March Past Quotes

Then came the march past the victims. The two men were no longer alive. Their tongues were hanging out, swollen and bluish. But the third rope was still moving: the child, too light, was still breathing... And so he remained for more than half an hour, lingering between life and death, writhing before our eyes. And we were forced to look at him at close range. He was still alive when I passed him. His tongue was still red, his eyes not yet extinguished. Behind me, I heard the same man asking: "For God's sake, where is God?" And from within me, I heard a voice answer: "Where He is? This is where--hanging here from this gallows..." That night, the soup tasted of corpses.

You go on. You set one foot in front of the other, and if a thin voice cries out, somewhere behind you, you pretend not to hear, and keep going.

I don't want to be caught with my pants down.

One day she marched around the side of the house and confronted me. "I've seen you out there every day for the past week, and everyone knows you stare at me all day in school, if you have something you want to say to me why don't you just say it to my face instead of sneaking around like a crook?" I considered my options. Either I could run away and never go back to school again, maybe even leave the country as a stowaway on a ship bound for Australia. Or I could risk everything and confess to her. The answer was obvious: I was going to Australia. I opened my mouth to say goodbye forever. And yet. What I said was: I want to know if you'll marry me.

A Psalm of Life Tell me not in mournful numbers, Life is but an empty dream! For the soul is dead that slumbers, And things are not what they seem. Life is real! Life is earnest! And the grave is not its goal; Dust thou are, to dust thou returnest, Was not spoken of the soul. Not enjoyment, and not sorrow, Is our destined end or way; But to act, that each tomorrow Find us farther than today. Art is long, and Time is fleeting, And our hearts, though stout and brave, Still, like muffled drums, are beating Funeral marches to the grave. In the world's broad field of battle, In the bivouac of Life, Be not like dumb, driven cattle! Be a hero in the strife! Trust no Future, howe'er pleasant! Let the dead Past bury its dead! Act, - act in the living Present! Heart within, and God o'erhead! Lives of great men all remind us We can make our lives sublime, And, departing, leave behind us Footprints on the sand of time; Footprints, that perhaps another, Sailing o'er life's solenm main, A forlorn and shipwrecked brother, Seeing, shall take heart again. Let us then be up and doing, With a heart for any fate; Still achieving, still pursuing, Learn to labor and to wait.

The statesman's task is to hear God's footsteps marching through history, and to try and catch on to His coattails as He marches past.

Fuck You Poem #45 Fuck you in slang and conventional English. Fuck you in lost and neglected lingoes. Fuck you hungry and sated; faded, pock marked, and defaced. Fuck you with orange rind, fennel and anchovy paste. Fuck you with rosemary and thyme, and fried green olives on the side. Fuck you humidly and icily. Fuck you farsightedly and blindly. Fuck you nude and draped in stolen finery. Fuck you while cells divide wildly and birds trill. Thank you for barring me from his bedside while he was ill. Fuck you puce and chartreuse. Fuck you postmodern and prehistoric. Fuck you under the influence of opiun, codeine, laudanum, and paregoric. Fuck every real and imagined country you fancied yourself princess of. Fuck you on feast days and fast days, below and above. Fuck you sleepless and shaking for nineteen nights running. Fuck you ugly and fuck you stunning. Fuck you shipwrecked on the barren island of your bed. Fuck you marching in lockstep in the ranks of the dead. Fuck you at low and high tide. And fuck you astride anyone who has the bad luck to fuck you, in dank hallways, bathrooms, or kitchens. Fuck you in gasps and whispered benedictions. And fuck these curses, however heartfelt and true, that bind me, till I forgive you, to you.

That sensation of a void within which never left us, that irrational longing to hark back to the past or else to speed up the march of time, and those keen shafts of memory that stung like fire.

There comes a time when you have to confront your past, chuckle at your mistakes, pick up your peace and KEEP marching forward.

The Old Days, the Lost Days -- in the half-closed eyes of memory (and in fact) they never marched across a calendar; they huddled round a burning log, leaned on a certain table, or listened to those certain songs.

History with its flickering lamp stumbles along the trail of the past, trying to reconstruct its scenes, to revive its echoes, and kindle with pale gleams the passion of former days. What is the worth of all this? The only guide to a man is his conscience; the only shield to his memory is the rectitude and sincerity of his actions. It is very imprudent to walk through life without this shield, because we are so often mocked by the failure of our hopes and the upsetting of our calculations; but with this shield, however the fates may play, we march always in the ranks of honor.

You have to let it go if you're going to keep moving, if you're going to survive, because the past doesn't need a future. It has no use for what comes next. The past is greedy, always swallowing you up, always taking. If you don't hold it back, if you don't dam it up, it will spread and take and drown. The past is not a receding horizon. Rather, it advances one moment at a time, marching steadily forward until it has claimed everything and we become again who we were; we become ghosts when the past catches us. I can't live as long as my past does. It's one or the other.

I knew it! I knew you'd hate my body!" She slammed her hands on her hips, marched over to the bed, and glared down at him. "Well, for your information, mister, all those cute little sex kittens in your past might have had perfect bodies, but they don't know a lepton from a proton,and if you think that I'm going to stand here and let you judge me by the size of my hips and because my belly's not flat, then you're in for a rude awakening." She jabbed her finger at him. "This is the way a grown woman looks, buster! This body was designed by God to be functional, not to be stared at by some hormonally imbalanced jock who can only get aroused by women who still own Barbie dolls" "Damn. Now I've got to gag you." With one swift motion, he pulled her down on the bed, rolled on top of her, and covered her lips with his own.

We are grateful to the Washington Post, the New York Times, Time Magazine and other great publications whose directors have attended our meetings and respected their promises of discretion for almost 40 years......It would have been impossible for us to develop our plan for the world if we had been subjected to the lights of publicity during those years. But, the world is more sophisticated and prepared to march towards a world government. The supernational sovereignty of an intellectual elite and world bankers is surely preferable to the national autodetermination practiced in past centuries.

Man’s time is short on the earth, but we trees watch the years march past like days. The stars are motionless to you, but we watch and study the heavens as a dance,” the dryad said,

But past events had impressed uponme how fast things could go wrong, and how different life might be after they did.

At the word sacrifice, something sparked in the Fate's cold eyes. He held the girl tighter, carrying her in his bloodstained arms as he stood and started down the ancient hall. 'What are you doing?' A crack of alarm showed in the queen's implacable face. 'I'm going to fix this.' He continued marching forward, holding the girl close as he carried her back through the arch. The angels who'd been guarding it now wept. They cried tears of stone as the Fate set the girl at their feet and began wrenching stone after stone from the arch. 'Jacks of the Hollow,' warned the queen. 'Those arch stones can only be used one time to go back. They were not created for infinite trips to the past.' 'I know,' Jacks growled. 'I'm going to go back and stop your son from killing her.' The queen's face fell. For a moment, she looked as old as the years she'd spent lying in suspended state. 'This is not a small mistake to fix. If you do this, Time will take something equally valuable from you.' The Fate gave the queen a look more vicious than any curse. 'There is nothing of equal value to me.

Future generations would be convinced that nothing good could ever have existed in a country that produced such evil. They would think only of these evils. It would be as if these unleashed dark forces had grotesquely marched like devils on dead horses, backward through the gash in the present, and had destroyed the German past too.

When the middle classes get passionate about politics, they're arguing about their treats—their tax breaks and their investments. When the poor get passionate about politics, they're fighting for their lives. Politics will always mean more to the poor. Always. That's why we strike and march, and despair when our young say they won't vote. That's why the poor are seen as more vital, more animalistic. No classical music for us—no walking around National Trust properties or buying reclaimed flooring. We don't have nostalgia. We don't do yesterday. We can't bear it. We don't want to be reminded of our past, because it was awful: dying in means, and slums, without literacy, or the vote. Without dignity. It was all so desperate then. That's why the present and the future is for the poor—that's the place in time for us: surviving now, hoping for better later. We live now—for our instant, hot, fast treats, to pep us up: sugar, a cigarette, a new fast song on the radio. You must never, never forget when you talk to someone poor, that it takes ten times the effort to get anywhere from a bad post code. It's a miracle when someone from a bad post code gets anywhere, son. A miracle they do anything at all.

He calculated the number of bricks in the wall, first in twos and then in tens and finally in sixteens. The numbers formed up and marched past his brain in terrified obedience. Division and multiplication were discovered. Algebra was invented and provided an interesting diversion for a minute or two. And then he felt the fog of numbers drift away, and looked up and saw the sparkling, distant mountains of calculus.

The car was on the FDR drive now and, turning her head, she glanced out at the bleak brown buildings of the projects that stretched for blocks along the drive. Something inside her sank at the sight of all that sameness, and she suddenly felt defeated. She shifted uncomfortably in her seat. In the past year, she'd started experiencing these moments of desperate emptiness, as if nothing really mattered, nothing was ever going to change, there was nothing new; and she could see her life stretching before her--one endless long day after the next, in which every day was essentially the same. Meanwhile, time was marching on, and all that was happening to her was that she was getting older and smaller, and one day she would be no bigger than a dot, and then she would simply disappear. Poof! Like a small leaf burned up under a magnifying glass in the sun. These feelings were shocking to her, because she'd never experienced world-weariness before. She'd never had time. All her life, she'd been striving and striving to become this thing that was herself--the entity that was Nico O'Neilly. And then, one morning, time had caught up with her and she had woken up and realized that she was there. She had arrived at her destination, and she had everything she'd worked so hard for: a stunning career, a loving (well, sort of) husband, whom she respected, and a beautiful eleven-year-old daughter whom she adored. She should have been thrilled. But instead, she felt tired. Like all those things belonged to someone else.

Rising to her feet, she shot the Bird Man a furious glare, and then stormed off toward Savidlin's house. She was glad to be away from Richard, to be away from watching those girls pawing him. Her fingernails dug into her palms, but she didn't notice as she marched past the happy people. The dancers danced, the drummers drummed, the children laughed. People she passed wished her well. She wanted one of them to say something mean so she would have an excuse to hit someone.

It is simple to follow the easy and familiar path of personal ambition and private gain. It is more comfortable to sit content in the easy approval of friends and of neighbours than to risk the friction and the controversy that comes with public affairs. It is easier to fall in step with the slogans of others than to march to the beat of the internal drummer - to make and stand on judgements of your own. And it far easier to accept and to stand on the past, than to fight for the answers of the future

As early as 1930 Schoenberg wrote: "Radio is an enemy, a ruthless enemy marching irresistibly forward, and any resistance is hopeless"; it "force-feeds us music . . . regardless of whether we want to hear it, or whether we can grasp it," with the result that music becomes just noise, a noise among other noises. Radio was the tiny stream it all began with. Then came other technical means for reproducing, proliferating, amplifying sound, and the stream became an enormous river. If in the past people would listen to music out of love for music, nowadays it roars everywhere and all the time, "regardless whether we want to hear it," it roars from loudspeakers, in cars, in restaurants, in elevators, in the streets, in waiting rooms, in gyms, in the earpieces of Walkmans, music rewritten, reorchestrated, abridged, and stretched out, fragments of rock, of jazz, of opera, a flood of everything jumbled together so that we don't know who composed it (music become noise is anonymous), so that we can't tell beginning from end (music become noise has no form): sewage-water music in which music is dying.

Right now the Seiko claimed it was sixty-two minutes past forty on a Wednesday, Thursday, and Saturday in both December and March.

We have all become wayfarers and travellers marching on and on ....Yet,for those who can adapt themselves to this continuous journeying,there is no regret and they would not have it otherwise.A reture to the dull uneventful past is unthinkable.

I am no worshiper of cloth of any color, but I love the red flag and what it symbolizes to me and other Socialists. I have a red flag hanging in my study, and if I could I should gladly march with it past the office of the Times and let all the reporters and photographers make the most of the spectacle.

