Mark Strand Quotes

Each moment is a place you've never been.

Ink runs from the corners of my mouth. There is no happiness like mine. I have been eating poetry.

Honestly, as much as I love my brother, I’m not sure how I feel about him hanging out in your bedroom.” He reached out with a muscular arm and used his fingers to brush a few strands of hair off my cheek, tucking them behind my ear. I shivered, and he smiled. “I feel like I need to mark my territory.” “Shut up.” “Oh, I love it when you get all bossy-pants. It’s sexy.

In a field I am the absence of field. This is always the case. Wherever I am I am what is missing.

We are reading the story of our lives As though we were in it As though we had written it.

Even this late it happens: the coming of love, the coming of light.

We all have reasons for moving. I move to keep things whole.

These wrinkles are nothing These gray hairs are nothing, This stomach which sags with old food, these bruised and swollen ankles, my darkening brain, they are nothing. I am the same boy my mother used to kiss.

When I walk I part the air and always the air moves in to fill the spaces where my body's been.

Sometimes he did not know if he slept or just thought about sleep.

The Coming of Light Even this late it happens: the coming of love, the coming of light. You wake and the candles are lit as if by themselves, stars gather, dreams pour into your pillows, sending up warm bouquets of air. Even this late the bones of the body shine and tomorrow’s dust flares into breath.

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

It came to my house. It sat on my shoulders. Your shadow is yours. I told it so. I said it was yours. I have carried it with me too long. I give it back.

No voice comes from outer space, from the folds of dust and carpets of wind to tell us that this is the way it was meant to happen, that if only we knew how long the ruins would last we would never complain.

If I make any mistakes, there’ll be nothing left but the “Mark Watney Memorial Crater” where the Hab once stood.

Keeping Things Whole" In a field I am the absence of field. This is always the case. Wherever I am I am what is missing. When I walk I part the air and always the air moves in to fill the spaces where my body's been. We all have reasons for moving. I move to keep things whole.

She stood beside me for years, or was it a moment? I cannot remember. Maybe I loved her, maybe I didn't. There was a house, and then no house. There were trees, but none remain. When no one remembers, what is there? You, whose moments are gone, who drift like smoke in the afterlife, tell me something, tell me anything.

You could say I am flawed. Marked. A malfetto. While my sister emerged from the fever unscathed, I now have only a scar where my left eye used to be. While my sister’s hair remained a glossy black, the strands of my hair and lashes turned a strange, ever-shifting silver, so that in the sunlight they look close to white, like a winter moon, and in the dark they change to a deep gray, shimmering silk spun from metal.

...In another time, What cannot be seen will define us, and we shall be prompted To say that language is error, and all things are wronged By representation. The self, we shall say, can never be Seen with a disguise, and never be seen without one.

Each moment is a place you’ve never been.

When we walk in the sun our shadows are like barges of silence.

Those hours given over to basking in the glow of an imagined future, of being carried away in streams of promise by a love or a passion so strong that one felt altered forever and convinced that even the smallest particle of the surrounding world was charged with purpose of impossible grandeur; ah, yes, and one would look up into the trees and be thrilled by the wind- loosened river of pale, gold foliage cascading down and by the high, melodious singing of countless birds; those moments, so many and so long ago, still come back, but briefly, like fireflies in the perfumed heat of summer night.

What we desire, more than a season or weather, is the comfort Of being strangers, at least to ourselves.

From the shadow of domes in the city of domes, A snowflake, a blizzard of one, weightless, entered your room And made its way to the arm of the chair where you, looking up From your book, saw it the moment it landed. That's all There was to it.

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

When asked about rewriting, Ernest Hemingway said that he rewrote the ending to A Farewell to Arms thirty-nine times before he was satisfied. Vladimir Nabokov wrote that spontaneous eloquence seemed like a miracle and that he rewrote every word he ever published, and often several times. And Mark Strand, former poet laureate, says that each of his poems sometimes goes through forty to fifty drafts before it is finished.

