media decides to take up the mantle when on December 12, 2012, two weeks after Serena is named WTA Player of the Year, the Dane Caroline Wozniacki, a former number-one player, imitates Serena by stuffing towels in her top and shorts, all in good fun, at an exhibition match. Racist? CNN wants to know if outrage is the proper response.

MAMBO SUN" "Beneath the bebop moon I want to croon with you Beneath the Mambo Sun I got to be the one with you My life's a shadowless horse If I can't get across to you In the alligator rain My heart's all pain for you Girl you're good And I've got wild knees for you On a mountain range I'm Dr. Strange for you Upon a savage lake Make no mistake I love you I got a powder-keg leg And my wig's all pooped for you With my hat in my hand I'm a hungry man for you I got stars in my beard And I feel real weird for you Beneath the bebop moon I'm howling like a loon for you Beneath the mumbo sun I've got to be the one for you

Although I've written a few (a very few) poems over the years, I am not a natural poet...and I remain in awe of people who are. The ability to evoke deep emotion, reveal a new facet of the world, or condense an entire story into the limited space and form of a poem (or likewise, of a good song lyric, or the text for a children's picture book) seems like pure magic to me.

If Elvis ..is the definition of rock, then rock is remembered as showbiz...It becomes a solely performative art form, where the meaning of a song matters less than the person singing it. It becomes personality music...if Dylan...becomes the definition of rock, everything reverses. In this contingency, lyrical authenticity becomes everything: Rock is galvanized as an intellectual craft, interlocked with the folk tradition...The fact that Dylan does not have a conventionally "good" singing voice becomes retrospective proof that rock audiences prioritized substance over style...

But we’ve got to have an enemy. Rock? Drugs? We’re so miserable, what’s the enemy? Got it. Pornography, that’s it. Yeeeeah, tremor through the room. Uh . . . the problem with pornography, basically, is this. No one knows what it is. Other than that, we’ve got a real good grasp on the situation. We know it’s bad, we just can’t figure out what the fuck it is. The Supreme Court says pornography is any act that has no artistic merit and causes sexual thoughts. That’s their definition. No artistic merit. Causes sexual thoughts. Hmmmmm. Sounds like almost every commercial on TV to me.

Books help us understand who we are and how we are to behave. They show us what community and friendship mean/ they show us how to live and die. They are full of all the things that you don't get in real life - wonderful, lyrical language, for instance, right off the bat. And quality of attention: we may notice amazing details during the course of a day but we rarely let ourselves stop and really pay attention. An author makes you notice, makes you pay attention, and this is a great gift. My gratitude for good writing is unbounded; I'm grateful for it the way I'm grateful for the ocean.

This woman controls my heartbeats. Every love lyric I sing each night is made for her. Every melody chases her heartbeat, and every chorus begs for her love. It has been brought to my attention that a few people on my management team have chosen to approach the love of my life and tell her that she wasn't good for my image. Due to her looks and the past she had no say in creating, they said she wasn't good enough. It's true, we grew up in the same town, but that didn't mean our home lives were built on the same steady foundation. I was blessed enough to never know struggle. This girl had to fight tooth and nail for everything she was given. She sacrificed her own youth, because she didn't want her little sister to go into the foster system. She gave up love, in order for me to go chase my dreams. She gives and gives in order to make others happy, because that's the person she is. She's the most beautiful human being alive, and for anyone--especially people who are supposed to be in my corner--to say differently disgusts me to my core. I am not a robot. I hurt, I ache, I love, and I cry. And it breaks me to live in a world where I have to be afraid of showing who I really am in order to gain followers. So if you don't like this fact--that I am not single and that I am hopelessly in love--then that's fine. If I lose fans over this, I'm okay with that. I will make every sacrifice in the world from this point on in order to give my love fully to the woman who has given more than she ever should've had to give. I love you, Haze. From the new moon to the fullest. From now until forever.

