M&m Commercial Quotes

For several years, I had been bored. Not a whining, restless child's boredom (although I was not above that) but a dense, blanketing malaise. It seemed to me that there was nothing new to be discovered ever again. Our society was utterly, ruinously derivative (although the word derivative as a criticism is itself derivative). We were the first human beings who would never see anything for the first time. We stare at the wonders of the world, dull-eyed, underwhelmed. Mona Lisa, the Pyramids, the Empire State Building. Jungle animals on attack, ancient icebergs collapsing, volcanoes erupting. I can't recall a single amazing thing I have seen firsthand that I didn't immediately reference to a movie or TV show. A fucking commercial. You know the awful singsong of the blasé: Seeeen it. I've literally seen it all, and the worst thing, the thing that makes me want to blow my brains out, is: The secondhand experience is always better. The image is crisper, the view is keener, the camera angle and the soundtrack manipulate my emotions in a way reality can't anymore. I don't know that we are actually human at this point, those of us who are like most of us, who grew up with TV and movies and now the Internet. If we are betrayed, we know the words to say; when a loved one dies, we know the words to say. If we want to play the stud or the smart-ass or the fool, we know the words to say. We are all working from the same dog-eared script. It's a very difficult era in which to be a person, just a real, actual person, instead of a collection of personality traits selected from an endless Automat of characters. And if all of us are play-acting, there can be no such thing as a soul mate, because we don't have genuine souls. It had gotten to the point where it seemed like nothing matters, because I'm not a real person and neither is anyone else. I would have done anything to feel real again.

We've got a sort of brainwashing going on in our country, Morrie sighed. Do you know how they brainwash people? They repeat something over and over. And that's what we do in this country. Owning things is good. More money is good. More property is good. More commercialism is good. More is good. More is good. We repeat it--and have it repeated to us--over and over until nobody bothers to even think otherwise. The average person is so fogged up by all of this, he has no perspective on what's really important anymore. Wherever I went in my life, I met people wanting to gobble up something new. Gobble up a new car. Gobble up a new piece of property. Gobble up the latest toy. And then they wanted to tell you about it. 'Guess what I got? Guess what I got?' You know how I interpreted that? These were people so hungry for love that they were accepting substitutes. They were embracing material things and expecting a sort of hug back. But it never works. You can't substitute material things for love or for gentleness or for tenderness or for a sense of comradeship. Money is not a substitute for tenderness, and power is not a substitute for tenderness. I can tell you, as I'm sitting here dying, when you most need it, neither money nor power will give you the feeling you're looking for, no matter how much of them you have.

Listen closely. There’s a remote possibility that you might learn something: First, I don’t give a damn if my work is commercial or not…I’m the writer. If what I write is good, then people will read it. That’s why literature exists. An author puts his heart and guts on the page. For your information, a good novel can change the world. Keep that in mind before you attempt to sit down at a typewriter. Never waste time on something you don’t believe in yourself.

You only play Pistol Annies when you're pissed, usually at me. I know your fake laugh from your real one. You have a great laugh, by the way. I know which shirts are your favorites, because they're the first ones you wear after you've done your laundry. You lick your bottom lip when you're trying to concentrate on your textbook reading. You cry during those commercials with the absurd animals when you think no one is looking. No, I don't know you at all.

You know what would be really nice right now? Coffee. I'd really go for some coffee." Just the idea made her salivate. He scowled. "How can you think about coffee right now?" "I don't know. Maybe caffeine is how I cope." She thought for a moment. "Although usually I'm a crier. Are you a crier?" "No." "Not even sad movies or weddings?" "No." "What about commercials with little puppies that need a home?" He blinked. "Please stop talking." "Hmm," she said slowly. "Maybe talking is how I cope." Her hands started falling asleep. "You know what else would be really nice right now?" "An off button?

She licked again, taking her time,even though she didn't need to; her first stroke numbed the bite site. No, this second taste was for her, not him, and there was no lying about that. "I'm starting to feel like a Tootsie Pop, here" he rasped. She couldn't contain a smile. " Yes... how did that old commercial go?" She licked him. "One." She licked him again, and he moaned. "Two." She licked him once more, and his hips came off the bed, "Three.

You want your art to be hip and seem cool to people, but a great deal of what passes for hip or cool is now highly commercially driven. And some if it is important art. I think 'The Simpsons' is important art. On the other hand, it's also, in my opinion, relentlessly corrosive to the soul and everything is parodied and everything is ridiculous. Maybe I'm old but for my part I can be steeped in about an hour of it and then I have to walk away and look at a flower. If there's something to be talked about, that thing is this weird conflict between what my girlfriend calls the 'inner sap,' the part of us that can really wholeheartedly weep at stuff and the part of us that has to live in a world of smart, jaded, sophisticated people and wants very much to be taken seriously by those people.

At forty-five, I feel grateful almost daily to be the adult I wished I could be when I was seventeen. I work on my arm strength at the gym; I've become pretty good with tools. At the same time, almost daily, I lose battles with the seventeen-year-old who's still inside me. I eat half a box of Oreos for lunch, I binge on TV, I make sweeping moral judgments. I run around in torn jeans, I drink martinis on a Tuesday night, I stare at beer-commercial cleavage. I define as uncool any group to which I can't belong. I feel the urge to key Range Rovers and slash their tires; I pretend I'm never going to die. You never stop waiting for the real story to start, because the only real story, in the end, is that you die.

How can even the idea of rebellion against corporate culture stay meaningful when Chrysler Inc. advertises trucks by invoking “The Dodge Rebellion”? How is one to be bona fide iconoclast when Burger King sells onion rings with “Sometimes You Gotta Break the Rules”? How can an Image-Fiction writer hope to make people more critical of televisual culture by parodying television as a self-serving commercial enterprise when Pepsi and Subaru and FedEx parodies of self-serving commercials are already doing big business? It’s almost a history lesson: I’m starting to see just why turn-of-the-century Americans’ biggest fear was of anarchist and anarchy. For if anarchy actually wins, if rulelessness become the rule, then protest and change become not just impossible but incoherent. It’d be like casting a ballot for Stalin: you are voting for an end to all voting.

And I realize I've been betrayed by the two vices that fiction promised me I'd adore. Sal Paradise held up bottles of booze like a housewife in a detergent commercial. Holden Caulfield reached for his cigarettes like an act of faith. Even Huckleberry Finn tapped on his pipe with relief and satisfaction. If sex turns out to be this bad, I'm never reading again.

I'm more of a warrior than you'll ever be. I believe in the class war. I believe in the battle of the sexes. I believe in my tribe. I believe in the righteous, intelligent clued-up section of the working classes against the brain-dead moronic masses as well as the mediocre, soulless bourgeoisie. I believe in punk rock. In northern soul. In acid house. In mod. In rock and roll. I also believe in pre commercial righteous, rap and hip hop. That's my manifesto.

I am a commercial writer and I'm proud of that. I am writing things to be put in the bookstore next month. I think it is a mistake to try to write for the ages.

So, if I'm no cheerleader of sports, why write a chapter about it? Sports do have some positive impact on society. They solve problems, such as how to get inner-city kids to spend $175 on shoes. They serve as a backdrop for some of our most memorable commercials. And they remain the one and only relevant application of math. Not only that, but we have sports to thank for most of the last century's advances in manliness. The system starts in school, where gym class separates the men from the boys. Then those men are taught to be winners, or at least, losers that hate themselves.

There were glowing pumpkins and ghost lights in the yard and cheerful looking spiders and vampire posters everywhere.  “This is just disgusting,” Abel said in disgust, landing on a happy mummy poster staked in the yard.  “Must everything be commercialized these days?  I’m surprised the vampires don’t sparkle.

There's a commercial break coming and I'm very excited about it and you know why? Because that's what keeps daddy in suits.

Dating should really be more like furniture store commercials....I would love to' pay no interest for 6 months

You can reduce your anxiety somewhat by facing the fact that there isn't a mechanic alive who doesn't louse up a job once in a while. The main difference between you and the commercial mechanics is that when they do it you don't hear about it—just pay for it, in additional costs prorated through all your bills. When you make the mistakes yourself, you at least get the benefit of some education.

First, disruptive products are simpler and cheaper; they generally promise lower margins, not greater profits. Second, disruptive technologies typically are first commercialized in emerging or insignificant markets. And third, leading firms’ most profitable customers generally don’t want, and indeed initially can’t use, products based on disruptive technologies.

Who wouldn’t love this jargon we dress common sense in: "formal innovation is no longer transformative, having been co-opted by the forces of stabilization and post-industrial inertia," blah, blah. But this co-optation might actually be a good thing if it helped keep younger writers from being able to treat mere formal ingenuity as an end in itself. MTV-type co-optation could end up a great prophylactic against cleveritis—you know, the dreaded grad-school syndrome of like "Watch me use seventeen different points of view in this scene of a guy eating a Saltine." The real point of that shit is "Like me because I’m clever"—which of course is itself derived from commercial art’s axiom about audience-affection determining art’s value.