The war that killed your grandfather killed sixteen million others. One and a half million French boys alone, most of them younger than I was. Two million on the German side. March the dead in a single-file line, and for eleven days and eleven nights, they’d walk past our door.

The past is greedy, always swallowing you up, always taking. If you don’t hold it back, if you don’t dam it up, it will spread and take and drown. The past is not a receding horizon. Rather, it advances one moment at a time, marching steadily forward until it has claimed everything and we become again who we were; we become ghosts when the past catches us. I can’t live as long as my past does. It’s one or the other.

At this stage of the game, I don’t have the time for patience and tolerance. Ten years ago, even five years ago, I would have listened to people ask their questions, explained to them, mollified them. No more. That time is past. Now, as Norman Mailer said in Naked and the Dead, ‘I hate everything which is not in myself.’ If it doesn’t have a direct bearing on what I’m advocating, if it doesn’t augment or stimulate my life and thinking, I don’t want to hear it. It has to add something to my life. There’s no more time for explaining and being ecumenical anymore. No more time. That’s a characteristic I share with the new generation of Satanists, which might best be termed, and has labeled itself in many ways, an ‘Apocalypse culture.’ Not that they believe in the biblical Apocalypse—the ultimate war between good and evil. Quite the contrary. But that there is an urgency, a need to get on with things and stop wailing and if it ends tomorrow, at least we’ll know we’ve lived today. It’s a ‘fiddle while Rome burns’ philosophy. It’s the Satanic philosophy. If the generation born in the 50’s grew up in the shadow of The Bomb and had to assimilate the possibility of imminent self destruction of the entire planet at any time, those born in the 60’s have had to reconcile the inevitability of our own destruction, not through the bomb but through mindless, uncontrolled overpopulation. And somehow resolve in themselves, looking at what history has taught us, that no amount of yelling, protesting, placard waving, marching, wailing—or even more constructive avenues like running for government office or trying to write books to wake people up—is going to do a damn bit of good. The majority of humans have an inborn death wish—they want to destroy themselves and everything beautiful. To finally realize that we’re living in a world after the zenith of creativity, and that we can see so clearly the mechanics of our own destruction, is a terrible realization. Most people can’t face it. They’d rather retreat to the comfort of New Age mysticism. That’s all right. All we want, those few of us who have the strength to realize what’s going on, is the freedom to create and entertain and share with each other, to preserve and cherish what we can while we can, and to build our own little citadels away from the insensitivity of the rest of the world.

The march toward change has been grueling, but it is real. And all it has ever taken was the transformed—the people of color confronting past and present to imagine a new future, and the handful of white people willing to release indifference and join the struggle.

Vince sneered at me with bloody teeth and dropped the twenties at my feet as security herded him through the crowd. I didn't pick them up. A shoulder bumped against me, and I looked up into Reece's expressionless face as security marched him past. He didn't even look at me, his words cold enough to burn. "I hope you're worth it.

I'm alive," he said to the boy, as they ate a bunch of dates one night, with no fires and no moon. "When I'm eating, that's all I think about. If I'm on the march, I just concentrate on marching. If I have to fight, it will be just as good a day to die as any other. "Because I don't live in either my past or my future. I'm interested only in the present. If you can concentrate always on the present, you'll be a happy man. You'll see that there is life in the desert, that there are stars in the heavens, and that tribesmen fight because they are part of the human race. Life will be a party for you, a grand festival, because life is the moment we're living right now.

Liberty On my notebooks from school On my desk and the trees On the sand, on the snow I write your name On every page read On all the white sheets Stone blood paper or ash I write your name On the golden images On the soldier’s weapons On the crowns of kings I write your name On the jungle, the desert The nests and the bushes On the echo of childhood I write your name On the wonder of nights On the white bread of days On the seasons engaged I write your name On all my blue rags On the pond mildewed sun On the lake living moon I write your name On the fields, the horizon The wings of the birds On the windmill of shadows I write your name On the foam of the clouds On the sweat of the storm On dark insipid rain I write your name On the glittering forms On the bells of colour On physical truth I write your name On the wakened paths On the opened ways On the scattered places I write your name On the lamp that gives light On the lamp that is drowned On my house reunited I write your name On the bisected fruit Of my mirror and room On my bed’s empty shell I write your name On my dog greedy tender On his listening ears On his awkward paws I write your name On the sill of my door On familiar things On the fire’s sacred stream I write your name On all flesh that’s in tune On the brows of my friends On each hand that extends I write your name On the glass of surprises On lips that attend High over the silence I write your name On my ravaged refuges On my fallen lighthouses On the walls of my boredom I write your name On passionless absence On naked solitude On the marches of death I write your name On health that’s regained On danger that’s past On hope without memories I write your name By the power of the word I regain my life I was born to know you And to name you LIBERTY

Skirting the rubble and wreckage of the street at the foot of Center Point, he marched past a gigantic gold statue of Freddie Mercury that stood over the entrance of the Dominion Theatre across the road, head bowed, one fist raised in the air, like some pagan god of chaos.

The history of human growth and development is at the same time the history of the terrible struggle of every new idea heralding the approach of a brighter dawn. In its tenacious hold on tradition, the Old has never hesitated to make use of the foulest and cruelest means to stay the advent of the New, in whatever form or period the latter may have asserted itself. Nor need we retrace our steps into the distant past to realize the enormity of opposition, difficulties, and hardships placed in the path of every progressive idea. The rack, the thumbscrew, and the knout are still with us; so are the convict’s garb and the social wrath, all conspiring against the spirit that is serenely marching on.

But I was afraid I’d have to give up on an ideal explanation of her past life. Oh well, there didn’t have to be one necessarily.

No matter how long you waited, no matter how hard you wished, no matter how much you missed the past, time marched forward.

but at the Lychgate we may all pass our own conduct and our own judgments under a searching review. It is not given to human beings, happily for them, for otherwise life would be intolerable, to foresee or to predict to any large extent the unfolding course of events. In one phase men seem to have been right, in another they seem to have been wrong. Then again, a few years later, when the perspective of time has lengthened, all stands in a different setting. There is a new proportion. There is another scale of values. History with its flickering lamp stumbles along the trail of the past, trying to reconstruct its scenes, to revive its echoes, and kindle with pale gleams the passion of former days. What is the worth of all this? The only guide to a man is his conscience; the only shield to his memory is the rectitude and sincerity of his actions. It is very imprudent to walk through life without this shield, because we are so often mocked by the failure of our hopes and the upsetting of our calculations; but with this shield, however the fates may play, we march always in the ranks of honor.

They way one does research into nonexistent history is to tell the story and find out what happened. I believe this isn't very different from what historians of the so-called real world do. Even if we are present at some historic event, so we comprehend it - can we even remember it - until we can tell it as a story? And for events in times or places outside our own experience, we have nothing to go on but the stories other people tell us. Past events exist, after all, only in memory, which is a form of imagination. The event is real now, but once it's then, its continuing reality is entirely up to us, dependent on our energy and honesty. If we let it drop from memory, only imagination can restore the least glimmer of it. If we lie about the past, forcing it to tell a story we want it to tell, to mean what we want it to mean, it loses its reality, becomes a fake. To bring the past along with us through time in the hold-alls of myth and history is a heavy undertaking; but as Lao Tzu says, wise people march along with the baggage wagons.

Cesar is not a philosophical man. His life has been one long flight from reflection. At least he is clever enough not to expose the poverty of his general ideas; he never permits the conversation to move toward philosophical principles. Men of his type so dread all deliberation that they glory in the practice of the instantaneous decision. They think they are saving themselves from irresolution; in reality they are sparing themselves the contemplation of all the consequences of their acts. Moreover, in this way they can rejoice in the illusion of never having made a mistake; for act follows so swiftly on act that it is impossible to reconstruct the past and say that an alternative decision would have been better. They can pretend that every act was forced on them under emergency and that every decision was mothered by necessity

In Jefferson's mind great historical leaps forward were almost always the product of a purging, which freed societies from the accumulated debris of the past and thereby allowed the previously obstructed natural forces to flow forward into the future. Simplicity and austerity, not equality or individualism, were the messages of his inaugural march. It was a minimalist statement about a purging of excess and a recovery of essence.

I hope the people I hurt can see past the prank to the very real respect and affection I feel for them. If not, I may have to take my own advice, buy myself some cute shoes and march on. I hope that's not how it ends, though. I hope this boy-meets-girl-pretending-to-be-boy story has a happy ending, one with less bitter and more sweet.

The struggle for power had reached a new stage; it was fought with scientific formulas. The weapons vanished in the abyss like fleeting images, like pictures one throws into the fire.... When new models were displayed to the masses at the great parades on Red Square in Moscow or elsewhere, the crowds stood in reverent silence and then broke into jubilant shouts of triumph.... Though the display was continual, in this silence and these shouts something evil, old as time, manifested itself in man, who is an outsmarter and setter of traps. Invisible, Cain and Tubalcain marched past in the parade of phantoms.

You know,” Wayne said, “I’m an Allomancer too.” The man said nothing. “I figured you’d want to know,” Wayne said, “since it seems like this is your religion and all. In case you wanted someone else to worship.” Again no reply. “I’m a Slider,” Wayne said. “Speed bubbles, you know? Those fancy titles would work for me just fine, I think. Handsome One. Smart One. Um … Guy wif the Great Hat.” The only sound was that of their footfalls and the gusting wind. “Now, see,” Wayne said, “this is unfair. Wax doesn’t want you to worship him, right? But you gotta have someone to worship. It’s human nature. It’s ingratiated in us. So, I’m willin’ to be accommodatin’ and let you—” “He can’t understand you, Wayne,” Marasi said, marching past. “He’s swapped metalminds to keep himself warm.” Wayne stopped in place as they all hiked onward. “Well, when he gets his brain back, someone tell him I’m a god, all right?” “Will do,” Wax called from up ahead.

The day of democracy is past," he said. "Past for ever. That day began with the bowmen of Crecy, it ended when marching infantry, when common men in masses ceased to win the battles of the world, when costly cannon, great ironclads, and strategic railways became the means of power. To-day is the day of wealth. Wealth now is power as it never was power before—it commands earth and sea and sky. All power is for those who can handle wealth....

some people had told me racism was a thing of he past, they'd told me not to get involved. But that was nuts. They were nuts. And more to the point---they's all been white people. Well guess what? I'm white too ---and that's exactly why I'm marching. I had to. Because racism was alive and real as shit. It was everywhere and all mixed up in everything, and the only people who aids it wasn't, and the only people was said, "Don't talk about it" were white. Well, stop lying. That's what I wanted to tell those people. Stop lying. Stop Denying. That's why I'm marching. Nothing was going to change unless we did something about it. We! White people! We had to stand up and say something about it goo, because otherwise it was just like what those posters in the crowd outside school said: OUR SILENCE IS ANOTHER KIND OF VIOLENCE.

The fine purple cloaks, the holiday garments, elsewhere signs of gayety of mind, are stained with blood and bordered with black. Throughout a stern discipline, the axe ready for every suspicion of treason; “great men, bishops, a chancellor, princes, the king’s relations, queens, a protector kneeling in the straw, sprinkled the Tower with their blood; one after the other they marched past, stretched out their necks; the Duke of Buckingham, Queen Anne Boleyn, Queen Catherine Howard, the Earl of Surrey, Admiral Seymour, the Duke of Somerset, Lady Jane Grey and her husband, the Duke of Northumberland, the Earl of Essex, all on the throne, or on the steps of the throne, in the highest ranks of honor, beauty, youth, genius; of the bright procession nothing is left but senseless trunks, marred by the tender mercies of the executioner.