To be real on this path you must be humble -- If you look down at others you'll get pushed down the stairs. If your heart goes around on high, you fly far from this path. There's no use hiding it -- What's inside always leaks outside. Even the one with the long white beard, the one who looks so wise -- If he breaks a single heart, why bother going to Mecca? If he has no compassion, what's the point? My heart is the throne of the Beloved, the Beloved the heart's destiny: Whoever breaks another's heart will find no homecoming in this world or any other. The ones who know say very little while the beasts are always speaking volumes; One word is enough for one who knows. If there is any meaning in the holy books, it is this: Whatever is good for you, grant it to others too -- Whoever comes to this earth migrates back; Whoever drinks the wine of love understands what I say -- Yunus, don't look down at the world in scorn -- Keep your eyes fixed on your Beloved's face, then you will not see the bridge on Judgment Day.

It is currently said that hope goes with youth, and lends to youth its wings of a butterfly; but I fancy that hope is the last gift given to man, and the only gift not given to youth. Youth is pre-eminently the period in which a man can be lyric, fanatical, poetic; but youth is the period in which a man can be hopeless. The end of every episode is the end of the world. But the power of hoping through everything, the knowledge that the soul survives its adventures, that great inspiration comes to the middle-aged; God has kept that good wine until not. It is from the backs of the elderly gentlemen that the wings of the butterfly should burst.

Bette Davis lived long enough to hear the Kim Carnes song, 'Bette Davis Eyes'. The lyrics to that song were not very interesting. But the fact of the song was the proof of an acknowledgement that in the twentieth century we lived through an age of immense romantic personalities larger than life, yet models for it, too - for good or ill. Like twin moons, promising a struggle and an embrace, the Davis eyes would survive her - and us. Kim Carnes has hardly had a consistent career, but that one song - sluggish yet surging, druggy and dreamy - became an instant classic. It's like the sigh of the islanders when they behold their Kong. And I suspect it made the real eyes smile, whatever else was on their mind.

Will and Lake, Love is the most beautiful thing in the world. Unfortunately, it's also one of the hardest things in the world to hold on to, and one of the easiest to throw away. Neither of you has a mother or a father to go to for relationship advice anymore. Neither of you has anyone to go to for a shoulder to cry on when things get touch, and they will get touch. Neither of you has someone to go to when you just want to share the funny, or the happy, or the heartache. You are both at a disadvantage when it comes to this aspect of love. You both only have each other, and because of this, you will have to work harder at building a strong foundation for your future together. You are not only each other's love; you are also one another's sole confidant. I hand wrote some things onto strips of paper and folded them into stars. It might be an inspirational quote, an inspiring lyric, or just some downright good parental advice. I don't want you to open one and read it until you truly feel you need it. If you have a bad day, if the two of you fight, or if you just need something to lift your spirits...that's what these are for. You can open one together; you can open one alone. I just want there to be something both of you can go to, if and when you ever need it. Will...thank you. Thank you for coming into our lives. So much of the pain and worry I've been feeling has been alleviated by the mere fact that I know my daughter is loved by you....You are a wonderful man, and you've been a wonderful friend to me. I thank you from the bottom of my heart for loving my daughter like you do. You respect her, you don't need to change for her, and you inspire her. You can never know how grateful I have been for you, and how much peace you have brought my soul. And Lake; this is me-nudging your shoulder, giving you my approval. You couldn't have picked anyone better to love if I would have hand-picked him myself. Also, thank you for being so determined to keep our family together. You were right about Kel needing to be with you. Thank you for helping me see that. And remember when things get touch for him, please teach him how to stop caring pumpkins... I love you both and with you a lifetime of happiness together. -Julia "And all around my memories, you dance..." ~The Avett Brothers