One clear night while the others slept, I climbed the stairs to the roof of the house and under a sky strewn with stars I gazed at the sea, at the spread of it, the rolling crests of it raked by the wind, becoming like bits of lace tossed in the air. I stood in the long whispering night, waiting for something, a sign, the approach of a distant light, and I imagined you coming closer, the dark waves of your hair mingling with the sea, and the dark became desire, and desire the arriving light. The nearness, the momentary warmth of you as I stood on that lonely height watching the slow swells of the sea break on the shore and turn briefly into glass and disappear... Why did I believe you would come out of nowhere? Why with all that the world offers would you come only because I was here?

What I had not realized then, but now know only too well, is that sparks carry within them the wish to be relieved of the burden of brightness. And that is why I no longer write, and why the dark is is my freedom and my happiness.

Arin remmembered seeing her hand in Javelin’s mane, curling into the coarse strands. This made him remember the almost freakish lenghth between her littlest finger and thumb as her hand spanned piano keys. The black star of the birth-mark. He saw her again in the imperial palace. Her music room. He’d seen that room only once. About a month ago, right before Firstsummer. Her blue sleeves were fastened at the wrist. Something tugged inside him. A flutter of unease. Do you sing? Those had been her first words to him, the day she had bought him. A band of nausea circled Arin’s throat, just as it had when she had asked him that question, in part for the same reason. She’d had no trace of an accent. She had spoken in perfect, natural, mother-taught Herrani.

There is no happiness like mine. I have been eating poetry.

Time slips by; our sorrows do not turn into poems, And what is invisible stays that way.

The ultimate self-effacement is not the pretense of the minimal, but the jocular considerations of the maximal in the manner of Wallace Stevens.

We’re only here for a short while. And I think it’s such a lucky accident, having been born, that we’re almost obliged to pay attention.

For Mark Strand, the poet’s responsibility to be a witness, a recorder of experience, is part of the broader responsibility we all have for keeping the universe ordered through our consciousness:

You do me proud, Captain. But, dear, I want to say one thing and then I'm done; for you don't need much advice of mine after my good man has spoken. I read somewhere that every inch of rope in the British Navy has a strand of red in it, so wherever a bit of it is found it is known. That is the text of my little sermon to you. Virtue, which means honour, honesty, courage, and all that makes character, is the red thread that marks a good man wherever he is. Keep that always and everywhere, so that even if wrecked by misfortune, that sign shall still be found and recognized. Yours is a rough life, and your mates not all we could wish, but you can be a gentleman in the true sense of the word; and no matter what happens to your body, keep your soul clean, your heart true to those who love you, and do your duty to the end.

How those fires burned that are no longer, how the weather worsened, how the shadow of the seagull vanished without a trace. Was it the end of a season, the end of a life? Was it so long ago it seems it might never have been? What is it in us that lives in the past and longs for the future, or lives in the future and longs for the past? (from "No Words Can Describe It")

-A cloud is never a mirror -Words about clouds are clouds themselves -If snow falls inside a cloud, only the cloud knows -A cloud dreams only of triangles -Clouds are in love with horizons -The cloud that was gone would never come back -Every lake desires a cloud -A cloud is a cathedral without belief -Clouds cannot see what we do under the umbrella -Clouds are thoughts without words

Patriotism Breathes there the man with soul so dead, Who never to himself hath said, 'This is my own, my native land!' Whose heart hath ne'er within him burn'd As home his footsteps he hath turn'd From wandering on a foreign strand? If such there breathe, go, mark him well; For him no Minstrel raptures swell; High though his titles, proud his name, Boundless his wealth as wish can claim; Despite those titles, power, and pelf, The wretch, concentred all in self, Living, shall forfeit fair renown, And, doubly dying, shall go down To the vile dust from whence he sprung, Unwept, unhonour'd, and unsung.

And what does it matter when light enters the room where a child sleeps and the waking mother, opening her eyes, wishes more than anything to be unwakened by what she cannot name?

I read somewhere that every inch of rope used in the British Navy has a strand of red in it, so that wherever a bit of it is found it is known. That is the text of my little sermon to you. Virtue, which means honour, honesty, courage, and all that makes character, is the red thread that marks a good man wherever he is.

Mark, some answers to your earlier questions: No, we will not tell our Botany Team to “Go fuck themselves.” I understand you’ve been on your own for a long time, but we’re in the loop now, and it’s best if you listen to what we have to say.