Ye are most strong, ye Sons of the icy North, of the far East, far marching from your rugged Eastern Wildernesses, hither-ward from the gray Dawn of Time! Ye are Sons of the Jotun-land; the land of Difficulties Conquered. Difficult? You must try this thing. Once try it with the understanding that it will and shall have to be done. Try it as ye try the paltrier thing, making of money! I will bet on you once more, against all Jo'tuns, Tailor-gods, Double-barrelled Law-wards, and Denizens of Chaos whatsoever!

With the smugness of an end man on parade, he bounced along on his sinewy legs, effortlessly marching to attention, floating with a lightness of step remarkably different from the heavy tread of the soldiers keeping time with him. Down by his thigh he carried, unsheathed, a thin little sword – it was a small curved sabre, for ceremonial use only – and he looked and turned sideways to the commander and back to the men behind, without straining his big powerful frame or getting out of step. He seemed to strive with every fibre of his soul to march past his commander with maximum style, and his strong sense of doing this well made him a happy man. ‘Left . . . left . . . left . . .’ he seemed to be mouthing to himself at each alternate step, and that was the rhythm to which the solid wall of military men, weighed down by packs and guns, advanced; each face was different in its stern concentration, and each one of these hundreds of soldiers seemed to mouth his own ‘Left . . . left . . . left . . .’ at each alternate step

One night he sits up. In cots around him are a few dozen sick or wounded. A warm September wind pours across the countryside and sets the walls of the tent rippling. Werner’s head swivels lightly on his neck. The wind is strong and gusting stronger, and the corners of the tent strain against their guy ropes, and where the flaps at the two ends come up, he can see trees buck and sway. Everything rustles. Werner zips his old notebook and the little house into his duffel and the man beside him murmurs questions to himself and the rest of the ruined company sleeps. Even Werner’s thirst has faded. He feels only the raw, impassive surge of the moonlight as it strikes the tent above him and scatters. Out there, through the open flaps of the tent, clouds hurtle above treetops. Toward Germany, toward home. Silver and blue, blue and silver. Sheets of paper tumble down the rows of cots, and in Werner’s chest comes a quickening. He sees Frau Elena kneel beside the coal stove and bank up the fire. Children in their beds. Baby Jutta sleeps in her cradle. His father lights a lamp, steps into an elevator, and disappears. The voice of Volkheimer: What you could be. Werner’s body seems to have gone weightless under his blanket, and beyond the flapping tent doors, the trees dance and the clouds keep up their huge billowing march, and he swings first one leg and then the other off the edge of the bed. “Ernst,” says the man beside him. “Ernst.” But there is no Ernst; the men in the cots do not reply; the American soldier at the door of the tent sleeps. Werner walks past him into the grass. The wind moves through his undershirt. He is a kite, a balloon. Once, he and Jutta built a little sailboat from scraps of wood and carried it to the river. Jutta painted the vessel in ecstatic purples and greens, and she set it on the water with great formality. But the boat sagged as soon as the current got hold of it. It floated downstream, out of reach, and the flat black water swallowed it. Jutta blinked at Werner with wet eyes, pulling at the battered loops of yarn in her sweater. “It’s all right,” he told her. “Things hardly ever work on the first try. We’ll make another, a better one.” Did they? He hopes they did. He seems to remember a little boat—a more seaworthy one—gliding down a river. It sailed around a bend and left them behind. Didn’t it? The moonlight shines and billows; the broken clouds scud above the trees. Leaves fly everywhere. But the moonlight stays unmoved by the wind, passing through clouds, through air, in what seems to Werner like impossibly slow, imperturbable rays. They hang across the buckling grass. Why doesn’t the wind move the light? Across the field, an American watches a boy leave the sick tent and move against the background of the trees. He sits up. He raises his hand. “Stop,” he calls. “Halt,” he calls. But Werner has crossed the edge of the field, where he steps on a trigger land mine set there by his own army three months before, and disappears in a fountain of earth.

I can’t keep up with them, Peter Walsh thought, as they marched up Whitehall, and sure enough, on they marched, past him, past every one, in their steady way, as if one will worked legs and arms uniformly, and life, with its varieties, its irreticences, had been laid under a pavement of monuments and wreaths and drugged into a stiff yet staring corpse by discipline.

At the time [around 1900] too people were internationally minded, and summarily rejected state, nation, race, family, and religion because they resisted all bonds handed down by the past. Moreover, people believed in progress, in the life of the mind, in the value of what they accomplished: the mood of such an age is always international. For mankind's forward intellectual march has constantly distributed its steps among the various nations, and only a dejected age can be intellectually nationalist and conservative: it wants to conserve because it has given up hope.

How odd it is, thought March afterwards, to live your life in ignorance of the past, of your world, yourself. Yet how easy to do it! You went along from day to day, down paths other people had prepared for you, never raising your head - enfolded in their logic, from swaddling clothes to shroud. It was a kind of fear. Well, goodbye to that. And good to leave it behind - whatever happened now. - 214

I wonder where he lies. Wedged under a rock, with a thousand small mouths already sucking on his spongy flesh. Or floating still, on and down, on and down, to wider, calmer reaches of the river. I see them gathering: the drowned, the shot. Their hands float out to touch each other, fingertip to fingertip. In a day, two days, they will glide on, a funeral flotilla, past the unfinished white dome rising out of its scaffolds on a muddy hill in Washington. Will the citizens recognize them, the brave fallen, and uncover in a gesture of respect? Or will they turn away, disgusted by the bloated mass of human rot?

The temporary alliance between the elite and the mob rested largely on this genuine delight with which the former watched the latter destroy respectability. This could be achieved when the German steel barons were forced to deal with and to receive socially Hitler's the housepainter and self-admitted former derelict, as it could be with the crude and vulgar forgeries perpetrated by the totalitarian movements in all fields of intellectual life, insofar as they gathered all the subterranean, nonrespectable elements of European history into one consistent picture. From this viewpoint it was rather gratifying to see that Bolshevism and Nazism began even to eliminate those sources of their own ideologies which had already won some recognition in academic or other official quarters. Not Marx's dialectical materialism, but the conspiracy of 300 families; not the pompous scientificality of Gobineau and Chamberlain, but the "Protocols of the Elders of Zion"; not the traceable influence of the Catholic Church and the role played by anti-clericalism in Latin countries, but the backstairs literature about the Jesuits and the Freemasons became the inspiration for the rewriters of history. The object of the most varied and variable constructions was always to reveal history as a joke, to demonstrate a sphere of secret influences of which the visible, traceable, and known historical reality was only the outward façade erected explicitly to fool the people. To this aversion of the intellectual elite for official historiography, to its conviction that history, which was a forgery anyway, might as well be the playground of crackpots, must be added the terrible, demoralizing fascination in the possibility that gigantic lies and monstrous falsehoods can eventually be established as unquestioned facts, that man may be free to change his own past at will, and that the difference between truth and falsehood may cease to be objective and become a mere matter of power and cleverness, of pressure and infinite repetition. Not Stalin’s and Hitler's skill in the art of lying but the fact that they were able to organize the masses into a collective unit to back up their lies with impressive magnificence, exerted the fascination. Simple forgeries from the viewpoint of scholarship appeared to receive the sanction of history itself when the whole marching reality of the movements stood behind them and pretended to draw from them the necessary inspiration for action.

He pushed up the window and leaned out. An L train was rumbling past the end of the street. A whiff of coal smoke stung his nostrils. He hung out of the window a long while looking up and down the street. The world’s second metropolis. In the brick houses and the dingy lamplight and the voices of a group of boys kidding and quarreling on the steps of a house opposite, in the regular firm tread of a policeman, he felt a marching like soldiers, like a sidewheeler going up the Hudson under the Palisades, like an election parade, through long streets towards something tall white full of colonnades and stately. Metropolis.

In front marched Egypt. The Duke of Egypt at their head, on horseback, with his counts on foot, holding his bridle and stirrups; behind them the Egyptians, men and women, in any order, with their young children yelling on their shoulders; all of them, duke, counts, common people, in rags and tinsel. Then came the kingdom of the argot, that is to say, every thief in France, graded in order of rank, the lowest going in front. Thus there filed past in column of four, in the various insignia of their grades in this strange academy, the majority crippled, some of them lame, others with only one arm, the upright men, the counterfeit cranks, the rufflers, the kinchincoves, the Abraham-men, the fraters, the dommerars, the trulls, the whipjacks, the prygges, the drawlatches, the robardesmen, the clapper-dogens; an enumeration to weary Homer.

The first school shooting that attracted the attention of a horrified nation occurred on March 24, 1998, in Jonesboro, Arkansas. Two boys opened fire on a schoolyard full of girls, killing four and one female teacher. In the wake of what came to be called the Jonesboro massacre, violence experts in media and academia sought to explain what others called “inexplicable.” For example, in a front-page Boston Globe story three days after the tragedy, David Kennedy from Harvard University was quoted as saying that these were “peculiar, horrible acts that can’t easily be explained.” Perhaps not. But there is a framework of explanation that goes much further than most of those routinely offered. It does not involve some incomprehensible, mysterious force. It is so straightforward that some might (incorrectly) dismiss it as unworthy of mention. Even after a string of school shootings by (mostly white) boys over the past decade, few Americans seem willing to face the fact that interpersonal violence—whether the victims are female or male—is a deeply gendered phenomenon. Obviously both sexes are victimized. But one sex is the perpetrator in the overwhelming majority of cases. So while the mainstream media provided us with tortured explanations for the Jonesboro tragedy that ranged from supernatural “evil” to the presence of guns in the southern tradition, arguably the most important story was overlooked. The Jonesboro massacre was in fact a gender crime. The shooters were boys, the victims girls. With the exception of a handful of op-ed pieces and a smattering of quotes from feminist academics in mainstream publications, most of the coverage of Jonesboro omitted in-depth discussion of one of the crucial facts of the tragedy. The older of the two boys reportedly acknowledged that the killings were an act of revenge he had dreamed up after having been rejected by a girl. This is the prototypical reason why adult men murder their wives. If a woman is going to be murdered by her male partner, the time she is most vulnerable is after she leaves him. Why wasn’t all of this widely discussed on television and in print in the days and weeks after the horrific shooting? The gender crime aspect of the Jonesboro tragedy was discussed in feminist publications and on the Internet, but was largely absent from mainstream media conversation. If it had been part of the discussion, average Americans might have been forced to acknowledge what people in the battered women’s movement have known for years—that our high rates of domestic and sexual violence are caused not by something in the water (or the gene pool), but by some of the contradictory and dysfunctional ways our culture defines “manhood.” For decades, battered women’s advocates and people who work with men who batter have warned us about the alarming number of boys who continue to use controlling and abusive behaviors in their relations with girls and women. Jonesboro was not so much a radical deviation from the norm—although the shooters were very young—as it was melodramatic evidence of the depth of the problem. It was not something about being kids in today’s society that caused a couple of young teenagers to put on camouflage outfits, go into the woods with loaded .22 rifles, pull a fire alarm, and then open fire on a crowd of helpless girls (and a few boys) who came running out into the playground. This was an act of premeditated mass murder. Kids didn’t do it. Boys did.

Sometimes at night the only sound was the syncopated footfalls of a Nazi patrol stiffly marching past in their nailed boots. It was like the noise of a pitiless machine. The sound of those unseen boots created an abyss in the atmosphere that you felt yourself falling into. You can’t imagine how sinister it seemed that they marched in step like that when there was no one around to see them. They didn’t seem like human beings, more like programmed automatons.

Here ends Prometheus' surprising itinerary. Proclaiming his hatred of the gods and his love of mankind, he turns away from Zeus with scorn and approaches mortal men in order to lead them in an assault against the heavens. But men are weak and cowardly; they must be organized. They love pleasure and immediate happiness; they must be taught to refuse, in order to grow up, immediate rewards. Thus Prometheus, in his turn, becomes a master who first teaches and then commands. Men doubt that they can safely attack the city of light and are even uncertain whether the city exists. They must be saved from themselves. The hero then tells them that he, and he alone, knows the city. Those who doubt his word will be thrown into the desert, chained to a rock, offered to the vultures. The others will march henceforth in darkness, behind the pensive and solitary master. Prometheus alone has become god and reigns over the solitude of men. But from Zeus he has gained only solitude and cruelty; he is no longer Prometheus, he is Caesar. The real, the eternal Prometheus has now assumed the aspect of one of his victims. The same cry, springing from the depths of the past, rings forever through the Scythian desert.