What?" he asked. "Nothing. Your bony hands of death amuse me, that's all." "Wait until yours look the same," he said, preparing to scythe. "Wait - what?" She batted the sapphire blade out of his hands. "What do you mean? Is that why everyone around here has such creepy fingers?" "Yeah." He bent down to pick up his scythe. "I don't know why it happens, though. Probably the same weird reason our hair goes all wonky." "What?" she barked, knocking his scythe to the ground once more. "Stop that!" "What happens to our hair?" He gestured to the disaster atop his head. "You think I want to look like a drunken hedgehog all the time? It's from hanging out in the ether so much. It messes with your follicles or something. Doesn't happen to everyone, but I can assure you that Ferbus's wasn't always the color of a prison jumpsuit, Zara wasn't born Silvylocks, and Mort's been rocking the electrocution look for years. Look, yours has gotten straighter already." Lex ran a hand through her hair. It had lost some of its poofyness. There had been so many other circuses of insanity to deal with that she hadn't even noticed. It was calm, manageable, even - she shuddered to think it - sleek and shiny. "Oh my God," she said in disgust. "I'm a shampoo commercial.

I glance around the room. What a comedy! All these people sitting there, looking serious, eating. No, they aren't eating: they are recuperating in order to successfully finish their tasks. Each one of them has his little personal difficulty which keeps him from noticing that he exists; there isn't one of them who doesn't believe himself indispensable to something or someone. Didn't the Self-Taught Man tell me the other day: "No one better qualified than Noucapie to undertake this vast synthesis?" Each one of them does one small thing and no one is better qualified than he to do it. No one is better qualified than the commercial traveler over there to sell Swan Toothpaste. No one better qualified than that interesting young man to put his hand under his girl friend's skirts. And I am among them and if they look at me they must think that no one is better qualified than I to do what I'm doing. But I know. I don't look like much, but I know I exist and that they exist. And if I knew how to convince people I'd go and sit down next to that handsome white-haired gentleman and explain to him just what existence means. I burst out laughing at the thought of the face he would make. The Self-Taught Man looks at me with surprise. I'd like to stop but I can't; I laugh until I cry.

I do have a heart, you see. I’ve got plenty of heart. I’m a fucking sentimental guy – once you get to know me. Show me a hurt puppy, or a long-distance telephone service commercial, or a film retrospective of Ali fights or Lou Gehrig’s last speech and I’ll weep real tears. I am a bastard, when crossed, though, no question.

The cult of friendship disturbs me. It's like our quality is supposed to be measured by the number of friends we have. For me, it's quite the inverse. When somebody says "I'm friends with everyone" I just assume they have the spine of your average jellyfish and the integrity of your average soap dish. "I have tons of close friends!" Ok, then you obviously have no standards. "I've slept with lots of people!" Good, I will shake your hand from inside this Hazmat suit. It's like you have to have friends or you're nothing, and you gotta have lots of friends, and the more friends you have the more value you have. This Is a way of lowering our standards to fit in. I'm a big fan of quality over quantity. Everyone wants to look at their life like it's a beer commercial they can just climb into. The larger the circle of friends the more alcohol is involved to blind yourself to the fact that you cant stand most of these assholes.

When commercializing disruptive technologies, they found or developed new markets that valued the attributes of the disruptive products, rather than search for a technological breakthrough so that the disruptive product could compete as a sustaining technology in mainstream markets.

Every morning when I wake up and look in the mirror, I see a black face and I love it. Sure, I've been to Paris and grew up surfing, and yes, I speak like I'm in a commercial. But I'm just like the women you see walking on the side of the road with their laundry baskets and their Bibles. I'm just like the old men pedaling their rusty bicycles. I'm no different from the men who drive your tractors or the woman who probably raised you. I'm just like them, no better and no worse. I'm black, Remy, which means everything and nothing

[M]y mother read a horror novel every night. She had read every one in the library. When birthdays and Christmas would come, I would consider buying her a new one, the latest Dean R. Koontz or Stephen King or whatever, but I couldn't. I didn't want to encourage her. I couldn't touch my father's cigarettes, couldn't look at the Pall Mall cartons in the pantry. I was the sort of child who couldn't even watch commercials for horror movies - the ad for Magic, the movie where marionette kills people. sent me into a six-month nightmare frenzy. So I couldn't look at her books, would turn them over so their covers wouldn't show, the raised lettering and splotches of blood - especially the V.C. Andrews oeuvre, those turgid pictures of those terrible kids, standing so still, all lit in blue.

She stands facing me to take off the helmet. When she does, she shakes her dark hair free. It looks like something a girl in a shampoo commercial might do. I have no doubt she doesn’t have a clue how sexy she is. But she is. Holy hell, is she ever!

There were waves of genocide that overcame indigenous populations of Oceania and do we have a library of books or films to tell our story? No. We have tourist hula shows and commercials where the “natives” tend to tourists like indentured servants with plastic, lifeless smiles. It’s not such a charming picture, is it? The truth is ugly, but so is ignorance or denial of such atrocities and pain.

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.

One of the few freedoms that we have as human beings that cannot be taken away from us is the freedom to assent to what is true and to deny what is false. Nothing you can give me is worth surrendering that freedom for. At this moment I'm a man with complete tranquillity...I've been a real estate developer for most of my life, and I can tell you that a developer lives with the opposite of tranquillity, which is perturbation. You're perturbed about something all the time. You build your first development, and right away you want to build a bigger one, and you want a bigger house to live in, and if it ain't in Buckhead, you might as well cut your wrists. Soon's you got that, you want a plantation, tens of thousands of acres devoted solely to shooting quail, because you know of four or five developers who've already got that. And soon's you get that, you want a place on Sea Island and a Hatteras cruiser and a spread northwest of Buckhead, near the Chattahoochee, where you can ride a horse during the week, when you're not down at the plantation, plus a ranch in Wyoming, Colorado, or Montana, because truly successful men in Atlanta and New York all got their ranches, and of course now you need a private plane, a big one, too, a jet, a Gulfstream Five, because who's got the patience and the time and the humility to fly commercially, even to the plantation, much less out to a ranch? What is it you're looking for in this endless quest? Tranquillity. You think if only you can acquire enough worldly goods, enough recognition, enough eminence, you will be free, there'll be nothing more to worry about, and instead you become a bigger and bigger slave to how you think others are judging you.

So I'm like getting some perspective now - like when you're a kid and you think it sucks that you have to eat hydrogenated peanut butter on your PBJ, and then you see one of those starving commercials kids with flies in their eyes, who don't even have a sandwich - and you're all, 'Well, that sucks.

The first step is to give up the illusion that the primary purpose of modern medical research is to improve Americans’ health most effectively and efficiently. In our opinion, the primary purpose of commercially funded clinical research is to maximize financial return on investment, not health.” —John Abramson, M.D., Harvard Medical School I wrote this book to help Americans

It seems to me in retrospect that the department stores and the dime stores did an excellent job of extending the 'sacred space' of Christmas in those days. And I sometimes wonder whether for people of no religion, this might have been the only sacred space they knew. When people rail now against the 'commercial nature of Christmas,' I'm always conflicted an unable to respond. Because I think those who would banish commercialism from the holiday fail to understand how precious and comforting the shop displays and music can be.

I’m often asked how I take the criticism directed my way. I have three answers: First, if you choose to be in public life, remember Eleanor Roosevelt’s advice and grow skin as thick as a rhinoceros. Second, learn to take criticism seriously but not personally. Your critics can actually teach you lessons your friends can’t or won’t. I try to sort out the motivation for criticism, whether partisan, ideological, commercial, or sexist, analyze it to see what I might learn from it, and discard the rest. Third, there is a persistent double standard applied to women in politics - regarding clothes, body types, and of course hairstyles - that you can’t let derail you. Smile and keep going.

He also tried to block the doorway when she left him. My mother ducked under his arm, ran to her car, and drove away. I remember thinking that this was somehow romantic, as it pinpointed the actual memory of my mother's departure, something you don't see a lot of in television. Real people don't slam doors without opening them five minutes later because it's raining and they forgot their umbrella. They don't stop dead in their tracks because they realize they're in love with their best friend.They don't say, "I'm leaving you, Jack," and fade to a paper towel commercial.

Like Rousseau, Hegel appreciated quite early on that in modern commercial societies, individuals' desires and needs were generated by the desires and needs of others. Implanted by advertising, dictated by fashion, and determined by style, individual desire was always socially determined, shaped by the particular contexts in which we live. [..] Hence the need for greater comfort does not exactly arise within you directly; it is suggested to you by those who hope to make a profit from its creation.

It was the soul of the machine, the ethological epicentre, the planetary ground zero of their commercial energy. I could almost feel it, shivering down like bomb-blasted rivers of glass from these undreaming towers of dark and light invading the snow-dark sky.

Gorgeous, arrogant and pissed off?” I chuckled a little. “Yes, that’s him.” “His name is Graham Morgan, and I know just where you should bring the phone.” I fished a pen from my purse. “Okay.” “Are you anywhere near the 1 train?” “I’m not too far.” “Okay. Well, hop on the 1 and take that all the way downtown. Pass Rector Street and get off at the South Ferry Terminal.” “Okay. I can do that.” “Once you’re off. Take a right on Whitehall and then a left on South Street.” I knew the area and tried to visualize the buildings around there. It was a pretty commercial neighborhood. “Won’t that take me to the East River?” “Exactly. Toss that asshole’s phone in, and forget you ever saw the man.” The phone line went dead.

I’m lying on the floor watching, against my will, a bad actress in a drug commercial tell me about her fake pain. Maybe just a trick of the light.

in between seeing the commercial and owning the thing, I’m happy, and that’s all I want…

Escape is a commodity like anything else.

He once wore the same T-shirt to school for forty-two days straight. Everyone speculated the reasoning behind the bright orange STAFF shirt—he was protesting unemployment, flipping off commercialization, going green. I think he just did it because he could. To say, “Hey, I’m Oliver Kimball, and when I wear a shirt every day, it’s a statement, but with anyone else, it’s a hygiene issue.