You want to get a good look at yourself. You stand before a mirror, you take off your jacket, unbutton your shirt, open your belt, unzip your fly. The outer clothing falls from you. You take off your shoes and socks, baring your feet. You remove your underwear. At a loss, you examine the mirror. There you are. You are not there.

I is for immortality, which for some poets is a necessary compensation. Presumably miserable in this life, they will be remembered when the rest of us are long forgotten. None of them asks about the quality of that remembrance--what it will be like to crouch in the dim hallways of somebody's mind until the moment of recollection occurs, or to be lifted off suddenly and forever into the pastures of obscurity. Most poets know better than to concern themselves with such things. They know the chances are better than good that their poems will die when they do and never be heard of again, that they'll be replaced by poems sporting a new look in a language more current. They also know that even if individual poems die, though in some cases slowly, poetry will continue: that its subjects, it constant themes, are less liable to change than fashions in language, and that this is where an alternate, less lustrous immortality might be. We all know that a poem can influence other poems, remain alive in them, just as previous poems are alive in it. Could we not say, therefore, that individual poems succeed most by encouraging revisions of themselves and inducing their own erasure? Yes, but is this immortality, or simply a purposeful way of being dead?

I grow into my death. My life is small and getting smaller. The world is green. Nothing is all.

Nobody sees it happening, but the architecture of our time Is becoming the architecture of the next time.

We are reading the story of our lives As though we were in it As though we had written it

So many silent battles are waged By those who sit alone and wait, and by those who delay.

How can I sing? Time tells me what I am. I change and I am the same. I empty myself of my life and my life remains.

Tell me, you people out there, what is poetry anyway? Can anyone die without even a little?

My Name Once when the lawn was a golden green and the marbled moonlit trees rose like fresh memorials in the scented air, and the whole countryside pulsed with the chirr and murmur of insects, I lay in the grass, feeling the great distances open above me, and wondered what I would become and where I would find myself, and though I barely existed, I felt for an instant that the vast star-clustered sky was mine, and I heard my name as if for the first time, heard it the way one hears the wind or the rain, but faint and far off as though it belonged not to me but to the silence from which it had come and to which it would go.

Ink runs from the corners of my mouth. There is no happiness like mine. I have been eating poetry. The librarian does not believe what she sees. Her eyes are sad and she walks with her hands in her dress. The poems are gone. The light is dim. The dogs are on the basement stairs and coming up. Their eyeballs roll, their blond legs burn like brush. The poor librarian begins to stamp her feet and weep. She does not understand. When I get on my knees and lick her hand, she screams. I am a new man. I snarl at her and bark. I romp with joy in the bookish dark.

Защото сме прекосили реката и вятърът тук може само да развива вкочанената спирала на студа и ние покорно сме се приспособили, и вече не очакваме да получим повече, отколкото ни е било дадено, нито пък се чудим как се случи така, че се озовахме тук, и сега ни е все едно, че нищо не излезе, каквото го мислехме.

Nobody sees it happening, but the architecture of our time Is becoming the architecture of the next time. And the dazzle Of light upon the waters is as nothing beside the changes Wrought therein, just as our waywardness means Nothing against the steady pull of things over the edge. Nobody can stop the flow, but nobody can start it either. Time slips by; our sorrows do not turn into poems, And what is invisible stays that way. Desire has fled, Leaving only a trace of perfume in its wake, And so many people we loved have gone, And no voice comes from outer space, from the folds Of dust and carpets of wind to tell us that this Is the way it was meant to happen, that if only we knew How long the ruins would last we would never complain.

A poem is a place where the conditions of beyondness and withinness are made palpable, where to imagine is to feel what it is like to be. It allows us to have the life we are denied because we are too busy living. Even more paradoxically, a poem permits us to live in ourselves as if we were just out of reach of ourselves.

I wanted to go on an immense journey, to travel night and day into the unknown until, forgetting my old self, I came into possession of a new self, one that I might have missed on my previous travels. But the first step was beyond me. I lay in bed, unable to move, pondering, as one does at my age, the ways of melancholy—how it seeps into the spirit, how it disincarnates the will, how it banishes the senses to the chill of twilight, how even the best and worst intentions wither in its keep. I kept staring at the ceiling, then suddenly felt a blast of cold air, and I was gone. — Mark Strand, “When I turned A Hundred,” Collected Poems. ( Knopf, 2014)

                And into the close and mirrored catacombs of sleep We'll fall, and there in the faded light discover the bones, The dust, the bitter remains of someone who might have been                     Had we not taken his place.