Lift every voice and sing, Till earth and heaven ring, Ring with the harmonies of Liberty; Let our rejoicing rise High as the list’ning skies, Let it resound loud as the rolling sea. Sing a song full of the faith that the dark past has taught us, Sing a song full of the hope that the present has brought us; Facing the rising sun of our new day begun, Let us march on till victory is won. Stony the road we trod, Bitter the chast’ning rod, Felt in the days when hope unborn had died; Yet with a steady beat, Have not our weary feet Come to the place for which our fathers sighed? We have come over a way that with tears has been watered. We have come, treading our path through the blood of the slaughtered, Out from the gloomy past, Till now we stand at last Where the white gleam of our bright star is cast. God of our weary years, God of our silent tears, Thou who hast brought us thus far on the way; Thou who hast by Thy might, Led us into the light, Keep us forever in the path, we pray. Lest our feet stray from the places, our God, where we met Thee, Lest our hearts, drunk with the wine of the world, we forget Thee; Shadowed beneath Thy hand, May we forever stand, True to our God, True to our native land.

Last Night’s Moon," “When will we next walk together under last night’s moon?” - Tu Fu March aspens, mist forest. Green rain pins down the sea, early evening cyanotype. Silver saltlines, weedy toques of low tide, pillow lava’s black spill indelible in the sand. Unbroken broken sea. — Rain sharpens marsh-hair birth-green of the spring firs. In the bog where the dead never disappear, where river birch drown, the surface strewn with reflection. This is the acid-soaked moss that eats bones, keeps flesh; the fermented ground where time stops and doesn’t; dissolves the skull, preserves the brain, wrinkled pearl in black mud. — In the autumn that made love necessary, we stood in rubber boots on the sphagnum raft and learned love is soil–stronger than peat or sea– melting what it holds. The past is not our own. Mole’s ribbon of earth, termite house, soaked sponge. It rises, keloids of rain on wood; spreads, milkweed galaxy, broken pod scattering the debris of attention. Where you are while your body is here, remembering in the cold spring afternoon. The past is a long bone. — Time is like the painter’s lie, no line around apple or along thigh, though the apple aches to its sweet edge, strains to its skin, the seam of density. Invisible line closest to touch. Lines of wet grass on my arm, your tongue’s wet line across my back. All the history in the bone-embedded hills of your body. Everything your mouth remembers. Your hands manipullate in the darkness, silver bromide of desire darkening skin with light. — Disoriented at great depths, confused by the noise of shipping routes, whales hover, small eyes squinting as they consult the magnetic map of the ocean floor. They strain, a thousand miles through cold channels; clicking thrums of distant loneliness bounce off seamounts and abyssal plains. They look up from perpetual dusk to rods of sunlight, a solar forest at the surface. Transfixed in the dark summer kitchen: feet bare on humid linoleum, cilia listening. Feral as the infrared aura of the snake’s prey, the bees’ pointillism, the infrasonic hum of the desert heard by the birds. The nighthawk spans the ceiling; swoops. Hot kitchen air vibrates. I look up to the pattern of stars under its wings.

Will you come and tell me when the music ends When the musicians are swallowed in flames Every instrument blackening and crumbling to ash When the dancers stumble and sprawl their diseased limbs rotting off and twitching the skin sloughing away Will you come and tell me when the music ends When the stars we pushed into the sky loose their roars And the clouds we built into visible rage do now explode When the bright princes of privilege march past with dead smiles falling from their faces a host of deceiving masks Will you come and tell me when the music ends When reason sinks into the morass of superstition Waging a war of ten thousand armies stung to the lash When we stop looking up even as we begin our mad running into stupidity’s nothingness with heavenly choirs screaming Will you come and tell me when the music ends When the musicians are no more than black grinning sticks Every instrument wailing its frantic death cry down the road When the ones left standing have had their mouths cut off leaving holes from which a charnel wind eternally blows

For our species, the idea of art as ornament is a relatively new one. Our ape brains got too big, too big for our heads, too big for our mothers to birth them. So we started keeping all our extra knowing in language, in art, in stories and books and songs. Art was a way of storing our brains in each other’s. It wasn’t until fairly recently in human history, when rich landowners wanted something pretty to look at in winter, that the idea of art-as-mere-ornament came around. A painting of a blooming rose to hang on the mantel when the flowers outside the window had gone to ice. And still in the twenty-first century, it’s hard for folks to move past that. This idea that beauty is the horizon toward which all great art must march. I’ve never been interested in that. “As heaven spins, I fall into bedlam.

The bus stops right in front of our house and takes me day to day, week to week, and month to month of the same girls saying the same things. But at the end of March, as I stand on the stage, accepting my award for receiving 100 percent in every class for the whole month, I catch a glimpse of myself in the certificate's shiny gold stamp and finger my baby hair back away from my face. I know I'm not going to get stuck on the bus with those girls. I'm going to travel places too far for them to see, miles and miles outside of being black, past the snap of their fingers with the complementary 'Baby, boom,' 'Baby, pop,' or 'Baby, please,' past anything they say about me until I can feel them so far behind that I can look back and see stupid little girls, still occasionally talking their smack, pushing me on.

The Government set the stage economically by informing everyone that we were in a depression period, with very pointed allusions to the 1930s. The period just prior to our last 'good' war. ... Boiled down, our objective was to make killing and military life seem like adventurous fun, so for our inspiration we went back to the Thirties as well. It was pure serendipity. Inside one of the Scripter offices there was an old copy of Doc Smith's first LENSMAN space opera. It turned out that audiences in the 1970s were more receptive to the sort of things they scoffed at as juvenilia in the 1930s. Our drugs conditioned them to repeat viewings, simultaneously serving the ends of profit and positive reinforcement. The movie we came up with stroked all the correct psychological triggers. The fact that it grossed more money than any film in history at the time proved how on target our approach was.' 'Oh my God... said Jonathan, his mouth stalling the open position. 'Six months afterward we ripped ourselves off and got secondary reinforcement onto television. We pulled a 40 share. The year after that we phased in the video games, experimenting with non-narcotic hypnosis, using electrical pulses, body capacitance, and keying the pleasure centers of the brain with low voltage shocks. Jesus, Jonathan, can you *see* what we've accomplished? In something under half a decade we've programmed an entire generation of warm bodies to go to war for us and love it. They buy what we tell them to buy. Music, movies, whole lifestyles. And they hate who we tell them to. ... It's simple to make our audiences slaver for blood; that past hasn't changed since the days of the Colosseum. We've conditioned a whole population to live on the rim of Apocalypse and love it. They want to kill the enemy, tear his heart out, go to war so their gas bills will go down! They're all primed for just that sort of denouemment, ti satisfy their need for linear storytelling in the fictions that have become their lives! The system perpetuates itself. Our own guinea pigs pay us money to keep the mechanisms grinding away. If you don't believe that, just check out last year's big hit movies... then try to tell me the target demographic audience isn't waiting for marching orders. ("Incident On A Rainy Night In Beverly Hills")

What is a price? It is a proposed point of agreement between a buyer and seller. The proposal is the key. It is not a marching order. Past prices represent deals done in history. Current prices represent possible deals in the future. Prices embed vast information about perceived realities: resource availability, consumer demand, cultural biases and habits, speculations about the future. The price is also an amazing tool. It provides an objective basis for accounting and the assessment of profit and loss. Without prices, real prices rooted in real market experience, we’d been lost.

He thought he would light the fire when he got inside, and make himself some breakfast, just to pass away the time; but he did not seem able to handle anything from a scuttleful of coals to a teaspoon without dropping it or falling over it, and making such a noise that he was in mortal fear that it would wake Mrs. G. up, and that she would think it was burglars and open the window and call “Police!” and then these two detectives would rush in and handcuff him, and march him off to the police-court. He was in a morbidly nervous state by this time, and he pictured the trial, and his trying to explain the circumstances to the jury, and nobody believing him, and his being sentenced to twenty years’ penal servitude, and his mother dying of a broken heart.  So he gave up trying to get breakfast, and wrapped himself up in his overcoat and sat in the easy-chair till Mrs. G came down at half-past seven.

There's one big difference between the poor and the rich,' Kite says, taking a drag from his cigarette. We are in a pub, at lunch-time. John Kite is always, unless stated otherwise, smoking a fag, in a pub, at lunch-time. 'The rich aren't evil, as so many of my brothers would tell you. I've known rich people -- I have played on their yachts -- and they are not unkind, or malign, and they do not hate the poor, as many would tell you. And they are not stupid -- or at least, not any more than the poor are. Much as I find amusing the idea of a ruling class of honking toffs, unable to put their socks on without Nanny helping them, it is not true. They build banks, and broker deals, and formulate policy, all with perfect competency. 'No -- the big difference between the rich and the poor is that the rich are blithe. They believe nothing can ever really be so bad, They are born with the lovely, velvety coating of blitheness -- like lanugo, on a baby -- and it is never rubbed off by a bill that can't be paid; a child that can't be educated; a home that must be left for a hostel, when the rent becomes too much. 'Their lives are the same for generations. There is no social upheaval that will really affect them. If you're comfortably middle-class, what's the worst a government policy could do? Ever? Tax you at 90 per cent and leave your bins, unemptied, on the pavement. But you and everyone you know will continue to drink wine -- but maybe cheaper -- go on holiday -- but somewhere nearer -- and pay off your mortgage -- although maybe later. 'Consider, now, then, the poor. What's the worst a government policy can do to them? It can cancel their operation, with no recourse to private care. It can run down their school -- with no escape route to a prep. It can have you out of your house and into a B&B by the end of the year. When the middle-classes get passionate about politics, they're arguing about their treats -- their tax breaks and their investments. When the poor get passionate about politics, they're fighting for their lives. 'Politics will always mean more to the poor. Always. That's why we strike and march, and despair when our young say they won't vote. That's why the poor are seen as more vital, and animalistic. No classical music for us -- no walking around National Trust properties, or buying reclaimed flooring. We don't have nostalgia. We don't do yesterday. We can't bear it. We don't want to be reminded of our past, because it was awful; dying in mines, and slums, without literacy, or the vote. Without dignity. It was all so desperate, then. That's why the present and the future is for the poor -- that's the place in time for us: surviving now, hoping for better, later. We live now -- for our instant, hot, fast treats, to prep us up: sugar, a cigarette, a new fast song on the radio. 'You must never, never forget, when you talk to someone poor, that it takes ten times the effort to get anywhere from a bad postcode, It's a miracle when someone from a bad postcode gets anywhere, son. A miracle they do anything at all.

1 I don't believe in omens or fear Forebodings. I flee from neither slander Nor from poison. Death does not exist. Everyone's immortal. Everything is too. No point in fearing death at seventeen, Or seventy. There's only here and now, and light; Neither death, nor darkness, exists. We're all already on the seashore; I'm one of those who'll be hauling in the nets When a shoal of immortality swims by. 2 If you live in a house - the house will not fall. I'll summon any of the centuries, Then enter one and build a house in it. That's why your children and your wives Sit with me at one table, - The same for ancestor and grandson: The future is being accomplished now, If I raise my hand a little, All five beams of light will stay with you. Each day I used my collar bones For shoring up the past, as though with timber, I measured time with geodetic chains And marched across it, as though it were the Urals. 3 I tailored the age to fit me. We walked to the south, raising dust above the steppe; The tall weeds fumed; the grasshopper danced, Touching its antenna to the horse-shoes - and it prophesied, Threatening me with destruction, like a monk. I strapped my fate to the saddle; And even now, in these coming times, I stand up in the stirrups like a child. I'm satisfied with deathlessness, For my blood to flow from age to age. Yet for a corner whose warmth I could rely on I'd willingly have given all my life, Whenever her flying needle Tugged me, like a thread, around the globe.