When you start searching for ‘pure elements’ in literature you will find that literature has been created by the following classes of persons: Inventors. Men who found a new process, or whose extant work gives us the first known example of a process. The masters. Men who combined a number of such processes, and who used them as well as or better than the inventors. The diluters. Men who came after the first two kinds of writer, and couldn’t do the job quite as well. Good writers without salient qualities. Men who are fortunate enough to be born when the literature of a given country is in good working order, or when some particular branch of writing is ‘healthy’. For example, men who wrote sonnets in Dante’s time, men who wrote short lyrics in Shakespeare’s time or for several decades thereafter, or who wrote French novels and stories after Flaubert had shown them how. Writers of belles-lettres. That is, men who didn’t really invent anything, but who specialized in some particular part of writing, who couldn’t be considered as ‘great men’ or as authors who were trying to give a complete presentation of life, or of their epoch. The starters of crazes. Until the reader knows the first two categories he will never be able ‘to see the wood for the trees’. He may know what he ‘likes’. He may be a ‘compleat book-lover’, with a large library of beautifully printed books, bound in the most luxurious bindings, but he will never be able to sort out what he knows to estimate the value of one book in relation to others, and he will be more confused and even less able to make up his mind about a book where a new author is ‘breaking with convention’ than to form an opinion about a book eighty or a hundred years old. He will never understand why a specialist is annoyed with him for trotting out a second- or third-hand opinion about the merits of his favourite bad writer.

I haven't come here to settle down. I've come here to depart. I am a merchant with lots of goods, selling to whoever will buy. I didn't come to create any problems, I'm only here to love. A Heart makes a good home for the Friend. I've come to build some hearts. I'm a little drunk from this Friendship -- Any lover would know the shape I'm in. I've come to exchange my twoness, to disappear in One. He is my teacher. I am his servant. I am a nightingale in His garden. I've come to the Teacher's garden to be happy and die singing. They say "Souls which know each other here, know each other there." I've come to know a Teacher and to show myself as I am.

Let’s face it, she’s our inspiration! The Muse as fluffball! And the inspiration of men, as well! Why else were the sagas of heroes, of their godlike strength and superhuman exploits, ever composed, if not for the admiration of women thought stupid enough to believe them? Where did five hundred years of love lyrics come from, not to mention those plaintive imploring songs, all musical whines and groans? Aimed straight at women stupid enough to find them seductive! When lovely woman stoops or bungles her way into folly, pleading her good intentions, her wish to please, and is taken advantage of, especially by somebody famous, if stupid or smart enough, she gets caught, just as in classic novels, and makes her way into the tabloids, confused and tearful, and from there straight into our hearts. We forgive you! we cry. We understand! Now do it some more!

I’ve sat at the piano for hours already, looking for lyrics and melodies, but everything sounds the same and I feel as uninspired as ever. Does it mean I’m finished? A more sobering thought: if I’m finished, would I miss it? But the truth is, I’ve been here before. Many times. We all have. So how do we find the faith to press on? Remember. Remember, Hebrew children, who you once were in Egypt. Remember the altars set up along the way to remind yourselves that you made the journey and God rescued you from sword and famine, from chariots and pestilence, that once you were there, but now you are here. It happened. Our memories are fallible, residing in that most complex and mysterious organ in the human body (and therefore the known universe), capable of being suppressed, manipulated, altered, but also profoundly powerful and able to transport a person to a place fifty years ago all because of a whiff of your grandfather’s cologne or an old book or the salty air. As often as you do this, do it in remembrance of me. Remember with every sip of wine that we shared this meal, you and I. Remember. So I look at the last album, the last book, and am forced to admit that I didn’t know anymore then than I do now. Every song is an Ebenezer stone, evidence of God’s faithfulness. I just need to remember. Trust is crucial. So is self-forgetfulness and risk and a measure of audacity. And now that I think about it, there’s also wonder, insight, familiarity with Scripture, passion, a good night’s sleep, breakfast (preferably an egg sandwich), an encouraging voice, diligence, patience. I need silence. Privacy. Time—that’s what I need: more time. But first I need a vacation, because I’ve been really grinding away at this other stuff and my mental cache is full. A deadline would be great. I work best with deadlines, and maybe some bills piling up. Some new guitar strings would help, and a nice candle. And that’s all I need, in the words of Steve Martin’s The Jerk. This is the truth: all I really need is a guitar, some paper, and discipline. If only I would apply myself.