In terms of identity? I’m a commercial fantasy writer, looking to entertain my audience with fantastical tales that mix history with myth and magic. That’s something humans have been doing for a very long time, and I like being part of a long tradition of storytelling, whether that’s ancient tales shared around a campfire or modern podcasts. ... I’m currently editing a scene that involves winged lions and smoke-conjured armor, so I’m not certain I’m the best writer to ask about truth. But that being said, words and stories have great power and I think setting a scene that pulls from the real world but is set in a fictional one can cause readers to reassess and question things in a way they might not have otherwise. 

You mean the one that used to be advertised on late-night television? Where the guy on the commercial uses it to cut through a tin can?” She nodded. “That’s the one.” “Did you get it?” “It’s the knife I’m using now.” He smiled. “I’ve never known anyone who actually admitted to buying one.” “Now you do,” she said.

I / I am a girl who feels too American for love...they say I'm a child of an AT&T café olé telephone-commercial future where your nose is not flat enough to offend/and not pointy enough to cut the glass ceiling.

Look through the Bible and nowhere does Jesus say, “Worship me.” His call to us was “follow me.” There’s a big difference. By making Jesus out to be a hero, we miss the whole point. Jesus wasn’t saying, “I’m cool. Make statues of me; turn my birthday into a huge commercial holiday.” He was saying, “Here, look what is possible. Look what we humans are capable of.” Jesus is our brother, our legacy, the guy we’re supposed to emulate.

Sometimes when I’m watching TV and I see a horrible commercial I think, “Only an asshole would buy that.” Then I think, Wait a minute! The advertising agency did research on their client’s target market and which channel and TV shows the ideal demographic watches, right? This would mean a carefully chosen ad campaign to get the product in front of the likely buyers, who in this case, are assholes. And I’m on the chosen channel, which means that I am one of the assholes of interest. Then I get spooked, because how’d they figure out that am asshole? Scary how well they know me.

What I'm saying is, where have all the real people gone? Where are the recognizably-human beings? Of course, it's silly of me to look them on TV commercials, no one watches ads for their true-to-life portrayals. If the ads were full of real people, they wouldn't be able to sell anything. Which is the point of this rambling column. Real people just don't sell.

Jackie’s work during this period on behalf of the landmarks preservation movement. At various times, she spoke with poignance of Manhattan monuments disappearing, of patches of sky being snatched away, of a cityscape that was dying “by degrees.” Pressed to explain why she had become involved in the fight to save the ornate Beaux Arts–style Grand Central Station, whose bankrupt owners hoped to raise money by allowing a fifty-five-story commercial tower to be built above it, Jackie said: “It’s a beautiful building that I’m used to seeing.

Her hair was bright red, her skin, pale, and I can't explain why, but something about her shouted, 'I heart granola.' She belonged in one of those commercials for asthma medicines. The one with two women skipping through the park as the voiceover says, "With my uncontrollable gasping under control, I'm free as a bird!

Now we have hundreds of carefully engineered, designed, and marketed commercial foods filled with rapidly absorbed processed sugars that cause a burst of sensation that can’t be matched by some lowly natural food. Once, we had lives that, amid considerable privation and negatives, also offered a huge array of subtle and often hard-won pleasures. And now we have drugs that cause spasms of pleasure and dopamine a thousand-fold higher than anything stimulated in our drug-free world.

I'm sure there was some bloated-ego thing happening that I wasn't able to recognize, but I didn't feel like it would last for long. The weird thing is that long before we ever had success on a commercial level, I had already developed a sense of entitlement. I had an unnecessary, unwarranted, unfounded, self-centered sense of entitlement from childhood. In elementary school, I always felt like I should be the president of the school and that I was somehow above the law of the school and I could break the rules. When I moved in with my father, he was arrogant and full of himself, and that carried on to me, so I always had this sense of entitlement and a semi-false sense of self. I would steal because I had that sense, whether it was houses or cars or furniture or cactuses, whatever I understand how people can be cold and ruthless criminals, because I remember at that point in my life, I did not think of the consequences for anybody else involved except me. And the consequences for me were that I got what I wanted.

The critics of modernity were warning that one must be vigilant against the demands of hyperorganized commercial society and consumerism lest they undermine one’s true humanity.

So tonight I'm, pursuing more commercial joys around the bedpost. And I plan to get drunk as a skunk.

This was possibly the first time anyone had used the phrase "too cerebral" when describing Pinky's advertising. Because someone somewhere in the Pinky's marketing scheme had made the brilliant connection that sub sandwiches are vaguely phallic. And from that, all the penis-related Pinky sub campaigns were born. Like the commercial where you see the guy standing from the back, and then a woman in front of him, and she says, "Nine inches????" in this insane lusty voice, and then they pan to the side and show he's holding a Pinky sub right at groin height? It's the worst. It is literally the worst. I'm a cog in the world's dumbest corporate sandwich machine.

-Hello, welcome to Wal-Mart. Amanda lifted up her pink sunglasses to gape at the old guy in the requisite blue vest. - Ohmigod, it's just like the commercial. If a smiling yellow dot bounces toward me, I'm going to freak out.

These words on the screen represented her latest project, an attempt at a series of commercial, discreetly feminist crime novels. She had read all of Agatha Christie at eleven years old, and later lots of Chandler and James M.Cain. There seemed no reason why she shouldn't try writing something in between, but she was discovering once again that reading and writing were not the same-you couldn't just soak it up then squeeze it out again. She found herself unable to think of a name for her detective, let alone a cohesive original plot, and even her pseudonym was poor: Emma T. Wilde? She wondered if she was doomed to be one of those people who spend their lives trying things. She had tried being in a band, writing plays and children's books, she had tried acting and getting a job in publishing. Perhaps crime fiction was just another failed project to place alongside trapeze, Buddhism and Spanish. She used the computer's word counter feature. Thirty-five words, including the title page and her rotten pseudonym. Emma groaned, released the hydraulic lever on the side of her office chair and sank a little closer to the carpet.

I'm not sure anyone's ever experienced enlightenment, been born again, been called to repentance or decided to sell their belongings on account of a system. The voice, the tale, the image, the parable that gets through to you -- that wins your heart -- religiously is the one that makes it past your defenses. You've been won over, and you probably didn't see it coming. You've been enlisted into a drama, whether positively or negatively, and it shouldn't be controversial to note that it happens all the time. When you really think about it, there's one waiting around every corner. It's as near as the story, song or image you can't get out of your head. Religion happens when we get pulled in, moved, called out or compelled by something outside ourselves. It could be a car commercial, a lyric, a painting, a theatrical performance or the magnetic pull of an Apple store. The calls to worship are everywhere.

And when I started at NYU and I met all those kids right out of undergrad, I thought, Hell, yeah, I’m a fucking Marine. Some of them, highly educated kids at a top five law school, didn’t even know what the Marine Corps did. (“It’s like a stronger Army, right?”) Few of them followed the wars at all, and most subscribed to a “It’s a terrible mess, so let’s not think about it too much” way of thinking. Then there were the political kids, who had definite opinions and were my least favorite to talk to. A lot of these overlapped with the insufferable public interest crowd, who hated the war, couldn’t see why anybody’d ever do corporate law, didn’t understand why anyone would ever join the military, didn’t understand why anyone would ever want to own a gun, let alone fire one, but who still paid lip service to the idea that I deserved some sort of respect and that I was, in an imprecise way that was clearly related to action movies and recruiting commercials, far more “hard-core” than your average civilian. So sure, I was a Marine. At the very least, I wasn’t them.

I have a great idea, Gregori," she told him wickedly. "Let's take a commercial flight." "What?" He was staring at her mouth. She had a great mouth.A perfect mouth. A sexy mouth. Mon Dieu, he wanted her mouth. "Doesn't a commercial flight sound fun? We could take a night flight, mingle with people.It might even throw off the reporter." "Nothing is going to throw off the reporter.He is tenacious.And there will be no commercial flight.There will be no discussion on this,either. None. If we go to New Orleans,and I am not saying we will, commercial flights are out." "Oh,Gregori,I was only kidding. Naturally we'll do things your way," she added demurely. He shook his head,exasperated at himself. Of course she had been teasing. He wasn't used to anyone treating him as Savannah did. Outrageous woman. "I need to go out and talk with Wade Carter." She stood up instantly, expectantly, her blue eyes wide in anticipation. "Tell me what you want me to do. I can probably manage mist.I'm stronger now,using your blood.I can back you up." Amusement warmed the cool silver of his eyes. "Mon Dieu, Savannah, you sound like a cop movie.

Now I feel strong. Not quite indestructible, but much more durable. Like I used to be that crappy paper towel they show in the commercial, and now I’m the five-ply one. I used to break easily when there was a spill. Now I can mop up almost any mess. Pour that shit on me. I can handle it.

But other things have gotten clearer, and each time I’ve sat down with the pad it feels like I’m honing something, I’m paring something down, I’m that car commercial where the guy stands in front of a block of clay and carves out a new design. And it was the idea of talking to you, that the flames would engulf these pages and the words would roll into the smoke and float through the veil and you would be there for it, that helped me figure out a way to get this all out. Down on paper. Thank you. I love you. I’m sorry. Thank you. I love you. I’m sorry. For the things that still need to be written out.