Time, in our experience, is linear, but in truth time is also looped. It is like a piece of yarn, in which each section of the strand twists and winds around every other - a complicated and complex knot, in which one part cannot be viewed out of context from the others. Everything touches everything else. Everything affects everything else. Each loop, each bend, each twist interact with each other. It is all connected, and it is all one. But every once in a while, there are experiences that slice all the other moments apart - stark, singular things that mark the difference between Before and After. These moments are singular, separate from the knot. Separate even from the thread. They can't be tugged at or loosened. They cannot be wound into something lovely or intricate or delicate. They do not interact seamlessly with the fabric of a life. .They are of another substance entirely. Unstuck in time, and out of sync with a life's patterns and processes.

He spins us both, wrapping us in his wings until I’m dazed and giggling. “I wanted to lift you above me and swing you in circles until we were both dizzy and laughing,” he murmurs against my neck as we tumble to the ground, trapped beneath his tented wings. My body aches on impact—but it’s a delicious ache. I can hardly breathe with the weight of his ribs covering mine, with the scent of his tobacco surrounding me, smothering and intoxicating. The curve of his smiling mouth glides along my collarbone and I gasp at the velvety sensation. I force his head up so I can look at him . . . break the spell. He slips the bejeweled headband from my hair, sweeping stray strands from my face. The slickness of his gloves grazes my eye markings. “I wanted to kiss your lips and share your breath,” he says softly as he leans close.

Five members of the heretical sect of Quakers have been arrested,” he says, smiling blandly, “and more arrests are anticipated.” Two of the Quakers appear onscreen, a man and a woman. They look terrified, but they’re trying to preserve some dignity in front of the camera. The man has a large dark mark on his forehead; the woman’s veil has been torn off, and her hair falls in strands over her face. Both of them are about fifty.

To Marry One's Soul Being true to who we are means carrying our spirit like a candle in the center of our darkness. If we are to live without silencing or numbing essential parts of who we are, a vow must be invoked and upheld within oneself. The same commitments we pronounce when embarking on a marriage can be understood internally as a devotion to the care of one's soul: to have and to hold … for better or for worse … in sickness and in health … to love and to cherish, till death do us part. This means staying committed to your inner path. This means not separating from yourself when things get tough or confusing. This means accepting and embracing your faults and limitations. It means loving yourself no matter how others see you. It means cherishing the unchangeable radiance that lives within you, no matter the cuts and bruises along the way. It means binding your life with a solemn pledge to the truth of your soul. It is interesting that the nautical definition of marry is “to join two ropes end to end by interweaving their strands.” To marry one's soul suggests that we interweave the life of our spirit with the life of our psychology; the life of our heart with the life of our mind; the life of our faith and truth with the life of our doubt and anxiety. And just as two ropes that are married create a tie that is twice as strong, when we marry our humanness to our spirit, we create a life that is doubly strong in the world.

I jump from a building As if I were falling asleep, The wind like a pillow Slowing me down, Slowing me down As if I were dreaming. Surrounded by air, I come to a stop, And stand like a tourist Watching the pigeons. People in offices, Wanting to save me, Open their mouths. 'Throw me a stone,' I yell, Wanting to fall. But nobody listens. They throw me a rope. And now I am walking, Taking to you, Talking to you As if I were dreaming I were alive.

To Himself" So you've come to me now without knowing why; Nor why you sit in the ruby plush of an ugly chair, the sly Revealing angle of light turning your hair a silver gray; Nor why you have chosen this moment to set the writing of years Against the writing of nothing; you who narrowed your eyes, Peering into the polished air of the hallway mirror, and said You were mine, all mine; who begged me to write, but always Of course to you, without ever saying what it was for; Who used to whisper in my ear only the things You wanted to hear; who comes to me now and says That it's late, that the trees are bending under the wind, That night will fall; as if there were something You wanted to know, but for years had forgotten to ask, Something to do with sunlight slanting over a table And chair, an arm rising, a face turning, and far In the distance a car disappearing over the hill. Mark Strand, Collected Poems. (Knopf; First Edition edition September 30, 2014)

We are reading the story of our lives as though we were in it, as though we had written it.