I was marching. I kept saying it as I scanned the crowd for Jill, pumping myself up, because some people had told me racism was a thing of the past, they's told me not to get involved. But that was nuts. They were nuts. And more to the point - they'd all been white people. Well, guess what? I'm white too - and that's exactly why I was marching. I had to. Because racism was alive and real as shit. It was everywhere and all mixed up in everything, and the only people who said it wasn't, and the only people who said "Don't talk about it" were white. Well, stop lying. That's what I wanted to tell those people. Stop lying. Stop denying. That's why I was marching. Nothing was going to change unless we did something about it. We! White people! We had to stand up and say something about it too, because otherwise it was just like what one of those posters in the crowd outside school said: OUR SILENCE IS ANOTHER KIND OF VIOLENCE

For more than a century, ideological extremists, at either end of the political spectrum, have seized upon well-publicized incidents, such as my encounter with Castro, to attack the Rockefeller family for the inordinate influence they claim we wield over American political and economic institutions. Some even believe we are part of a secret cabal, working against the best interests of the United States, characterizing my family and me as 'internationalists,' and of conspiring with others around the world to build a more integrated global political and economic structure - one world, if you will. If that's the charge, I stand guilty, and I am proud of it. “We are grateful to the Washington Post, the New York Times, Time Magazine and other great publications whose directors have attended our meetings and respected their promises of discretion for almost 40 years......It would have been impossible for us to develop our plan for the world if we had been subjected to the lights of publicity during those years. But, the world is more sophisticated and prepared to march towards a world government. The supernational sovereignty of an intellectual elite and world bankers is surely preferable to the national autodetermination practiced in past centuries.

And further, God should not be regarded as older than His creations by any period of time, but rather by the peculiar property of His own single nature. For the infinite changing of temporal things tries to imitate the ever simultaneously present immutability of His life: it cannot succeed in imitating or equalling this, but sinks from immutability into change, and falls from the single directness of the present into an infinite space of future and past. And since this temporal state cannot possess its life completely and simultaneously, but it does, in the same manner, exist forever without ceasing, it therefore seems to try in some degree to rival that which it cannot fulfill or represent, for it binds itself to some sort of present time out of this small and fleeting moment; but inasmuch as this temporal present bears a certain appearance of that abiding present, it somehow makes those, to whom it comes, seem to be in truth what they imitate. But since this imitation could not be abiding, the unending march of time has swept it away, and thus we find that it has bound together, as it passes, a chain of life, which it could not by abiding embrace in its fullness. And thus if we would apply proper epithets to those subjects, we can say, following Plato, that God is eternal, but the universe is continual.

No, he would never know his father, who would continue to sleep over there, his face for ever lost in the ashes. There was a mystery about that man, a mystery he had wanted to penetrate. But after all there was only the mystery of poverty that creates beings without names and without a past, that sends them into the vast throng of the nameless dead who made the world while they themselves were destroyed for ever. For it was just that that his father had in common with the men of the Labrador. The Mahon people of the Sahel, the Alsatians on the high plateaus, with this immense island between sand and sea, which the enormous silence was now beginning to envelop: the silence of anonymity; it enveloped blood and courage and work and instinct, it was at once cruel and compassionate. And he who had wanted to escape from the country without name, from the crowd and from a family without a name, but in whom something had gone on craving darkness and anonymity - he too was a member of the tribe, marching blindly into the night near the old doctor who was panting at his right, listening to the gusts of music coming from the square, seeing once more the hard inscrutable faces of the Arabs around the bandstands, Veillard's laughter and his stubborn face - also seeing with a sweetness and a sorrow that wrung his heart the deathly look on his mother's face at the time of the bombing - wandering though the night of the years in the land of oblivion where each one is the first man, where he had to bring himself up, without a father, having never known those moments when a father would call his son, after waiting for him to reach the age of listening, to tell him the family's secret, or a sorrow of long ago, or the experience of his life, those moments when even the ridiculous and hateful Polonius all of a sudden becomes great when he is speaking to Laertes; and he was sixteen, then he was twenty, and no one had spoken to him, and he had to learn by himself, to grow alone, in fortitude, in strength, find his own morality and truth, at last to be born as a man and then to be born in a harder childbirth, which consists of being born in relation to others, to women, like all the men born in this country who, one by one, try to learn without roots and without faith, and today all of them are threatened with eternal anonymity and the loss of the only consecrated traces of their passage on this earth, the illegible slabs in the cemetery that the night has now covered over; they had to learn how to live in relation to others, to the immense host of the conquerors, now dispossessed, who had preceded them on this land and in whom they now had to recognise the brotherhood of race and destiny.

Mist and the smoke of guns lie breast-high over the fields. The moon is shining. Along the road troops file. Their helmets gleam softly in the moonlight. The heads and the rifles stand out above the white mist, nodding heads, rocking barrels. Farther on the mist ends. Here the heads become figures; coats, trousers, and boots appear out of the mist as from a milky pool. They become a column. The column marches on, straight ahead, the figures resolve themselves into a block, individuals are no longer recognizable, the dark wedge presses onward, fantastically topped by the heads and the weapons floating on the milky pool. A column—not men at all. Guns and munition wagons are moving along a cross-road. The backs of the horses shine in the moonlight, their movements are beautiful, they toss their heads, and their eyes gleam. The guns and the wagons float past the dim background of the moonlit landscape, the riders in their steel helmets resemble knights of a forgotten time; it is strangely beautiful and arresting.

Politics will always mean more to the poor. Always. That's why we strike and march, and despair when our young say they won't vote. That's why the poor are seen as more vital, and animalistic. No classical music for us - no walking around National Trust properties or buying reclaimed flooring. We don't have nostalgia. We don't do yesterday. We can't bear it. We don't want to be reminded of our past, because it was awful: dying in mines and slums without literacy or the vote. Without dignity. It was all so desperate then. That's why the present and the future is for the poor - that's the place in time for us: surviving now, hoping for better later. We live now - for our own instant hot, fast treats, to pep us up: sugar, a cigarette, a new fast song on the radio.

The decades that she devoted to conserving her husband’s legacy made Eliza only more militantly loyal to his memory, and there was one injury she could never forget: the exposure of the Maria Reynolds affair, for which she squarely blamed James Monroe. In the 1820s, after Monroe had completed two terms as president, he called upon Eliza in Washington, D.C., hoping to thaw the frost between them. Eliza was then about seventy and staying at her daughter’s home. She was sitting in the backyard with her fifteen-year-old nephew when a maid emerged and presented the ex-president’s card. Far from being flattered by this distinguished visitor, Eliza was taken aback. “She read the name and stood holding the card, much perturbed,” said her nephew. “Her voice sank and she spoke very low, as she always did when she was angry. ‘What has that man come to see me for?’” The nephew said that Monroe must have stopped by to pay his respects. She wavered. “I will see him,” she finally agreed. So the small woman with the upright carriage and the sturdy, determined step marched stiffly into the house. When she entered the parlor, Monroe rose to greet her. Eliza then did something out of character and socially unthinkable: she stood facing the ex-president but did not invite him to sit down. With a bow, Monroe began what sounded like a well-rehearsed speech, stating “that it was many years since they had met, that the lapse of time brought its softening influences, that they both were nearing the grave, when past differences could be forgiven and forgotten.” Eliza saw that Monroe was trying to draw a moral equation between them and apportion blame equally for the long rupture in their relationship. Even at this late date, thirty years after the fact, she was not in a forgiving mood. “Mr. Monroe,” she told him, “if you have come to tell me that you repent, that you are sorry, very sorry, for the misrepresentations and the slanders and the stories you circulated against my dear husband, if you have come to say this, I understand it. But otherwise, no lapse of time, no nearness to the grave, makes any difference.” Monroe took in this rebuke without comment. Stunned by the fiery words delivered by the elderly little woman in widow’s weeds, the ex-president picked up his hat, bid Eliza good day, and left the house, never to return.

After he'd gone, I slammed the door shut and, after the day I had, wasn't the least bit surprised to see my closet door open and Whitley stick his head out. "Son of hibachi," I muttered. Now I would have to add burning all of my clothes to my list of things to do. "What?" He exited the closet with a smile. "I don't even get a hello?" I held up a finger. "Wait right here." He shrugged. I shut the door behind me and marched back into the living room and pointed at Dr. Wendell. "You. Come with me. Now." Wide-eyed, he rose from the couch and followed me to my door. Before I opened it, I turned to him. "You said part of your job was to protect me, right?" He nodded, his brow knit in lines of confusion. "Just to prove how bad you suck at your job, look at this." I swung open the door and Whitley waved from his perch at the end of my bed. Dr. Wendell's mouth dropped and he took a step back. "Wait. What is-who is that?" "That"-I gestured to the boy on my bed-"is Whitley, aka Zeami, aka the psycho who tried to kill me, steal my powers, and burnt down my house." Whitley smiled. "Guilty as charged." I folded my arms and glared at Dr. Wendell. "If you're supposedly protecting me, how could you let my past-life murderer walk right into my bedroom and hide out in my closet?" Dr. Wendell shook his head, his skin a shade paler than it had been moments ago. "But I-I didn't-how-" He looked at Whitley. "How did you get in here?" Whitley rolled his eyes. "Through the door. Duh." Dr. Wendell pushed me behind him, bringing his shaking fists in front of his face. "It doesn't matter. If you want to kill Rileigh, you're going to have to get past me.

Every few minutes columns marched past outside, some with crashing military marches, others to the tune of the Internationale, and then again silent, long processions with placards carried in advance demanding work and bread. The beat of the many footsteps on the pavement was like the inexorable ticking of some gigantic clock. During the afternoon there had already been a clash between strikers and the police; twelve people had been hurt, and for hours the entire force had been standing to. The whistle of motor ambulances shrilled through the streets. “There’s no rest,” said the proprietor, showing a sixteen. “Ever since the war there’s been no rest. And yet we all wanted nothing else then, but rest. Crazy world.” I showed seventeen and raked in the pot. “It’s not the world that’s crazy,” said I. “It’s the people in it.

Do you understand me, good people? Do you understand now why it is not as easy as it used to be to sit behind that desk and learn only what Oom Dawie has decided I must know? My head is rebellious. It refuses now to remember when the Dutch landed, and the Huguenots landed, and the British landed. It has already forgotten when the old Union become the proud young Republic. But it does know what happened in Kliptown in 1955, in Sharpville on 21st March, 1960, and in Soweto on the 16th of June 1976. Do you? Better find out because those are dates your children will have to learn one day. We don't need the Zolile classrooms any more. We know now what they really are ... traps which have been carefully set to catch our minds, our souls. No, good people. e have woken up at last.We have found another school ... the streets, the little rooms, the funeral parlours of the location ... anywhere the people meet and whisper names we have been told to forget, the dates of events they try to tell us never happened, and the speeches they try to say were never made. Those are the lessons we are eager and proud to learn, because they are lessons about our history, about our heroes. But the time for whispering them is past. Tomorrow we start shouting. AMANDLA!