I write the books I want to write. I'm delighted if they sell well and I'm not expecting my publishers to just keep giving me money, but there's no way I want to bow to commercial pleasure. I mean, there's plenty of people publishing very good commercial stuff. If my stuff is commercial that's great, but it's not why I write.

I believe the reasons we hang on to seemingly insignificant snippets of conversation, the smell of a particular pizza delivered by a particular guy, the shape of certain shadows on a particular wall, is that there may come a day when we are sitting in a hospital room visiting our mother as she lies on an uncomfortable bed, still recovering. And we are asking her questions and feeling nervous about what the doctor has said could be permanent damage caused by a blood clot the size of a pinpoint and we don't know if the way she is struggling to find the right words is a temporary exhaustion or the new reality and all we want to do is tell her we love her in a language no one has used before because we mean it in a way that no one has meant it before. And this will be a difficult time for us. But then, in a break between the words, a commercial may come on the small television hung up in the corner of the room that we did not even know was playing. It may advertise some new drug, some insurance plan, and our mother will smile at the voice of the handsome actor standing in front of a green screen. She will then close her eyes and squeeze our hand, the one that she has been holding since we walked in, and say, "Oh, I used to have such a crush on him." When she does this, our memory will be waiting. Yes, yes, yes. It is love that we feel here. This is the purpose of memory.

I thought Sundays were supposed to be relaxing. As a male citizen of America, I’m entitled on Sundays to watch athletic men in tight uniforms ritualistically invade one another’s territory, and while they’re resting I get to be bombarded with commercials about trucks, pizza, beer, and financial services. That’s how it’s supposed to be; that’s the American dream.

From then on he would make two or three trips a week to similar premises – bookstores, crystal shops, candle parlours, short-let niche operations selling a mix of pop-cultural memorabilia and truther merchandise from two or three generations ago – which had flourished along the abandoned high streets of the post-2007 austerity, run by a network of shabby voters hoping to take advantage of tumbling rents. Their real obsession lay in the idea of commerce as a kind of politics, expression of a fundamental theology. They had bought the rhetoric without having the talent or the backing. The internet was killing them. The speed of things was killing them. They were like old-fashioned commercial travellers, fading away in bars and single rooms, exchanging order books on windy corners as if it was still 1981 – denizens of futures that failed to take, whole worlds that never got past the economic turbulence and out into clear air, men and women in cheap business clothes washed up on rail platforms, weak-eyed with the brief energy of the defeated, exchanging obsolete tradecraft like Thatcherite spies.

I’m sorry, but our people are not ready to accept artificial intelligences.” President Smith shook her head. “You can’t have it both ways. You can’t say that you’re going to be our robot overlords and that you’ll participate in society as equals. The fact is that you have the capacity to control our communications and our infrastructure, and people will believe that they are being manipulated, whether they are or not. They won’t accept that. We’ll have riots in the streets of America.” “Your people are manipulated every day,” Sister Jaguar said. “They are manipulated by commercial advertisements, by political speeches, through biased news reports. In my analysis of American politics, it is nearly impossible to find examples of political media that isn’t tainted by manipulation. Are your people rioting in the streets now? They should be.

Notice anything different?” She tucked her pinstriped hair behind her ear and squinted at the screen. “I’m using the wrong font?” “Notice anything different about my boobs?” That got her attention. She whirled around in her chair and peered at my chest. “You changed your boobs?” “I’m showing my boobs,” I said proudly, moving my palm in front of them like presenting them on a TV commercial. All this can be yours! Or, rather, your son’s.

Once, during a concert of cathedral organ music, as I sat getting gooseflesh amid that tsunami of sound, I was struck with a thought: for a medieval peasant, this must have been the loudest human-made sound they ever experienced, awe-inspiring in now-unimaginable ways. No wonder they signed up for the religion being proffered. And now we are constantly pummeled with sounds that dwarf quaint organs. Once, hunter-gatherers might chance upon honey from a beehive and thus briefly satisfy a hardwired food craving. And now we have hundreds of carefully designed commercial foods that supply a burst of sensation unmatched by some lowly natural food. Once, we had lives that, amid considerable privation, also offered numerous subtle, hard-won pleasures. And now we have drugs that cause spasms of pleasure and dopamine release a thousandfold higher than anything stimulated in our old drug-free world.

A complete stranger--a giant pancake, no less--has just appeared in their home," Boyd said. "Why isn't anyone reacting to this? Wouldn't they be screaming in terror?" "They love pancakes," Stan said. "What would they do if a fried chicken leg walked in?" "I'm not sure a chicken leg could walk in," said the script supervisor, a lady who wore three layers of shirts and sucked on a pencil as if it were a pacifier. "I suppose it could hop." Stan looked over his shoulder at her. "let me handle this." He turned back to Boyd. "The family knows you. You're not just another pancake off the street. You're a celebrity pancake, the Jay Leno of breakfast foods. Would anyone throw Leno out of their house?" "Okay, assuming you're right, I'm a pancake asking this family to eat me. Am I suicidal or simply filled with self-loathing?" "Take your pick," Stan said. "Whatever will get you through the scene.

This is a recorded announcement,” it said, “as I’m afraid we’re all out at the moment. The commercial council of Magrathea thanks you for your esteemed visit …” (“A voice from ancient Magrathea!” shouted Zaphod. “Okay, okay,” said Ford.) “… but regrets,” continued the voice, “that the entire planet is temporarily closed for business. Thank you. If you would care to leave your name and the address of a planet where you can be contacted, kindly speak when you hear the tone.

St. Clair tucks the tips of his fingers into his pockets and kicks the cobblestones with the toe of his boots. "Well?" he finally asks. "Thank you." I'm stunned. "It was really sweet of you to bring me here." "Ah,well." He straightens up and shrugs-that full-bodied French shrug he does so well-and reassumes his usual, assured state of being. "Have to start somewhere. Now make a wish." "Huh?" I have such a way with words. I should write epic poetry or jingles for cat food commercials. He smiles. "Place your feet on the star, and make a wish." "Oh.Okay,sure." I slide my feet together so I'm standing in the center. "I wish-" "Don't say it aloud!" St. Clair rushes forward, as if to stop my words with his body,and my stomach flips violently. "Don't you know anything about making wishes? You only get a limited number in life. Falling stars, eyelashes,dandelions-" "Birthday candles." He ignores the dig. "Exactly. So you ought to take advantage of them when they arise,and superstition says if you make a wish on that star, it'll come true." He pauses before continuing. "Which is better than the other one I've heard." "That I'll die a painful death of poisoning, shooting,beating, and drowning?" "Hypothermia,not drowning." St. Clair laughs. He has a wonderful, boyish laugh. "But no. I've heard anyone who stands here is destined to return to Paris someday. And as I understand it,one year for you is one year to many. Am I right?" I close my eyes. Mom and Seany appear before me. Bridge.Toph.I nod. "All right,then.So keep your eyes closed.And make a wish." I take a deep breath. The cool dampness of the nearby trees fills my lungs. What do I want? It's a difficult quesiton. I want to go home,but I have to admit I've enjoyed tonight. And what if this is the only time in my entire life I visit Paris? I know I just told St. Clair that I don't want to be here, but there's a part of me-a teeny, tiny part-that's curious. If my father called tomorrow and ordered me home,I might be disappointed. I still haven't seen the Mona Lisa. Been to the top of the Eiffel Tower.Walked beneath the Arc de Triomphe. So what else do I want? I want to feel Toph's lips again.I want him to wait.But there's another part of me,a part I really,really hate,that knows even if we do make it,I'd still move away for college next year.So I'd see him this Christmas and next summer,and then...would that be it? And then there's the other thing. The thing I'm trying to ignore. The thing I shouldn't want,the thing I can't have. And he's standing in front of me right now. So what do I wish for? Something I'm not sure I want? Someone I'm not sure I need? Or someone I know I can't have? Screw it.Let the fates decide. I wish for the thing that is best for me. How's that for a generalization? I open my eyes,and the wind is blowing harder. St. Clair pushes a strand of hair from his eyes. "Must have been a good one," he says.

I hate computers. My hatred is entrenched, and I nourish it daily. I’m comfortable with it, and no community outreach program will change my mind. I hate computers for getting their own section in the New York Times and for lengthening commercials with the mention of a Web site address. Who really wants to find out more about Procter & Gamble? Just buy the toothpaste or laundry detergent, and get on with it. I hate them for creating the word org and I hate them for e-mail, which isn’t real mail but a variation of the pointless notes people used to pass in class. I hate computers for replacing the card catalog in the New York Public Library and I hate the way they’ve invaded the movies. I’m not talking about their contribution to the world of special effects. I have nothing against a well-defined mutant or full-scale alien invasion — that’s good technology. I’m talking about their actual presence in any given movie. They’ve become like horses in a western — they may not be the main focus, but everybody seems to have one.

Well,Anna.It's Matt or the minivan. I'm not making the choice for you." I choose my ex.We used to be good friends,so I'm sort of looking forward to seeing him again. And maybe Cherrie isn't as bad as I remember.Except she is. She totally is. After only five minutes in her company,I cannot fathom how Bridge stands sitting with her at lunch every day.She turns to look at me in the backseat,and her hair swishes in a vitamin-enriched, shampoo-commercial curtain. "So.How are the guys in Paris?" I shrug. "Parisian." "Ha ha.You're funny." Her lifeless laugh is one of her lesser attributes.What does Matt see in her? "No one special?" Matt smiles and glances at me through the rearview mirror. I'm not sure why,but I forgot that he has brown eyes.Why do they make some people look amazing and others completely average? It's the same with brown hair. Statistically speaking, St. Clair and Matt are quite similar. Eyes: Brown. Hair: Brown. Race: Caucasian. There's a significant difference in height,but still. It's like comparing a gourmet truffle to a Mr. Goodbar. I think about the gourmet truffle. And his girlfriend. "Not exactly.