If shame had a face I think it would kind of look like mine If it had a home would it be my eyes Would you believe me if I said I'm tired of this Well here we go now one more time I tried to climb your steps I tried to chase you down I tried to see how low I could get it down to the ground I tried to earn my way I tried to tame this mind You better believe that I tried to beat this [CHORUS] So when will this end it goes on and on Over and over and over again Keep spinning around I know that it won't stop Till I step down from this for good I never thought I'd end up here Never thought I'd be standing where I am I guess I kinda thought it would be easier than this I guess I was wrong now one more time I tried to climb your steps I tried to chase you down I tried to see how long I could get it down to the ground I tried to earn my way I tried to tame this mind You better believe that I tried yo beat this [REPEAT CHORUS] Sick cycle carousel This is a sick sycle, yeah Sick cycle carousel This is a sick cycle, yeah [REPEAT CHORUS TWICE] Sick cycle carousel Sick cycle carousel Sick cycle carousel...

And suddenly he became almost lyric. "For three thousand years the Common Man has been fended off from the full and glorious life he might have had, by Make Believe. For three thousand years in one form or another he has been asking for an unrestricted share in the universal welfare. He has been asking for a fair dividend from civilisation. For all that time, and still it goes on, the advantaged people, the satisfied people, the kings and priests, the owners and traders, the gentlefolk and the leaders he trusted, have been cheating him tacitly or deliberately, out of his proper share and contribution in the common life. Sometimes almost consciously, sometimes subconsciously, cheating themselves about it as well. When he called upon God, they said 'We'll take care of your God for you', and they gave him organised religion. When he calls for Justice, they say 'Everything decently and in order', and give him a nice expensive Law Court beyond his means. When he calls for order and safety too loudly they hit him on the head with a policeman's truncheon. When he sought knowledge, they told him what was good for him. And to protect him from the foreigner, so they said, they got him bombed to hell, trained him to disembowel his fellow common men with bayonets and learn what love of King and Country really means. "All with the best intentions in the world, mind you. "Most of these people, I tell you, have acted in perfect good faith. They manage to believe that in sustaining this idiot's muddle they are doing tremendous things -- stupendous things -- for the Common Man. They can live lives of quiet pride and die quite edifyingly in an undernourished, sweated, driven and frustrated world. Useful public servants! Righteous self-applause! Read their bloody biographies!

They Don't Love You Like I Love You" My mother said this to me long before Beyoncé lifted the lyrics from the Yeah Yeah Yeahs, and what my mother meant by Don’t stray was that she knew all about it—the way it feels to need someone to love you, someone not your kind, someone white, some one some many who live because so many of mine have not, and further, live on top of those of ours who don’t. I’ll say, say, say, I’ll say, say, say, What is the United States if not a clot of clouds? If not spilled milk? Or blood? If not the place we once were in the millions? America is Maps— Maps are ghosts: white and layered with people and places I see through. My mother has always known best, knew that I’d been begging for them, to lay my face against their white laps, to be held in something more than the loud light of their projectors of themselves they flicker—sepia or blue—all over my body. All this time, I thought my mother said, Wait, as in, Give them a little more time to know your worth, when really, she said, Weight, meaning heft, preparing me for the yoke of myself, the beast of my country’s burdens, which is less worse than my country’s plow. Yes, when my mother said, They don’t love you like I love you, she meant, Natalie, that doesn’t mean you aren’t good.