One of the most surprisingly controversial presidential decisions I made was to return the Crown of Saint Stephen to the people of Hungary. It was said to have been given by the Pope in the year 1000 to Stephen, the first king of Hungary, as a symbol of political and religious authority and was worn by more than fifty kings when they were vested with power. A distinctive feature was that the cross on top was bent. As Soviet troops invaded Hungary, toward the end of the Second World War, some Hungarians delivered to American troops the crown and other royal regalia, which were subsequently stored in Fort Knox alongside our nation’s gold. The Soviets still dominated Hungary when I announced my decision to return the crown. There was a furor among Hungarian-Americans and others, and I was denounced as accepting the subservience of the occupied nation. I considered the crown to be a symbol of the freedom and sovereignty of the Hungarian people. I returned it in January 1978, stipulating that the crown and insignia must be controlled by Hungarians, carefully protected, and made available for public display as soon as practicable. A duplicate of the crown was brought to The Carter Center as a gift for me in March 1998 and is on display in our presidential museum. Rosalynn and I led volunteers to build Habitat houses in Vác, Hungary, in 1996, and we were treated as honored guests of the government and escorted to the Hungarian National Museum to see the crown and the stream of citizens who were going past it, many of them reciting a prayer as they did so. We were told that more than 3 million people pay homage to the crown each year. A few years later it was moved to its permanent home, in the Hungarian Parliament Building.

Let me first establish—on your behalf—feelings of animosity and disgust at the mendacity inherent in this concept of "cartoon." Whenever someone hits you with a conversational shot that is crude or is intended to hurt, and you bristle, the shooter quickly throws up his/her hands and tries to get you to believe, "I was only kidding. It was all in fun. Boy, are you overreacting. You musn't take it seriously, it was just a joke." Well, we know it wasn't any such thing. It was a snippet of truth slipping past the cultural safeguards that keep us dealing with one another with civility. It was for real. Similarly, when such films as Streets of Fire and Gremlins and Temple of Doom are made, we are expected to take them seriously enough to plonk down five bucks for a ticket. When they fail to deliver what they've promised in all those tv clips, and we express our anger at having been fleeced, the shooters tell us we're overreacting and we should feel a lot better about losing our five or ten or whatever amount they got out of us, because it was all a gag. I wonder how well they'd take the gag if we paid for the tickets with counterfeit bills. Or pried open the firedoor at the theater and sneaked in with the entire Duke University Marching Band. "It was all a joke, fellahs; don't take it so seriously; gawd, are you overreacting!" No, they cannot have that cake and eat it, too.

To proclaim 'America First' was to deny any need to fight fascism either at home or abroad. When American Nazis and white supremacists marched in Charlottesville in August 2017, Trump said that some of them were 'very fine people.' He defended the Confederate and Nazi cause of preserving monuments to the Confederacy. Such monuments in the American South were raised in the 1920s and 1930s, at a time when fascism in the United States was a real possibility; they memorialized the racial purification of Southern cities that was contemporary with the rise of fascism in Europe. Contemporary observers had no difficulty seeing the connection. Will Rogers, the great American entertainer and social commentator of his time, saw Adolf Hitler in 1933 as a familiar figure: 'Papers all state that Hitler is trying to copy Mussolini. Looks to me it's the KKK he's copying.' The great American social thinker and historian W.E.B. Du Bois could see how the temptations of fascism worked together with American myths of the past. He rightly feared that American whites would prefer a story about enmity with blacks to a reforming state that would improve prospects for all Americans. Whites distracted by racism could become, as he wrote in 1935, 'the instrument by which democracy in the nation was done to death, race provincialism deified, and the world delivered to plutocracy,' what we call oligarchy.

In the campaign of 1876, Robert G. Ingersoll came to Madison to speak. I had heard of him for years; when I was a boy on the farm a relative of ours had testified in a case in which Ingersoll had appeared as an attorney and he had told the glowing stories of the plea that Ingersoll had made. Then, in the spring of 1876, Ingersoll delivered the Memorial Day address at Indianapolis. It was widely published shortly after it was delivered and it startled and enthralled the whole country. I remember that it was printed on a poster as large as a door and hung in the post-office at Madison. I can scarcely convey now, or even understand, the emotional effect the reading of it produced upon me. Oblivious of my surroundings, I read it with tears streaming down my face. It began, I remember: "The past rises before me like a dream. Again we are in the great struggle for national life.We hear the sounds of preparation--the music of boisterous drums--the silver voices of heroic bugles. We see the pale cheeks of women and the flushed faces of men; and in those assemblages we see all the dead whose dust we have covered with flowers..." I was fairly entranced. he pictured the recruiting of the troops, the husbands and fathers with their families on the last evening, the lover under the trees and the stars; then the beat of drums, the waving flags, the marching away; the wife at the turn of the lane holds her baby aloft in her arms--a wave of the hand and he has gone; then you see him again in the heat of the charge. It was wonderful how it seized upon my youthful imagination. When he came to Madison I crowded myself into the assembly chamber to hear him: I would not have missed it for every worldly thing I possessed. And he did not disappoint me. A large handsome man of perfect build, with a face as round as a child's and a compelling smile--all the arts of the old-time oratory were his in high degree. He was witty, he was droll, he was eloquent: he was as full of sentiment as an old violin. Often, while speaking, he would pause, break into a smile, and the audience, in anticipation of what was to come, would follow him in irresistible peals of laughter. I cannot remember much that he said, but the impression he made upon me was indelible. After that I got Ingersoll's books and never afterward lost an opportunity to hear him speak. He was the greatest orater, I think, that I have ever heard; and the greatest of his lectures, I have always thought, was the one on Shakespeare. Ingersoll had a tremendous influence upon me, as indeed he had upon many young men of that time. It was not that he changed my beliefs, but that he liberated my mind. Freedom was what he preached: he wanted the shackles off everywhere. He wanted men to think boldly about all things: he demanded intellectual and moral courage. He wanted men to follow wherever truth might lead them. He was a rare, bold, heroic figure.

The hardest part was coming to terms with the constant dispiriting discovery that there is always more hill. The thing about being on a hill, as opposed to standing back from it, is that you can almost never see exactly what’s to come. Between the curtain of trees at every side, the ever-receding contour of rising slope before you, and your own plodding weariness, you gradually lose track of how far you have come. Each time you haul yourself up to what you think must surely be the crest, you find that there is in fact more hill beyond, sloped at an angle that kept it from view before, and that beyond that slope there is another, and beyond that another and another, and beyond each of those more still, until it seems impossible that any hill could run on this long. Eventually you reach a height where you can see the tops of the topmost trees, with nothing but clear sky beyond, and your faltering spirit stirs—nearly there now!—but this is a pitiless deception. The elusive summit continually retreats by whatever distance you press forward, so that each time the canopy parts enough to give a view you are dismayed to see that the topmost trees are as remote, as unattainable, as before. Still you stagger on. What else can you do? When, after ages and ages, you finally reach the telltale world of truly high ground, where the chilled air smells of pine sap and the vegetation is gnarled and tough and wind bent, and push through to the mountain’s open pinnacle, you are, alas, past caring. You sprawl face down on a sloping pavement of gneiss, pressed to the rock by the weight of your pack, and lie there for some minutes, reflecting in a distant, out-of-body way that you have never before looked this closely at lichen, not in fact looked this closely at anything in the natural world since you were four years old and had your first magnifying glass. Finally, with a weary puff, you roll over, unhook yourself from your pack, struggle to your feet, and realize—again in a remote, light-headed, curiously not-there way—that the view is sensational: a boundless vista of wooded mountains, unmarked by human hand, marching off in every direction. This really could be heaven.

Emma, calm down. I had to know-" I point my finger in his face, almost touching his eyeball. "It's one thing for me to give your permission to look into it. But I'm pretty sure looking into it without my consent is illegal. In fact, I'm pretty sure everything that woman does is illegal. Do you even know what the Mafia is, Galen?" His eyebrows lift in surprise. "She told you who she is? I mean, who she used to be?" I nod. "While you were checking in with Grom. Once in the Mob, always in the Mob, if you ask me. How else would she get all her money? But I guess you wouldn't care about that, since she buys you houses and cars and fake IDs." I snatch my wrist away and turn back toward our hotel. At least, I hope it's our hotel. Galen laughs. "Emma, it's not Rachel's money; it's mine." I whirl on him. "You are a fish. You don't have a job. And I don't think Syrena currency has any of our presidents on it." Now "our" means I'm human again. I wish I could make up my mind. He crosses his arms. "I earn it another way. Walk to the Gulfarium with me, and I'll tell you how." The temptation divides me like a cleaver. I'm one part hissy fit and one part swoon. I have a right to be mad, to press charges, to cut Rachel's hair while she's sleeping. But do I really want to risk the chance that she keeps a gun under her pillow? Do I want to miss the opportunity to scrunch my toes in the sand and listen to Galen's rich voice tell me how a fish came to be wealthy? Nope, I don't. Taking care to ram my shoulder into him, I march past him and hopefully in the right direction. When he catches up to me, his grin threatens the rest of my hissy fit side, so I turn away, fixing my glare on the waves. "I sell stuff to humans," he says. I glance at him. He's looking at me, his expression every bit as expectant as I feel. I hate this little game of ours. Maybe because I'm no good at it. He won't tell me more unless I ask. Curiosity is one of my most incurable flaws-and Galen knows it. Still, I already gave up a perfectly good tantrum for him, so I feel like he owes me. Never mind that he saved my life today. That was so two hours ago. I lift my chin. "Rachel says I'm a millionaire," he says, his little knowing smirk scrubbing my nerves like a Brillo pad. "But for me, it's not about the money. Like you, I have a soft spot for history." Crap, crap, crap. How can he already know me this well? I must be as readable as the alphabet. What's the use? He's going to win, every time.

These memories of former times do not awaken desire so much as sorrow - a vast, inapprehensible melancholy. Once we had such desires - but they return not. They are past, they belong to another world that is gone from us. In the barracks they called forth a rebellious, wild craving for their return; for then they were still bound to us, we belonged to them and they to us, even though we were already absent from them. They appeared in the soldiers' songs which we sang as we marched between the glow of the dawn and the black silhouettes of the forests to drill on the moor, they were a powerful remembrance that was in us and came from us. But here in the trenches they are completely lost to us. They arise no more; we are dead and they stand remote on the horizon, they are a mysterious reflection, an apparition, that haunts us, that we fear and love without hope. They are strong and our desire is strong - but they are unattainable, and we know it. And even if these scenes of our youth were given back to us we would hardly know what to do. The tender, secret influence that passed from them into us could not rise again. We might be amongst them and move in them; we might remember and love them and be stirred by the sight of them. But it would be like gazing at the photograph of a dead comrade; those are his features, it is his face, and the days we spent together take on a mournful life in the memory; but the man himself it is not. We could never regain the old intimacy with those scenes. It was not any recognition of their beauty and their significance that attracted us, but the communion, the feeling of a comradeship with the things and events of our existence, which cut us off and made the world of our parents a thing incomprehensible to us--for then we surrendered ourselves to events and were lost in them, and the least little thing was enough to carry us down the stream of eternity. Perhaps it was only the privilege of our youth, but as yet we recognised no limits and saw nowhere an end. We had that thrill of expectation in the blood which united us with the course of our days. To-day we would pass through the scenes of our youth like travellers. We are burnt up by hard facts; like tradesmen we understand distinctions, and like butchers, necessities. We are no longer untroubled--we are indifferent. We might exist there; but should we really live there? We are forlorn like children, and experienced like old men, we are crude and sorrowful and superficial - I believe we are lost.