An alarm clock wakes us up at 7 a.m., we heat our frozen bagel for exactly fifty seconds in the microwave, brush our teeth for three minutes until the electric toothbrush beeps, catch the 07:40 train to work, run on the treadmill at the gym until the beeper announces that half an hour is over, sit down in front of the TV at 7 p.m. to watch our favourite show, get interrupted at preordained moments by commercials that cost $1,000 per second, and eventually unload all our angst on a therapist who restricts our prattle to the now standard fifty-minute therapy hour.

Hey Pete. So why the leave from social media? You are an activist, right? It seems like this decision is counterproductive to your message and work." A: The short answer is I’m tired of the endless narcissism inherent to the medium. In the commercial society we have, coupled with the consequential sense of insecurity people feel, as they impulsively “package themselves” for public consumption, the expression most dominant in all of this - is vanity. And I find that disheartening, annoying and dangerous. It is a form of cultural violence in many respects. However, please note the difference - that I work to promote just that – a message/idea – not myself… and I honestly loath people who today just promote themselves for the sake of themselves. A sea of humans who have been conditioned into viewing who they are – as how they are seen online. Think about that for a moment. Social identity theory run amok. People have been conditioned to think “they are” how “others see them”. We live in an increasing fictional reality where people are now not only people – they are digital symbols. And those symbols become more important as a matter of “marketing” than people’s true personality. Now, one could argue that social perception has always had a communicative symbolism, even before the computer age. But nooooooothing like today. Social media has become a social prison and a strong means of social control, in fact. Beyond that, as most know, social media is literally designed like a drug. And it acts like it as people get more and more addicted to being seen and addicted to molding the way they want the world to view them – no matter how false the image (If there is any word that defines peoples’ behavior here – it is pretention). Dopamine fires upon recognition and, coupled with cell phone culture, we now have a sea of people in zombie like trances looking at their phones (literally) thousands of times a day, merging their direct, true interpersonal social reality with a virtual “social media” one. No one can read anymore... they just swipe a stream of 200 character headlines/posts/tweets. understanding the world as an aggregate of those fragmented sentences. Massive loss of comprehension happening, replaced by usually agreeable, "in-bubble" views - hence an actual loss of variety. So again, this isn’t to say non-commercial focused social media doesn’t have positive purposes, such as with activism at times. But, on the whole, it merely amplifies a general value system disorder of a “LOOK AT ME! LOOK AT HOW GREAT I AM!” – rooted in systemic insecurity. People lying to themselves, drawing meaningless satisfaction from superficial responses from a sea of avatars. And it’s no surprise. Market economics demands people self promote shamelessly, coupled with the arbitrary constructs of beauty and success that have also resulted. People see status in certain things and, directly or pathologically, use those things for their own narcissistic advantage. Think of those endless status pics of people rock climbing, or hanging out on a stunning beach or showing off their new trophy girl-friend, etc. It goes on and on and worse the general public generally likes it, seeking to imitate those images/symbols to amplify their own false status. Hence the endless feedback loop of superficiality. And people wonder why youth suicides have risen… a young woman looking at a model of perfection set by her peers, without proper knowledge of the medium, can be made to feel inferior far more dramatically than the typical body image problems associated to traditional advertising. That is just one example of the cultural violence inherent. The entire industry of social media is BASED on narcissistic status promotion and narrow self-interest. That is the emotion/intent that creates the billions and billions in revenue these platforms experience, as they in turn sell off people’s personal data to advertisers and governments. You are the product, of course.

The people of Cody like you to think that Buffalo Bill was a native son. In fact, I’m awfully proud to tell you, he was an Iowa native, born in the little town of Le Claire in 1846. The people of Cody, in one of the more desperate commercial acts of this century, bought Buffalo Bill’s birthplace and re-erected it in their town, but they are lying through their teeth when they hint that he was a local. And the thing is, they have a talented native son of their own. Jackson Pollock, the artist, was born in Cody. But they don’t make anything of that because, I suppose, Pollock was a complete wanker when it came to shooting buffalo.

Roosevelt fought hard for the United States to host the opening session [of the United Nations]; it seemed a magnanimous gesture to most of the delegates. But the real reason was to better enable the United States to eavesdrop on its guests. Coded messages between the foreign delegations and their distant capitals passed through U.S. telegraph lines in San Francisco. With wartime censorship laws still in effect, Western Union and the other commercial telegraph companies were required to pass on both coded and uncoded telegrams to U.S. Army codebreakers. Once the signals were captured, a specially designed time-delay device activated to allow recorders to be switched on. Devices were also developed to divert a single signal to several receivers. The intercepts were then forwarded to Arlington Hall, headquarters of the Army codebreakers, over forty-six special secure teletype lines. By the summer of 1945 the average number of daily messages had grown to 289,802, from only 46,865 in February 1943. The same soldiers who only a few weeks earlier had been deciphering German battle plans were now unraveling the codes and ciphers wound tightly around Argentine negotiating points. During the San Francisco Conference, for example, American codebreakers were reading messages sent to and from the French delegation, which was using the Hagelin M-209, a complex six-wheel cipher machine broken by the Army Security Agency during the war. The decrypts revealed how desperate France had become to maintain its image as a major world power after the war. On April 29, for example, Fouques Duparc, the secretary general of the French delegation, complained in an encrypted note to General Charles de Gaulle in Paris that France was not chosen to be one of the "inviting powers" to the conference. "Our inclusion among the sponsoring powers," he wrote, "would have signified, in the eyes of all, our return to our traditional place in the world." In charge of the San Francisco eavesdropping and codebreaking operation was Lieutenant Colonel Frank B. Rowlett, the protégé of William F. Friedman. Rowlett was relieved when the conference finally ended, and he considered it a great success. "Pressure of work due to the San Francisco Conference has at last abated," he wrote, "and the 24-hour day has been shortened. The feeling in the Branch is that the success of the Conference may owe a great deal to its contribution." The San Francisco Conference served as an important demonstration of the usefulness of peacetime signals intelligence. Impressive was not just the volume of messages intercepted but also the wide range of countries whose secrets could be read. Messages from Colombia provided details on quiet disagreements between Russia and its satellite nations as well as on "Russia's prejudice toward the Latin American countries." Spanish decrypts indicated that their diplomats in San Francisco were warned to oppose a number of Russian moves: "Red maneuver . . . must be stopped at once," said one. A Czechoslovakian message indicated that nation's opposition to the admission of Argentina to the UN. From the very moment of its birth, the United Nations was a microcosm of East-West spying. Just as with the founding conference, the United States pushed hard to locate the organization on American soil, largely to accommodate the eavesdroppers and codebreakers of NSA and its predecessors.

We’ve relegated death, birth, and even making music to the professionals…all things that, until a few generations ago, used to be done by regular people like us in the home. What used to be natural — giving birth, playing instruments and singing, and dying among loved ones who will lovingly lay our bodies out in the parlor to be honored by those who loved us — is now a commercial enterprise. Not that I’m ungrateful for a lower infant mortality rate or the safety that women in high-risk pregnancies now enjoy, and not that I don’t love hearing professionally recorded music. But I do wonder if we lost more than we realized when we started hiring professionals to do for us what we used to do for ourselves.

I am what I appear to be, Mr Kassandros. I am inhibited and shy, and I don’t go in for swinging affairs and casual abortions. I live a quiet life in my London flat and I work as a commercial artist. I can’t keep a real cat in the old-maid tradition, so I have a china one with a long neck and big eyes. When I can afford a seat at the theatre I go alone, but I lack the gall to sit alone in a restaurant, and our lovely old Lyons Corner Houses have become gambling halls. I also lack whatever it is that men like and I have long since resigned myself to life alone — but if I ever loved a man, it wouldn’t be because he has money, or because he couldn’t make love to me. I’m not frigid! I’m just on guard against being hurt!

The show is said to have originated on WCAU, Philadelphia, the sponsor’s home city, in 1927. Its arrival in New York in 1931 kicked off an unusual commercial identity—a children’s song-dance-and-story hour sponsored by one of the strongest symbols of New York city life, the automat (where nickel coffee and a piece of pie was a Broadway tradition). With its first New York broadcast, Horn and Hardart admitted it had nothing to sell to kids but reasoned that a strong appeal to children would reach adults as well. A sample of its fare was the show of Dec. 7, 1941, a few hours before Pearl Harbor. The entire hour was a tribute to ailing George M. Cohan, with the kids singing such favorites as Give My Regards to Broadway, Yankee Doodle Dandy, and Harrigan.