I would go out under the stars and enter the smallness of being that was mine, and I would disappear into the emptiness within, and it seemed enormous.

Life should be more Than the body’s weight working itself from room to room.

Isolated remnants of the county’s bucolic past remained in blocks of older wood-frame houses stranded between acres of parking lots, strip malls, and big retail outlets. Its population was mixed in every way.

We’re only here for a short while. And I think it’s such a lucky accident, having been born, that we’re almost obliged to pay attention. In some ways, this is getting far afield. I mean, we are — as far as we know — the only part of the universe that’s self-conscious. We could even be the universe’s form of consciousness. We might have come along so that the universe could look at itself. I don’t know that, but we’re made of the same stuff that stars are made of, or that floats around in space. But we’re combined in such a way that we can describe what it’s like to be alive, to be witnesses. Most of our experience is that of being a witness. We see and hear and smell other things. I think being alive is responding.

When I read poetry, I want to feel myself suddenly larger … in touch with—or at least close to—what I deem magical, astonishing. I want to experience a kind of wonderment. And when you report back to your own daily world after experiencing the strangeness of a world sort of recombined and reordered in the depths of a poet’s soul, the world looks fresher somehow. Your daily world has been taken out of context. It has the voice of the poet written all over it, for one thing, but it also seems suddenly more alive …

In this total information age, what is wealth? Ultimately, it’s no more than strands of pulses and magnetic marks inside computer storage... What is money? Money isn’t worth shit. Money is just a strand of electromagnetic marks even smaller than bacteria and pulses that disappear in a flash.

The bluish, pale face of the house rises above me like a wall of ice and the distant, solitary barking of an owl floats toward me. I half close my eyes. Over the damp dark of the garden flowers swing back and forth like small balloons. The solemn trees, each buried in a cloud of leaves, seem lost in sleep. It is late. I like in the grass, smoking, feeling at ease, pretending the end will be like this. Moonlight falls on my flesh. A breeze circles my wrist. I drift. I shiver. I know that soon the day will come to wash away the moon's white stain, that I shall walk in the morning sun invisible as anyone.

For soon the leaves, Having gone black, would fall, and the annulling snow Would pillow the walk, and we, with shovels in hand, would meet, Bow, and scrape the sidewalk clean. What else would there be This late in the day for us but desire to make amends And start again, the sun’s compassion as it disappears.

She stood, her strappy, loose dress flowing around her legs as she walked by me. She had red marks on her knees and thighs where she’d crossed her legs. I was tempted to reach out and smooth away that redness until it was white again. To tuck the strands of her hair that’d come loose back where they were supposed to go.

The Buried Melancholy of the Poet" One summer when he was still young he stood at the window and wondered where they had gone, those women who sat by the ocean, watching, waiting for something that would never arrive, the wind light against their skin, sending loose strands of hair across their lips. From what season had they fallen, from what idea of grace had they strayed? It was long since he had seen them in their lonely splendor, heavy in their idleness, enacting the sad story of hope abandoned. This was the summer he wandered out into the miraculous night, into the sea of dark, as if for the first time, to shed his own light, but what he shed was the dark, what he found was the night.

The graves grow deeper. The dead are more dead each night. Under the elms and the rain of leaves, The graves grow deeper. The dark folds of the wind Cover the ground. The night is cold. The leaves are swept against the stones. The dead are more dead each night. A starless dark embraces them. Their faces dim. We cannot remember them Clearly enough. We never will.