I sat up, woozy and blurry-eyed. I was lying in my old cot in the Me cabin. Sunlight streamed through the windows—morning light? Had I really slept that long? Snuggled up next to me, something warm and furry was growling and snuffling in my pillow. At first glance, I thought it might be a pit bull, though I was fairly sure I did not own a pit bull. Then it looked up, and I realized it was the disembodied head of a leopard. One nanosecond later, I was standing at the opposite end of the cabin, screaming. It was the closest I’d come to teleporting since I’d lost my godly powers. “Oh, you’re awake!” My son Will emerged from the bathroom in a billow of steam, his blond hair dripping wet and a towel around his waist. On his left pectoral was a stylized sun tattoo, which seemed unnecessary to me—as if he could be mistaken for anything but a child of the sun god. He froze when he registered the panic in my eyes. “What’s wrong?” GRR! said the leopard. “Seymour?” Will marched over to my cot and picked up the leopard head—which at some point in the distant past had been taxidermied and stuck on a plaque, then liberated from a garage sale by Dionysus and granted new life. Normally, as I recalled, Seymour resided over the fireplace mantel in the Big House, which did not explain why he had been chewing on my pillow. “What are you doing here?” Will demanded of the leopard. Then, to me: “I swear I did not put him in your bed.” “I did.” Dionysus materialized right next to me. My tortured lungs could not manage another scream, but I leaped back an additional few inches. Dionysus gave me his patented smirk. “I thought you might like some company. I always sleep better with a teddy leopard.” “Very kind.” I tried my best to kill him with eye daggers. “But I prefer to sleep alone.” “As you wish. Seymour, back to the Big House.” Dionysus snapped his fingers and the leopard head vanished from Will’s hands. “Well, then…

Their stillness is the reason why these memories of former times do not awaken desire so much as sorrow—a vast, inapprehensible melancholy. Once we had such desires—but they return not. They are past, they belong to another world that is gone from us. In the barracks they called forth a rebellious, wild craving for their return; for then they were still bound to us, we belonged to them and they to us, even though we were already absent from them. They appeared in the soldiers’ songs which we sang as we marched between the glow of the dawn and the black silhouettes of the forests to drill on the moor, they were a powerful remembrance that was in us and came from us. But here in the trenches they are completely lost to us. They arise no more; we are dead and they stand remote on the horizon, they are a mysterious reflection, an apparition, that haunts us, that we fear and love without hope. They are strong and our desire is strong—but they are unattainable, and we know it. And even if these scenes of our youth were given back to us we would hardly know what to do. The tender, secret influence that passed from them into us could not rise again. We might be amongst them and move in them; we might remember and love them and be stirred by the sight of them. But it would be like gazing at the photograph of a dead comrade; those are his features, it is his face, and the days we spent together take on a mournful life in the memory; but the man himself it is not. We could never regain the old intimacy with those scenes. It was not any recognition of their beauty and their significance that attracted us, but the communion, the feeling of a comradeship with the things and events of our existence, which cut us off and made the world of our parents a thing incomprehensible to us—for then we surrendered ourselves to events and were lost in them, and the least little thing was enough to carry us down the stream of eternity.

Kevin D. Williamson in a sneering screed published in March 2016 in National Review, a leading conservative journal: The problem isn’t that Americans cannot sustain families, but that they do not wish to. If you spend time in hardscrabble, white upstate New York, or eastern Kentucky, or my own native West Texas, and you take an honest look at the welfare dependency, the drug and alcohol addiction, the family anarchy—which is to say, the whelping of human children with all the respect and wisdom of a stray dog—you will come to an awful realization. It wasn’t Beijing. It wasn’t even Washington, as bad as Washington can be. It wasn’t immigrants from Mexico, excessive and problematic as our current immigration levels are. It wasn’t any of that. Nothing happened to them. There wasn’t some awful disaster. There wasn’t a war or a famine or a plague or a foreign occupation. Even the economic changes of the past few decades do very little to explain the dysfunction and negligence—and the incomprehensible malice—of poor white America. So the gypsum business in Garbutt ain’t what it used to be. There is more to life in the 21st century than wallboard and cheap sentimentality about how the Man closed the factories down. The truth about these dysfunctional, downscale communities is that they deserve to die. Economically, they are negative assets. Morally, they are indefensible. Forget all your cheap theatrical Bruce Springsteen crap. Forget your sanctimony about struggling Rust Belt factory towns and your conspiracy theories about the wily Orientals stealing our jobs. Forget your goddamned gypsum, and, if he has a problem with that, forget Ed Burke, too. The white American underclass is in thrall to a vicious, selfish culture whose main products are misery and used heroin needles. Donald Trump’s speeches make them feel good. So does OxyContin. What they need isn’t analgesics, literal or political. They need real opportunity, which means that they need real change, which means that they need U-Haul. For

In retrospect, it is easy to see that Hitler's successful gamble in the Rhineland brought him a victory more staggering and more fatal in its immense consequences than could be comprehended at the time. At home it fortified his popularity and his power, raising them to heights which no German ruler of the past had ever enjoyed. It assured his ascendancy over his generals, who had hesitated and weakened at a moment of crisis when he had held firm. It taught them that in foreign politics and even in military affairs his judgment was superior to theirs. They had feared that the French would fight; he knew better. And finally, and above all, the Rhineland occupation, small as it was as a military operation, opened the way, as only Hitler (and Churchill, alone, in England) seemed to realize, to vast new opportunities in a Europe which was not only shaken but whose strategic situation was irrevocably changed by the parading of three German battalions across the Rhine bridges. Conversely, it is equally easy to see, in retrospect, that France's failure to repel the Wehrmacht battalions and Britain's failure to back her in what would have been nothing more than a police action was a disaster for the West from which sprang all the later ones of even greater magnitude. In March 1936 the two Western democracies were given their last chance to halt, without the risk of a serious war, the rise of a militarized, aggressive, totalitarian Germany and, in fact - as we have seen Hitler admitting - bring the Nazi dictator and his regime tumbling down. They let the chance slip by. For France, it was the beginning of the end. Her allies in the East, Russia, Poland, Czechoslovakia, Rumania and Yugoslavia, suddenly were faced with the fact that France would not fight against German aggression to preserve the security system which the French government itself had taken the lead in so laboriously building up. But more than that. These Eastern allies began to realize that even if France were not so supine, she would soon not be able to lend them much assistance because of Germany's feverish construction of a West Wall behind the Franco-German border. The erection of this fortress line, they saw, would quickly change the strategic map of Europe, to their detriment. They could scarcely expect a France which did not dare, with her one hundred divisions, to repel three German battalions, to bleed her young manhood against impregnable German fortifications which the Wehrmacht attacked in the East. But even if the unexpected took place, it would be futile. Henceforth the French could tie down in the West only a small part of the growing German Army. The rest would be free for operations against Germany's Eastern neighbors.

March 22, 2014 I have found the truth in the lies I told myself. I thought I could run from this woman, but she continues to chase me. In my mind, my heart, she’s always there. An entire bottle of whiskey can’t drown out her voice. I wake up each morning hoping it will finally be the day that I get over her. But then night falls and memories of her begin to torture me until sleep is no longer an option. Each night I fall into this abyss of nothingness, feeling only the emptiness of not having her beside me. I have found the truth in the lies I told myself. I slept with another woman, all the while wishing it was her and I still went through with it. What a fool I was. I still long to feel the satisfaction I was supposed to have felt that night. I still long to feel the freedom I’d hoped to gain from seeking refuge in the arms of another woman. But I’ll never be free of her. It will take an eternity to break out of these shackles. For one month, ONE month I couldn’t keep my dick in my pants and yet for two years I haven’t even so much as looked at another woman. I’ve remained completely faithful to a memory. Devoted to her smile. Committed to her ever-changing green eyes. I have read through the past entries in this journal and I noticed that I have never used her name. As if inking it would somehow solidify the feelings I think I’ve always felt. I have found the truth in the lies I told myself. I do love her. Love is this painful.

The same thing, notes Brynjolfsson, happened 120 years ago, in the Second Industrial Revolution, when electrification—the supernova of its day—was introduced. Old factories did not just have to be electrified to achieve the productivity boosts; they had to be redesigned, along with all business processes. It took thirty years for one generation of managers and workers to retire and for a new generation to emerge to get the full productivity benefits of that new power source. A December 2015 study by the McKinsey Global Institute on American industry found a “considerable gap between the most digitized sectors and the rest of the economy over time and [found] that despite a massive rush of adoption, most sectors have barely closed that gap over the past decade … Because the less digitized sectors are some of the largest in terms of GDP contribution and employment, we [found] that the US economy as a whole is only reaching 18 percent of its digital potential … The United States will need to adapt its institutions and training pathways to help workers acquire relevant skills and navigate this period of transition and churn.” The supernova is a new power source, and it will take some time for society to reconfigure itself to absorb its full potential. As that happens, I believe that Brynjolfsson will be proved right and we will start to see the benefits—a broad range of new discoveries around health, learning, urban planning, transportation, innovation, and commerce—that will drive growth. That debate is for economists, though, and beyond the scope of this book, but I will be eager to see how it plays out. What is absolutely clear right now is that while the supernova may not have made our economies measurably more productive yet, it is clearly making all forms of technology, and therefore individuals, companies, ideas, machines, and groups, more powerful—more able to shape the world around them in unprecedented ways with less effort than ever before. If you want to be a maker, a starter-upper, an inventor, or an innovator, this is your time. By leveraging the supernova you can do so much more now with so little. As Tom Goodwin, senior vice president of strategy and innovation at Havas Media, observed in a March 3, 2015, essay on TechCrunch.com: “Uber, the world’s largest taxi company, owns no vehicles. Facebook, the world’s most popular media owner, creates no content. Alibaba, the most valuable retailer, has no inventory. And Airbnb, the world’s largest accommodation provider, owns no real estate. Something interesting is happening.

Hey, that's weird," Chloe says. "You both have the same color eyes as Emma. I've never seen that before. I always thought it was because she's freakishly pasty. Ow! That's gonna leave a mark, Emma," she says, rubbing her freshly pinched biceps. "Good, I hope it does," I snap. I want to ask them about their eyes-the color seems prettier set against the olive tone of Galen's skin-but Chloe has bludgeoned my chances of recovering from embarrassment. I'll have to be satisfied that my dad-and Google-were wrong all this time; my eye color just can't be that rare. Sure, my dad practiced medicine until the day he died two years ago. And sure, Google never let me down before. But who am I to argue with living, breathing proof that this eye color actually does exist? Nobody, that's who. Which is convenient, since I don't want to talk anymore. Don't want to force Galen into any more awkward conversations. Don't want to give Chloe any more opportunities to deepen the heat of my burning cheeks. I just want this moment of my life to be over. I push past Chloe and snatch up the surfboard. To her good credit, she presses herself against the rail as I pass her again. I stop in front of Galen and his sister. "It was nice to meet you both. Sorry I ran into you. Let's go, Chloe." Galen looks like he wants to say something, but I turn away. He's been a good sport, but I'm not interested in discussing swimmer safety-or being introduced to any more of his hostile relatives. Nothing he can say will change the fact that DNA from my cheek is smeared on his chest. Trying not to actually march, I thrust past them and make my way down the stairs leading to the pristine white sand. I hear Chloe closing the distance behind me, giggling. And I decide on sunflowers for her funeral.