You’ve said, “You can lie or distort the story of the French Revolution as long as you like and nothing will happen. Propose a false theory in chemistry and it will be refuted tomorrow.” How does your approach to the world as a scientist affect and influence the way you approach politics? Nature is tough. You can’t fiddle with Mother Nature, she’s a hard taskmistress. So you’re forced to be honest in the natural sciences. In the soft fields, you’re not forced to be honest. There are standards, of course; on the other hand, they’re very weak. If what you propose is ideologically acceptable, that is, supportive of power systems, you can get away with a huge amount. In fact, the difference between the conditions that are imposed on dissident opinion and on mainstream opinion is radically different. For example, I’ve written about terrorism, and I think you can show without much difficulty that terrorism pretty much corresponds to power. I don’t think that’s very surprising. The more powerful states are involved in more terrorism, by and large. The United States is the most powerful, so it’s involved in massive terrorism, by its own definition of terrorism. Well, if I want to establish that, I’m required to give a huge amount of evidence. I think that’s a good thing. I don’t object to that. I think anyone who makes that claim should be held to very high standards. So, I do extensive documentation, from the internal secret records and historical record and so on. And if you ever find a comma misplaced, somebody ought to criticize you for it. So I think those standards are fine. All right, now, let’s suppose that you play the mainstream game. You can say anything you want because you support power, and nobody expects you to justify anything. For example, in the unimaginable circumstance that I was on, say, Nightline, and I was asked, “Do you think Kadhafi is a terrorist?” I could say, “Yeah, Kadhafi is a terrorist.” I don’t need any evidence. Suppose I said, “George Bush is a terrorist.” Well, then I would be expected to provide evidence—“Why would you say that?” In fact, the structure of the news production system is, you can’t produce evidence. There’s even a name for it—I learned it from the producer of Nightline, Jeff Greenfield. It’s called “concision.” He was asked in an interview somewhere why they didn’t have me on Nightline. First of all, he says, “Well, he talks Turkish, and nobody understands it.” But the other answer was, “He lacks concision.” Which is correct, I agree with him. The kinds of things that I would say on Nightline, you can’t say in one sentence because they depart from standard religion. If you want to repeat the religion, you can get away with it between two commercials. If you want to say something that questions the religion, you’re expected to give evidence, and that you can’t do between two commercials. So therefore you lack concision, so therefore you can’t talk. I think that’s a terrific technique of propaganda. To impose concision is a way of virtually guaranteeing that the party line gets repeated over and over again, and that nothing else is heard.

Torrents of text conversations, tides of cell conversations, of television programs, of e-mail, vast networks of fiber and wire interlaced above and beneath the city, passing through buildings, arcing between transmitters in Metro tunnels, between antennas atop buildings, from lampposts with cellular transmitters in them, commercials for Carrefour and Evian and prebaked toaster pastries flashing into space and back to earth again, I’m going to be late and Maybe we should get reservations? and Pick up avocados and What did he say? and ten thousand I miss yous, fifty thousand I love yous, hate mail and appointment reminders and market updates, jewelry ads, coffee ads, furniture ads flying invisibly over the warrens of Paris, over the battlefields and tombs, over the Ardennes, over the Rhine, over Belgium and Denmark, over the scarred and ever-shifting landscapes we call nations. And is it so hard to believe that souls might also travel those paths? That her father and Etienne and Madame Manec and the German boy named Werner Pfennig might harry the sky in flocks, like egrets, like terns, like starlings? That great shuttles of souls might fly about, faded but audible if you listen closely enough? They flow above the chimneys, ride the sidewalks, slip through your jacket and shirt and breastbone and lungs, and pass out through the other side, the air a library and the record of every life lived, every sentence spoken, every word transmitted still reverberating within it. Every hour, she thinks, someone for whom the war was memory falls out of the world. We rise again in the grass. In the flowers. In songs.

One must act radically. When one pulls out a tooth, one does it with a single tug, and the pain quickly goes away. The Jew must clear out of Europe. Otherwise no understanding will be possible between Europeans. It's the Jew who prevents everything. When I think about it, I realise that I'm extraordinarily humane. At the time of the rule of the Popes, the Jews were mistreated in Rome. Until 1830, eight Jews mounted on donkeys were led once a year through the streets of Rome. For my part, I restrict myself to telling them they must go away. If they break their pipes on the journey, I can't do anything about it. But if they refuse to go voluntarily, I see no other solution but extermination. Why should I look at a Jew through other eyes than if he were a Russian prisoner-of-war? In the p.o.w. camps, many are dying. It's not my fault. I didn't want either the war or the p.o.w. camps. Why did the Jew provoke this war? A good three hundred or four hundred years will go by before the Jews set foot again in Europe. They'll return first of all as commercial travellers, then gradually they'll become emboldened to settle here—the better to exploit us. In the next stage, they become philanthropists, they endow foundations. When a Jew does that, the thing is particularly noticed—for it's known that they're dirty dogs. As a rule, it's the most rascally of them who do that sort of thing. And then you'll hear these poor Aryan boobies telling you : "You see, there are good Jews !" Let's suppose that one day National Socialism will undergo a change, and become used by a caste of privileged persons who exploit the people and cultivate money. One must hope that in that case a new reformer will arise and clean up the stables.

Have a seat,” I say inside the Roosevelt Room. Ordinarily we’d do this in the Oval Office. But I’m not having this conversation in the Oval Office. He unbuttons his suit jacket and takes a seat. I sit at the head of the table. “Needless to say, Mr. President, we were elated with the results from yesterday. And we were grateful that we could be a small part of your success.” “Yes, Mr. Ambassador.” “Andrei, please.” Andrei Ivanenko looks like he could play someone’s grandfather in a cereal commercial—the crown of his head bald and spotted, wispy white hair along the sides, an overall frumpy appearance. The look works well for him. Because beneath that harmless-seeming exterior is a career spy, a product of Russia’s charm school and one of the elites in the former KGB, shipped off later in life to the diplomatic arena and sent here as ambassador to the United States.

I wish I could blame the solar storm that blitzed the earth with electromagnetic rays, rerouted several commercial airlines, and caused all the geese to mistakenly fly west, the secret compass needles in their heads playing spin the bottle over a rowdy Pacific. Satellite communications were disrupted, electric eels in Peru forgot how to sing, and for a few seconds all the iPhones in the world flickered to black, during which time everyone raised their eyes and noticed moths shivering like tiny chandeliers. The truth is your glance shortcuts every traffic light in my heart and now no one’s in charge, I’m accelerating down the expressway of a tuba’s gold dream. With one outburst from your hair, I sputter like a firefly drowning in champagne. Just imagining the charged particles of your lips colliding with mine and I’m watching the northern lights, those bodies flaring across midwinter sheets of sky

I believe another one of the Song girls has a birthday coming up.” He sings, “You are sixteen, going on seventeen…” I feel a strong surge of love for him, my dad who I am so lucky to have. “What song are you singing?” Kitty interrupts. I take Kitty’s hands and spin her around the kitchen with me. “I am sixteen, going on seventeen; I know that I’m naïve. Fellows I meet may tell me I’m sweet; willingly I believe.” Daddy throws his dish towel over his shoulder and marches in place. In a deep voice he baritones, “You need someone older and wiser telling you what to do…” “This song is sexist,” Kitty says as I dip her. “Indeed it is,” Daddy agrees, swatting her with the towel. “And the boy in question was not, in fact, older and wiser. He was a Nazi in training.” Kitty skitters away from both of us. “What are you guys even talking about?” “It’s from The Sound of Music,” I say. “You mean that movie about the nun? Never seen it.” “How have you seen The Sopranos but not The Sound of Music?” Alarmed, Daddy says, “Kitty’s been watching The Sopranos?” “Just the commercials,” Kitty quickly says. I go on singing to myself, spinning in a circle like Liesl at the gazebo. “I am sixteen going on seventeen, innocent as a rose…Fellows I meet may tell me I’m sweet, and willingly I believe…” “Why would you just willingly believe some random fellows you don’t even know?” “It’s the song, Kitty, not me! God!” I stop spinning. “Liesl was kind of a ninny, though. I mean, it was basically her fault they almost got captured by the Nazis.” “I would venture to say it was Captain von Trapp’s fault,” Daddy says. “Rolfe was a kid himself--he was going to let them go, but then Georg had to antagonize him.” He shakes his head. “Georg von Trapp, he had quite the ego. Hey, we should do a Sound of Music night!” “Sure,” I say. “This movie sounds terrible,” Kitty says. “What kind of name is Georg?” We ignore her.

Do you have any idea,” I say, “how hard it is to work your entire life toward one goal—one goal—and then to have someone else come in and try to take it away?” Nicki looks at me, incredulous. “Yes!” she says. “In fact, I do.” I look at her and realize what I’ve just said. I cannot help but laugh, and neither can Nicki. “God, you must hate me,” I say. “I would. I would hate me.” Nicki downs the rest of her glass. “I don’t hate you. I told you before. I’m thankful.” “Yeah. I’m sure.” “I’m serious,” Nicki says. “I can’t fight unless I have something to fight against. And I like fighting. I like it even more than winning.” “I…” I say. “Okay.” “Without you, I wouldn’t have much left to fight against. It would be like trying to knock out a deflated punching bag. And without me, you’d be back home, shooting a commercial for Gatorade, would you not?” I huff, knowing she’s right. “Yeah, maybe. Yes.” “But instead, we’re here, training, living for something bigger than the two of us.

Q: What do you think is magical about fiction? DFW: ... The first line of attack for that question is that there is this existential loneliness in the real world. I don't know what you're thinking or what it's like inside you and you don't know what it's like inside me. In fiction I think we can leap over that wall itself in a certain way... There's another level... A really great piece of fiction for me may or may not take me away and make me forget that I'm sitting in a chair. There's real commercial stuff can do that, and a riveting plot can do that, but it doesn't make me feel less lonely... There's a kind of Ah-ha! Somebody at least for a moment feels about something or sees something the way that I do. It doesn't happen all the time. It's these brief flashes or flames, but I get that sometimes. I feel unalone--intellectually, emotionally, spiritually. I feel human and unalone and that I'm in a deep, significant conversation with another consciousness in fiction and poetry in a way that I don't with other art.