Nope.' He grabs my hand and places it over his heart. 'I already know the truth. We’re dating.' His eyebrows waggle. 'Exclusively.' 'Gross.' 'Do you want to wear my letterman’s jacket?' 'I’m going to vomit.' '“Should I buy you a corsage?' 'Seriously. Gagging.' 'Okay, no corsage.' He laughs. 'Just the matching tattoos, then?' 'Seriously.' I fight the urge to stomp my foot. 'Let it go, Parker. Let it go.' 'Hey, Elsa, don’t quote Frozen to me unless you’re prepared to listen to the entire soundtrack in my car on the way to Seaport.' I stare up at him. 'I’m not sure whether I should be disturbed or turned on by the fact that you know all the words to Let It Go.' He grins. 'Definitely turned on.' 'Downloaded in your iTunes library, no doubt.' I shake my head. 'This is nearly as disturbing as the time I learned the song A Whole New World from Aladdin is a metaphor for mind-blowing sex.' 'I’m sorry, what?' 'I can open your eyes? Lead you wonder by wonder? Over, sideways, and under?' I snort. 'Come on. That’s basically soft-core porn.' 'Thank you, Zoe, for ruining a beloved Disney classic for me.' 'Anytime.' 'For the record…' He trails off. I wince, anticipating the worst. 'What?' 'I’ll take you on my magic carpet ride any time you want, snookums.' 'Pass.' 'So, that’s a no on rubbing my lamp then?' 'You know, I think I’ll just find my own way to Nate’s…' I turn and start walking to the elevator. 'Oh, come on.' Parker twines his fingers with mine and pushes the call button, humming under his breath. 'I’m a genie in a bottle, baby, gotta rub—' 'AH!' I stare at him in horror as the elevator arrives. 'So help me god if you start singing vintage Christina Aguilera lyrics right now, I will murder you with my bare hands.

The usual short story cannot have a complex plot, but it often has a simple one resembling a chain with two or three links. The short short, however, doesn't as a rule have even that much - you don't speak of a chain when there's only one link. ... Sometimes ... the short short appears to rest on nothing more than a fragile anecdote which the writer has managed to drape with a quantity of suggestion. A single incident, a mere anecdote - these form the spine of the short short. Everything depends on intensity, one sweeping blow of perception. In the short short the writer gets no second chance. Either he strikes through at once or he's lost. And because it depends so heavily on this one sweeping blow, the short short often approaches the condition of a fable. When you read the two pieces by Tolstoy in this book, or I.L. Peretz's 'If Not Higher,' or Franz Kafka's 'The Hunter Gracchus,' you feel these writers are intent upon 'making a point' - but obliquely, not through mere statement. What they project is not the sort of impression of life we expect in most fiction, but something else: an impression of an idea of life. Or: a flicker in darkness, a slight cut of being. The shorter the piece of writing, the more abstract it may seem to us. In reading Paz's brilliant short short we feel we have brushed dangerously against the sheer arbitrariness of existence; in reading Peretz's, that we have been brought up against a moral reflection on the nature of goodness, though a reflection hard merely to state. Could we say that the short short is to other kinds of fiction somewhat as the lyric is to other kinds of poetry? The lyric does not seek meaning through extension, it accepts the enigmas of confinement. It strives for a rapid unity of impression, an experience rendered in its wink of immediacy. And so too with the short short. ... Writers who do short shorts need to be especially bold. They stake everything on a stroke of inventiveness. Sometimes they have to be prepared to speak out directly, not so much in order to state a theme as to provide a jarring or complicating commentary. The voice of the writer brushes, so to say, against his flash of invention. And then, almost before it begins, the fiction is brought to a stark conclusion - abrupt, bleeding, exhausting. This conclusion need not complete the action; it has only to break it off decisively. Here are a few examples of the writer speaking out directly. Paz: 'The universe is a vast system of signs.' Kafka in 'First Sorrow': The trapeze artist's 'social life was somewhat limited.' Paula Fox: 'We are starving here in our village. At last, we are at the center.' Babel's cossack cries out, 'You guys in specs have about as much pity for chaps like us as a cat for a mouse.' Such sentences serve as devices of economy, oblique cues. Cryptic and enigmatic, they sometimes replace action, dialogue and commentary, for none of which, as it happens, the short short has much room. There's often a brilliant overfocussing. ("Introduction")