Elizabeth was not entirely right. The climb was steep enough, but the trunk, which originally felt quite light, seemed to gain a pound of weight with every step they took. A few yards from the house both ladies paused to rest again, then Elizabeth resolutely grabbed the handle on her end. “You go to the door, Lucy,” she said breathlessly, worried for the older woman’s health if she had to lug the trunk any further. “I’ll just drag this along.” Miss Throckmorton-Jones took one look at her poor, bedraggled charge, and rage exploded in her breast that they’d been brought so low as this. Like an angry general she gave her gloves an irate yank, turned on her heel, marched up to the front door, and lifted her umbrella. Using its handle like a club, she rapped hard upon the door. Behind her Elizabeth doggedly dragged the trunk. “You don’t suppose there’s no one home?” She panted, hauling the trunk the last few feet. “If they’re in there, they must be deaf!” said Lucinda. She brought up her umbrella again and began swinging at the door in a way that sent rhythmic thunder through the house. “Open up, I say!” she shouted, and on the third downswing the door suddenly lurched open to reveal a startled middle-aged man who was struck on the head by the handle of the descending umbrella. “God’s teeth!” Jake swore, grabbing his head and glowering a little dizzily at the homely woman who was glowering right back at him, her black bonnet crazily askew atop her wiry gray hair. “It’s God’s ears you need, not his teeth!” the sour-faced woman informed him as she caught Elizabeth’s sleeve and pulled her one step into the house. “We are expected,” she informed Jake. In his understandably dazed state, Jake took another look at the bedraggled, dusty ladies and erroneously assumed they were the women from the village come to clean and cook for Ian and him. His entire countenance changed, and a broad grin swept across his ruddy face. The growing lump on his head forgiven and forgotten, he stepped back. “Welcome, welcome,” he said expansively, and he made a broad, sweeping gesture with his hand that encompassed the entire dusty room. “Where do you want to begin?” “With a hot bath,” said Lucinda, “followed by some tea and refreshments.” From the corner of her eye Elizabeth glimpsed a tall man who was stalking in from a room behind the one where they stood, and an uncontrollable tremor of dread shot through her. “Don’t know as I want a bath just now,” Jake said. “Not for you, you dolt, for Lady Cameron.” Elizabeth could have sworn Ian Thornton stiffened with shock. His head jerked toward her as if trying to see past the rim of her bonnet, but Elizabeth was absolutely besieged with cowardice and kept her head averted. “You want a bath?” Jake repeated dumbly, staring at Lucinda. “Indeed, but Lady Cameron’s must come first. Don’t just stand there,” she snapped, threatening his midsection with her umbrella. “Send servants down to the road to fetch our trunks at once.” The point of the umbrella swung meaningfully toward the door, then returned to jab Jake’s middle. “But before you do that, inform your master that we have arrived.” “His master,” said a biting voice from a rear doorway, “is aware of that.

Oh, good. I was worried you’d taken ill.” “Why?” Elizabeth asked as she took a sip of the chocolate. It was cold as ice! “Because I couldn’t wake-“ “What time is it?” Elizabeth cried. “Nearly eleven.” “Eleven! But I told you to wake me at eight! How could you let me oversleep this way?” she said, her sleep-drugged mind already groping wildly for a solution. She could dress quickly and catch up with everyone. Or… “I did try,” Berta exclaimed, hurt by the uncharacteristic sharpness in Elizabeth’s tone, “but you didn’t want to wake up.” “I never want to awaken, Berta, you know that!” “But you were worse this morning than normal. You said your head ached.” “I always say things like that. I don’t know what I’m saying when I’m asleep. I’ll say anything to bargain for a few minutes’ more sleep. You’ve known that for years, and you always shake me awake anyway.” “But you said,” Berta persisted, tugging unhappily a her apron, “that since it rained so much last night you were sure the trip to the village wouldn’t take place, so you didn’t have to arise at all.” “Berta, for heaven’s sake!” Elizabeth cried, throwing off the covers and jumping out of bed with more energy than she’d ever shown after such a short period of wakefulness. “I’ve told you I’m dying of diphtheria to make you go away, and that didn’t succeed!” “Well,” Berta shot back, marching over to the bell pull and ringing for a bath to be brought up, “when you told me that, your face wasn’t pale and your head didn’t feel hot to my touch. And you hadn’t dragged yourself into bed as if you could hardly stand when it was half past one in the morning!” Contrite, Elizabeth slumped down in the bed. “It’s not your fault that I sleep like a hibernating bear. And besides, if they didn’t go to the village, it makes no difference at all that I overslept.” She was trying to resign herself to the notion of spending the day in the house with a man who could look at her across a roomful of diners and make her heart leap when Berta said, “They did go to the village. Last night’s storm was more noise and threat than rain.” Closing her eyes for a brief moment, Elizabeth emitted a long sigh. It was already eleven, which meant Ian had already begun his useless vigil at the cottage.

I landed on my side, my hip taking the brunt of the fall. It burned and stung from the hit, but I ignored it and struggled to sit up quickly. There really was no point in hurrying so no one would see. Everyone already saw A pair of jean-clad legs appeared before me, and my suitcase and all my other stuff was dropped nearby. "Whatcha doing down there?" Romeo drawled, his hands on his hips as he stared down at me with dancing blue eyes. "Making a snow angel," I quipped. I glanced down at my hands, which were covered with wet snow and bits of salt (to keep the pavement from getting icy). Clearly, ice wasn't required for me to fall. A small group of girls just "happened by", and by that I mean they'd been staring at Romeo with puppy dog eyes and giving me the stink eye. When I fell, they took it as an opportunity to descend like buzzards stalking the dead. Their leader was the girl who approached me the very first day I'd worn Romeo's hoodie around campus and told me he'd get bored. As they stalked closer, looking like clones from the movie Mean Girls, I caught the calculating look in her eyes. This wasn't going to be good. I pushed up off the ground so I wouldn't feel so vulnerable, but the new snow was slick and my hand slid right out from under me and I fell back again. Romeo was there immediately, the teasing light in his eyes gone as he slid his hand around my back and started to pull me up. "Careful, babe." he said gently. The girls were behind him so I knew he hadn't seen them approach. They stopped as one unit, and I braced myself for whatever their leader was about to say. She was wearing painted-on skinny jeans (I mean, really, how did she sit down and still breathe?) and some designer coat with a monogrammed scarf draped fashionably around her neck. Her boots were high-heeled, made of suede and laced up the back with contrasting ribbon. "Wow," she said, opening her perfectly painted pink lips. "I saw that from way over there. That sure looked like it hurt." She said it fairly amicably, but anyone who could see the twist to her mouth as she said it would know better. Romeo paused in lifting me to my feet. I felt his eyes on me. Then his lips thinned as he turned and looked over his shoulder. "Ladies," he said like he was greeting a group of welcomed friends. Annoyance prickled my stomach like tiny needles stabbing me. It's not that I wanted him to be rude, but did he have to sound so welcoming? "Romeo," Cruella DeBarbie (I don't know her real name, but this one fit) purred. "Haven't you grown bored of this clumsy mule yet?" Unable to stop myself, I gasped and jumped up to my feet. If she wanted to call me a mule, I'd show her just how much of an ass I could be. Romeo brought his arm out and stopped me from marching past. I collided into him, and if his fingers hadn't knowingly grabbed hold to steady me, I'd have fallen again. "Actually," Romeo said, his voice calm, "I am pretty bored." Three smirks were sent my way. What a bunch of idiots. "The view from where I'm standing sure leaves a lot to be desired." One by one, their eyes rounded when they realized the view he referenced was them. Without another word, he pivoted around and looked down at me, his gaze going soft. "No need to make snow angels, baby," he said loud enough for the slack-jawed buzzards to hear. "You already look like one standing here with all that snow in your hair." Before I could say a word, he picked me up and fastened his mouth to mine. My legs wound around his waist without thought, and I kissed him back as gentle snow fell against our faces.

Melinda Pratt rides city bus number twelve to her cello lesson, wearing her mother's jean jacket and only one sock. Hallo, world, says Minna. Minna often addresses the world, sometimes silently, sometimes out loud. Bus number twelve is her favorite place for watching, inside and out. The bus passes cars and bicycles and people walking dogs. It passes store windows, and every so often Minna sees her face reflection, two dark eyes in a face as pale as a winter dawn. There are fourteen people on the bus today. Minna stands up to count them. She likes to count people, telephone poles, hats, umbrellas, and, lately, earrings. One girl, sitting directly in front of Minna, has seven earrings, five in one ear. She has wisps of dyed green hair that lie like forsythia buds against her neck. There are, Minna knows, a king, a past president of the United States, and a beauty queen on the bus. Minna can tell by looking. The king yawns and scratches his ear with his little finger. Scratches, not picks. The beauty queen sleeps, her mouth open, her hair the color of tomatoes not yet ripe. The past preside of the United States reads Teen Love and Body Builder's Annual. Next to Minna, leaning against the seat, is her cello in its zippered canvas case. Next to her cello is her younger brother, McGrew, who is humming. McGrew always hums. Sometimes he hums sentences, though most often it comes out like singing. McGrew's teachers do not enjoy McGrew answering questions in hums or song. Neither does the school principal, Mr. Ripley. McGrew spends lots of time sitting on the bench outside Mr. Ripley's office, humming. Today McGrew is humming the newspaper. First the headlines, then the sports section, then the comics. McGrew only laughs at the headlines. Minna smiles at her brother. He is small and stocky and compact like a suitcase. Minna loves him. McGrew always tells the truth, even when he shouldn't. He is kind. And he lends Minna money from the coffee jar he keeps beneath his mattress. Minna looks out the bus window and thinks about her life. Her one life. She likes artichokes and blue fingernail polish and Mozart played too fast. She loves baseball, and the month of March because no one else much likes March, and every shade of brown she has ever seen. But this is only one life. Someday, she knows, she will have another life. A better one. McGrew knows this, too. McGrew is ten years old. He knows nearly everything. He knows, for instance, that his older sister, Minna Pratt, age eleven, is sitting patiently next to her cello waiting to be a woman.

Mr. President, Dr. Biden, Madam Vice President, Mr. Emhoff, Americans and the world, when day comes we ask ourselves where can we find light in this never-ending shade? The loss we carry asea we must wade. We’ve braved the belly of the beast. We’ve learned that quiet isn’t always peace. In the norms and notions of what just is isn’t always justice. And yet, the dawn is ours before we knew it. Somehow we do it. Somehow we’ve weathered and witnessed a nation that isn’t broken, but simply unfinished. We, the successors of a country and a time where a skinny black girl descended from slaves and raised by a single mother can dream of becoming president only to find herself reciting for one. And yes, we are far from polished, far from pristine, but that doesn’t mean we are striving to form a union that is perfect. We are striving to forge our union with purpose. To compose a country committed to all cultures, colors, characters, and conditions of man. And so we lift our gazes not to what stands between us, but what stands before us. We close the divide because we know to put our future first, we must first put our differences aside. We lay down our arms so we can reach out our arms to one another. We seek harm to none and harmony for all. Let the globe, if nothing else, say this is true. That even as we grieved, we grew. That even as we hurt, we hoped. That even as we tired, we tried that will forever be tied together victorious. Not because we will never again know defeat, but because we will never again sow division. Scripture tells us to envision that everyone shall sit under their own vine and fig tree and no one shall make them afraid. If we’re to live up to her own time, then victory won’t lie in the blade, but in all the bridges we’ve made. That is the promise to glade, the hill we climb if only we dare. It’s because being American is more than a pride we inherit. It’s the past we step into and how we repair it. We’ve seen a forest that would shatter our nation rather than share it. Would destroy our country if it meant delaying democracy. This effort very nearly succeeded. But while democracy can be periodically delayed, it can never be permanently defeated. In this truth, in this faith we trust for while we have our eyes on the future, history has its eyes on us. This is the era of just redemption. We feared it at its inception. We did not feel prepared to be the heirs of such a terrifying hour, but within it, we found the power to author a new chapter, to offer hope and laughter to ourselves so while once we asked, how could we possibly prevail over catastrophe? Now we assert, how could catastrophe possibly prevail over us? We will not march back to what was, but move to what shall be a country that is bruised, but whole, benevolent, but bold, fierce, and free. We will not be turned around or interrupted by intimidation because we know our inaction and inertia will be the inheritance of the next generation. Our blunders become their burdens. But one thing is certain, if we merge mercy with might and might with right, then love becomes our legacy and change our children’s birthright. So let us leave behind a country better than one we were left with. Every breath from my bronze-pounded chest we will raise this wounded world into a wondrous one. We will rise from the gold-limbed hills of the West. We will rise from the wind-swept Northeast where our forefathers first realized revolution. We will rise from the Lake Rim cities of the Midwestern states. We will rise from the sun-baked South. We will rebuild, reconcile and recover in every known nook of our nation, in every corner called our country our people diverse and beautiful will emerge battered and beautiful. When day comes, we step out of the shade aflame and unafraid. The new dawn blooms as we free it. For there is always light. If only we’re brave enough.