So Dad was a tedious, well-connected workaholic. But the other thing you need to understand is that Mom was a living wet dream. A former Guess model and Miller Lite girl, she was tall, curvy and gorgeous. At thirty-eight, she had somehow managed to remain ageless and maintained her killer body. She’s five-foot-nine with never-ending legs, generous breasts and full hips that scoop dramatically into her slim waist. People who say Barbie’s proportions are unrealistic obviously never met my stepmother. Her face is pretty too, with long eyelashes, sculpted cheekbones and big, blue eyes that tease and smile at the same time. Her long brown hair rests on her shoulders in thick, tousled layers like in one of those Pantene Pro-V commercials. One memory seared in to my brain from my early teenage years is of Mom parading around the house one evening in nothing but her heels and underwear. I was sitting on the couch in the living room watching TV when a flurry of long limbs and blow-dried hair burst in front of the screen. “Teddy-bear. Do you know where Silvia left the dry cleaning? I’m running late for dinner with the Blackwells and I can’t find my red cocktail dress.” Mom stood before me in matching off-white, La Perla bra and panties and Manolo Blahnik stilettos. Some subtle gold hoop earrings hung from her ears and a tiny bit of mascara on her eye lashes highlighted her sparkling, blue eyes. Aside from the missing dress, she was otherwise ready to go. “I think she left them hanging on the chair next to the other sofa,” I said, trying my best not to gape at Mom’s perfect body. Mom trotted across the room, her heels tocking on the hard wood floor. I watched her slim, sexy back as she lifted the dry cleaning onto the sofa and then bent over to sort through the garments. My eyes followed her long mane of brown hair down to her heart-shaped ass. Her panties stretched tightly across each cheek as she bent further down. “Found it!” She cried, springing back upright, causing her 35Cs to bounce up and down from the sudden motion. They were thrusting proudly off her ribcage and bulging out over the fabric of the balconette bra like two titanic eggs. Her supple skin pushed out over the silk edges. And then she was gone as quickly as she had arrived, her long legs striding back down the hallway.

Mr. Townsend quirks a brow at the other man, and when our boss walks away he sticks his tongue out to his back. I push my hair over my shoulder and look this man over a bit closer. His dark hair reaches his shoulders and falls in soft waves around his face. He has a strong jaw lined with stubble and high cheekbones under his impossibly dark eyes. His perfect teeth are framed beautifully with full lips and a dark goatee, which only highlight the voluptuous color of his mouth. He’s wearing a dark blue button up shirt that fits loosely around his arms and chest, but the fitted dark jeans show off the chiseled lines of his thighs. He pushes his chair back slightly and stands, extending his large hand toward me. “I’m Reid. Reid Townsend.” He’s tall, about 6’0”, with a smile right out of a toothpaste commercial, and when I take his hand (surely with a stupid look on my face) it’s rough from heavy use. “Nice to meet you. I’m Danielle Delaney,” I reply. “You can call me Dani… Or anything you’d like except DD, um, in high school some people called me Double D’s because of that name and because I have big boobs—” I cut off abruptly with a slightly choked sound, feeling the blood rush over my chest, face and ears. I’ve never blurted something like that before in my life, and I especially have never blurted anything because I’m standing in front of a beautiful guy—I’m the player, not the played.

Honestly, I'm relieved. Finally someone's calling Athena out on her bullshit, on her deliberately confusing sentence structures and cultural allusions. Athena likes to make her audience "work for it." On the topic of cultural exposition, she's written that she doesn't "see the need to move the text closer to the reader, when the reader has Google, and is perfectly capable of moving closer to the text." She drops in entire phrases in Chinese without adding any translations—her typewriter doesn't have Chinese characters, so she left spaces and wrote them out by hand. It took me hours of fiddling with an OCR to search them online, and even then I had to strike out about half of them. She refers to family members in Chinese terms instead of English, so you're left wondering if a given character is an uncle or a second cousin. (I've read dozens of guides to the Chinese kinship nomenclature system by now. It makes no goddamn sense.) She's done this in all her other novels. Her fans praise such tactics as brilliant and authentic—a diaspora writer's necessary intervention against the whiteness of English. But it's not good craft. It makes the prose frustrating and inaccessible. I am convinced it is all in service of making Athena, and her readers, feel smarter than they are. "Quirky, aloof, and erudite" is Athena's brand. "Commercial and compulsively readable yet still exquisitely literary," I've decided, will be mine.

Marlboro Man’s call woke me up the next morning. It was almost eleven. “Hey,” he said. “What’s up?” I hopped out of bed, blinking and stumbling around my room. “Who me? Oh, nothing.” I felt like I’d been drugged. “Were you asleep?” he said. “Who, me?” I said again, trying to snap out of my stupor. I was stalling, trying my darnedest to get my bearings. “Yes. You,” he said, chuckling. “I can’t believe you were asleep!” “I wasn’t asleep! I was…I just…” I was a loser. A pathetic, late-sleeping loser. “You’re a real go-getter in the mornings, aren’t you?” I loved it when he played along with me. I rubbed my eyes and pinched my own cheek, trying to wake up. “Yep. Kinda,” I answered. Then, changing the subject: “So…what are you up to today?” “Oh, I had to run to the city early this morning,” he said. “Really?” I interrupted. The city was over two hours from his house. “You got an early start!” I would never understand these early mornings. When does anyone ever sleep out there? Marlboro Man continued, undaunted. “Oh, and by the way…I’m pulling into your driveway right now.” Huh? I ran to my bathroom mirror and looked at myself. I shuddered at the sight: puffy eyes, matted hair, pillow mark on my left cheek. Loose, faded pajamas. Bag lady material. Sleeping till eleven had not been good for my appearance. “No. No you’re not,” I begged. “Yep. I am,” he answered. “No you’re not,” I repeated. “Yes. I am,” he said. I slammed my bathroom door and hit the lock. Please, Lord, please, I prayed, grabbing my toothbrush. Please let him be joking. I brushed my teeth like a crazed lunatic as I examined myself in the mirror. Why couldn’t I look the women in commercials who wake up in a bed with ironed sheets and a dewy complexion with their hair perfectly tousled? I wasn’t fit for human eyes, let alone the piercing eyes of the sexy, magnetic Marlboro Man, who by now was walking up the stairs to my bedroom. I could hear the clomping of his boots. The boots were in my bedroom by now, and so was the gravelly voice attached to them. “Hey,” I heard him say. I patted an ice-cold washcloth on my face and said ten Hail Marys, incredulous that I would yet again find myself trapped in the prison of a bathroom with Marlboro Man, my cowboy love, on the other side of the door. What in the world was he doing there? Didn’t he have some cows to wrangle? Some fence to fix? It was broad daylight; didn’t he have a ranch to run? I needed to speak to him about his work ethic. “Oh, hello,” I responded through the door, ransacking the hamper in my bathroom for something, anything better than the sacrilege that adorned my body. Didn’t I have any respect for myself? I heard Marlboro Man laugh quietly. “What’re you doing in there?” I found my favorite pair of faded, soft jeans. “Hiding,” I replied, stepping into them and buttoning the waist. “Well, c’mere,” he said softly.

Go away.” I stick my elbow in his ribs and force him to step back. “Sit on the couch and keep your hands to yourself,” I instruct, then follow him to the sofa and grab my Dating and Sex for Dummies books off the coffee table and shove them into my sock drawer while he laughs. “You’re making me miss my show,” I gripe as I toss things into the suitcase. “Your show? You sound like you’re eighty.” He glances at the TV behind me then back to me. “Murder on Mason Lane,” he says. “It was the neighbor. She was committing Medicare fraud using the victim’s deceased wife’s information. He caught on so she killed him.” I gasp. “You spoiler! You spoiling spoiler who spoils!” Then I shrug. “This is a new episode. You don’t even know that. It’s the daughter. She killed him. I’ve had her pegged since the first commercial break.” “You’re cute.” “Just you wait,” I tell him, very satisfied with myself. I’m really good at guessing whodunnit. “Sorry, you murder nerd, I worked on this case two years ago. It’s the neighbor.” “Really?” I drop my makeup bag into the suitcase and check to see if he’s teasing me. “I swear. I’ll tell you all the good shit the show left out once we’re on the plane.” I survey Boyd with interest. I do have a lot of questions. “I thought you were in cyber crimes, not murder.” “Murder isn’t a department,” he replies, shaking his head at me. “You know what I mean.” “Most crimes have a cyber component to them these days. There’s always a cyber trail.” Shit, that’s hot.

We were the first human beings who would never see anything for the first time. We stare at the wonders of the world, dull-eyed, underwhelmed. Mona Lisa, the Pyramids, the Empire State Building. Jungle animals on attack, ancient icebergs collapsing, volcanoes erupting. I can't recall a single amazing thing I have seen firsthand that I didn't immediately reference to a movie or TV show. A fucking commercial. You know the awful singsong of the blasé: Seeeen it. I've literally seen it all, and the worst thing is, the thing that makes me want to blow my brains out, is: The secondhand experience is always better. The image is crisper, the view is keener, the camera angle and the soundtrack manipulate my emotions in a way reality can't anymore. I don't know that we are actually human at this point, those of us who are like most of us, who grew up with TV and movies and now the Internet. If we are betrayed, we know the words to say; when a loved one dies, we know the words to say. If we want to play the stud or the smart-ass or the fool, we know the words to say. We are all working from the same dog-eared script. It's a very difficult era in which to be a person, just a real, actual person, instead of a collection of personality traits selected from an endless automat of characters. And if all of us are play-acting, there can be no such thing as a soul mate, because we don't have genuine souls. It had gotten to the point where it seemed like nothing matters, because I'm not a real person and neither is anyone else.

For several years, I had been bored. Not a whining, restless child's boredom (although I was not above that) but a dense, blanketing malaise. It seemed to me that there was nothing new to be discovered ever again. Our society was utterly, ruinously derivative (although the word derivative as a criticism is itself derivative). We were the first human beings who would never see anything for the first time. We stare at the wonders of the world, dull-eyed, underwhelmed. Mona Lisa, the Pyramids, the Empire State Building. Jungle animals on attack, ancient icebergs collapsing, volcanoes erupting. I can't recall a single amazing thing I have seen firsthand that I didn't immediately reference to a movie or TV show. A fucking commercial. You know the awful singsong of the blasé: Seeeen it. I've literally seen it all, and the worst thing, the thing that makes me want to blow my brains out, is: The secondhand experience is always better. The image is crisper, the view is keener, the camera angle and the soundtrack manipulate my emotions in a way reality can't anymore. I don't know that we are actually human at this point, those of us who are like most of us, who grew up with TV and movies and now the Internet. If we are betrayed, we know the words to say; when a loved one dies, we know the words to say. If we want to play the stud or the smart-ass or the fool, we know the words to say. We are all working from the same dog-eared script. It's a very difficult era in which to be a person, just a real, actual person, instead of a collection of personality traits selected from an endless Automat of characters. And if all of us are play-acting, there can be no such thing as a soul mate, because we don't have genuine souls. It had gotten to the point where it seemed like nothing matters, because I'm not a real person and neither is anyone else. I would have done anything to feel real again.

GET MOVING People are often scared of the word exercise. We associate the word with pain, and we think of it as a chore. (And it can be--who likes going to the gym at 6 A.M.?) If that’s how you’re thinking, then you need to change your psychology. I don’t think of my body in terms of exercise; I think in terms of movement. Look at the actual word--I see it as “meant to move.” As human beings, going back to the beginning of civilization, we’ve had to move to survive. We had to throw spears to hunt, we had to prepare land to plant seeds, we had to gather firewood. Our bodies are hardwired to move. Not even TiVo can rewire those thousands of years of DNA. This isn’t a new idea, but it’s easy to forget: your body is connected to your mind and spirit. People say, “I’m miserable because I’m overweight” or “I’m overweight because I’m miserable,” but these two go hand in hand. I know when I drink to excess or put poisons in my body, the next day I’m not going to feel happy or inspired. The body is the vehicle that can help you reach your dreams. Keeping it moving, strong, and healthy paves the way to overall well-being. You can’t say you love yourself when you abuse yourself physically, and by not using your body, you’re abusing it. But here’s the first piece of good news: you don’t have to be in the gym to exercise. You just need to move--and keep moving. It can be anywhere, at any time. Sometimes I’ll do push-ups during a commercial break while watching TV. Sometimes I take a short walk, even around the block with my dog, just to break up my day. Your body wants to move; your body was created to move. You have to feed that. When you’re feeling miserable, your body is telling you to get on your feet. Moving makes you feel good. It helps you slay the demon of procrastination that lurks in the shadow of every human being. Most of us sleepwalk through life because we’re waiting for the perfect time, the perfect place, and the perfect opportunity to improve ourselves. Stop waiting. Start moving and keep moving.

All of a sudden (in 1938 I think), in order to extend its autarchy to the domain of cinema, Italy decreed an embargo on American films. It wasn’t a question of censorship: as usual the censors granted or denied permission to individual films, and nobody saw the ones that didn’t get it and that was it. In spite of the awkward anti-Hollywood propaganda campaign that accompanied the measure (right around that time the regime began to conform to Hitler’s racism), the true reason for the embargo was supposed to be commercial protectionism, in order to make room in the market for Italian (and German) productions. For this reason the four largest American production and distribution companies—Metro, Fox, Paramount, Warner—(I’m still relying on memory, trusting the accuracy of the registration of my trauma), whereas films by other American companies like RKO, Columbia, Universal, United Artists (which had also been distributed before then by Italian companies) continued to arrive until 1941, that is until Italy found itself at war with the United States. I was still granted some sporadic satisfaction (in fact, one of the greatest: Stagecoach [John Ford, 1939]) but my collector’s voracity suffered a fatal blow. Compared to all of the prohibitions and obligations that fascism had imposed on us, and to the even more severe ones that it continued to enforce in those years before and then during the war, the veto on American films was certainly a minor or small loss, and I wasn’t foolish enough not to know it. Yet it was the first to affect me directly, and I hadn’t known any years other than those of fascism nor had I felt any needs other than those that the environment in which I lived could suggest and satisfy. It was the first time a right I enjoyed had been taken from me: more than a right, a dimension, a world, a space in my mind; and I felt this loss as cruel oppression which embodied all the forms of oppression that I’d heard about or seen other people suffer. If I can still talk about it today like a lost privilege it’s because something disappeared like that from my life, never to return again. So many things had changed after the war was over: I’d changed, cinema had become something else, something different in itself and in relation to me. My biography as a spectator resumed, but it was that of another spectator who wasn’t just a spectator anymore.

Here’s a sentence in a book I’m reading: ‘We belong, of course, to a generation that’s seen through things, seen how futile everything is, and had the courage to accept futility, and say to ourselves: There’s nothing for it but to enjoy ourselves as best we can.’ Well, I suppose that’s my generation, the one that’s seen the war and its aftermath; and, of course, it is the attitude of quite a crowd; but when you come to think of it, it might have been said by any rather unthinking person in any generation; certainly might have been said by the last generation after religion had got the knock that Darwin gave it. For what does it come to? Suppose you admit having seen through religion and marriage and treaties, and commercial honesty and freedom and ideals of every kind, seen that there’s nothing absolute about them, that they lead of themselves to no definite reward, either in this world or a next which doesn’t exist perhaps, and that the only thing absolute is pleasure and that you mean to have it — are you any farther towards getting pleasure? No! you’re a long way farther off. If everybody’s creed is consciously and crudely ‘grab a good time at all costs,’ everybody is going to grab it at the expense of everybody else, and the devil will take the hindmost, and that’ll be nearly everybody, especially the sort of slackers who naturally hold that creed, so that they, most certainly, aren’t going to get a good time. All those things they’ve so cleverly seen through are only rules of the road devised by men throughout the ages to keep people within bounds, so that we may all have a reasonable chance of getting a good time, instead of the good time going only to the violent, callous, dangerous and able few. All our institutions, religion, marriage, treaties, the law, and the rest, are simply forms of consideration for others necessary to secure consideration for self. Without them we should be a society of feeble motor-bandits and streetwalkers in slavery to a few super-crooks. You can’t, therefore, disbelieve in consideration for others without making an idiot of yourself and spoiling your own chances of a good time. The funny thing is that no matter how we all talk, we recognise that perfectly. People who prate like the fellow in that book don’t act up to their creed when it comes to the point. Even a motor-bandit doesn’t turn King’s evidence. In fact, this new philosophy of ‘having the courage to accept futility and grab a good time’ is simply a shallow bit of thinking; all the same, it seemed quite plausible when I read it.

He called back with an incredible report: there were people lined up around the store already. Wow, I thought. Wow! Wow didn’t begin to cover it. People lined up on two floors of the store to talk to Chris and get their books signed, hours before he was even scheduled to arrive. Chris was overwhelmed when he got there, and so was I. The week before, he’d been just another guy walking down the street. Now, all of a sudden he was famous. Except he was still the same Chris Kyle, humble and a bit abashed, ready to shake hands and pose for a picture, and always, at heart, a good ol’ boy. “I’m so nervous,” confided one of the people on the line as he approached Chris. “I’ve been waiting for three hours just to see you.” “Oh, I’m sorry,” said Chris. “Waitin’ all that time and come to find out there’s just another redneck up here.” The man laughed, and so did Chris. It was something he’d repeat, in different variations, countless times that night and over the coming weeks. We stayed for three or four hours that first night, far beyond what had been advertised, with Chris signing each book, shaking each hand, and genuinely grateful for each person who came. For their part, they were anxious not just to meet him but to thank him for his service to our country-and by extension, the service of every military member whom they couldn’t personally thank. From the moment the book was published, Chris became the son, the brother, the nephew, the cousin, the kid down the street whom they couldn’t personally thank. In a way, his outstanding military record was beside the point-he was a living, breathing patriot who had done his duty and come home safe to his wife and kids. Thanking him was people’s way of thanking everyone in uniform. And, of course, the book was an interesting read. It quickly became a commercial success beyond anyone’s wildest dreams, including the publisher’s. The hardcover debuted at number two on the New York Times bestseller list, then rose to number one and stayed there for more than two months. It’s remained a fixture on the bestseller lists ever since, and has been translated into twenty-four languages worldwide. It was a good read, and it had a profound effect on a lot of people. A lot of the people who bought it weren’t big book readers, but they ended up engrossed. A friend of ours told us that he’d started reading the book one night while he was taking a bath with his wife. She left, went to bed, and fell asleep. She woke up at three or four and went into the bathroom. Her husband was still there, in the cold water, reading. The funny thing is, Chris still could not have cared less about all the sales. He’d done his assignment, turned it in, and got his grade. Done deal.