I hate your kind." "Because someone like me made you?" He laughs again. "I'm surprised you aren't more pleased to meet me. You're as close as anyone ever comes to meeting God. Come now, don't you have any questions for God?" Emiko scowls at him, nods at the cheshires. "If you were my God, you would have made New People first." The old gaijin laughs. "That would have been exciting." "We would have beaten you. Just like the cheshires." "You may yet." He shrugs. "You do not fear cibiscosis or blister rust." "No." Emiko shakes her head. "We cannot breed. We depend on you for that." She moves her hand. Telltale stutter-stop motion. "I am marked. Always, we are marked. As obvious as a ten-hands or a megodont." He waves a hand dismissively. "The windup movement is not a required trait. There is no reason it couldn't be removed. Sterility. . ." He shrugs. "Limitations can be stripped away. The safeties are there because of lessons learned, but they are not required; some of them even make it more difficult to create you. Nothing about you is inevitable." He smiles. "Someday, perhaps, all people will be New People and you will look back on us as we now look back at the poor Neanderthals." Emiko falls silent. The fire crackles. Finally she says, "You know how to do this? Can make me breed true, like the cheshires?" The old man exchanges a glance with his ladyboy. "Can you do it?" Emiko presses. He sighs. "I cannot change the mechanics of what you already are. Your ovaries are non-existent. You cannot be made fertile any more than the pores of your skin supplemented." Emiko slumps. The man laughs. "Don't look so glum! I was never much enamored with a woman's eggs as a source of genetic material anyway." He smiles. "A strand of your hair would do. You cannot be changed, but your children—in genetic terms, if not physical ones—they can be made fertile, a part of the natural world." Emiko feels her heart pounding. "You can do this, truly?" "Oh yes. I can do that for you." The man's eyes are far away, considering. A smile flickers across his lips. "I can do that for you, and much, much more.

We sat within the farm-house old, Whose windows, looking o'er the bay, Gave to the sea-breeze damp and cold, An easy entrance, night and day. Not far away we saw the port, The strange, old-fashioned, silent town, The lighthouse, the dismantled fort, The wooden houses, quaint and brown. We sat and talked until the night, Descending, filled the little room; Our faces faded from the sight, Our voices only broke the gloom. We spake of many a vanished scene, Of what we once had thought and said, And who was changed, and who was dead; And all that fills the hearts of friends, When first they feel, with secret pain, Their lives thenceforth have separate ends, And never can be one again; The first slight swerving of the heart, That words are powerless to express, And leave it still unsaid in part, Or say it in too great excess. The very tones in why we spake, Had something strange, I could but mark; The leaves of memory seemed to make A mournful rattling in the dark. Oft died the words upon our lips, As suddenly, from out the fire Built of the wreck of stranded ships, The flames would leap and then expire. And, as their splendor flashed and failed, We thought of wrecks upon the main, Of ships dismasted, that were hailed And sent no answer back again. The windows, rattling in their frames, The ocean, roaring up the beach, The gusty blast, the bickering flames, All mingled vaguely in our speech; Until they made themselves a part Of fancies floating through the brain, The long-lost ventures of the heart, That send no answers back again. O flames that glowed! O hearts that yearned! They were indeed too much akin, The drift-wood fire without that burned, The thoughts that burned and glowed within.

The track led into a sort of tunnel made of forest. They left daylight behind, a thousand leaves hemming them into dusky shade. As she traipsed behind Jack's torn blue jacket, he squinted into the foliage, hearkening to every cracking twig or bird-chirrup. After what seemed an age, they came out into blessed sunshine again. They were in a clearing, their ears filled with a thundering wind, the air itself trembling. A few paces further they came upon the source: above them, a waterfall tumbled from a clifftop as high as a church steeple. The water fell in milky blue strands, shooting spray in the air that danced in rainbows of gold, pink and blue. At their feet was a deep and inviting lagoon. It fair took her breath away. Jack crouched to look at the pool's edge, where a mud bank was scrabbled with marks. "We should go back," he said. "Something drinks here." She didn't care. She was spellbound. "Look, a cave!" Across the lagoon stood a dark entrance hung with pretty mosses, like a fairy grotto. "Just one peep," she whispered, for there was something powerful and secret about the place. "Then we can go back." But Jack was still peering at the tracks around the water's edge. "Whatever drinks here, it's not here now. I dare you, Jack. A quick look around the cave and then we'll be on our way." She had a notion, from some story or other, that caves were places where treasure was hidden; she reckoned pirates might have left jewels and plunder behind long ago. "It's the end of the rainbow," she laughed. "Let's find our crock of gold.

Breathes there a man, with soul so dead, Who never to himself hath said, This is my own, my native land? Whose heart hath ne'er within him burned, As home his footsteps he hath turned From wandering on a foreign strand? If such there breathe, go, mark him well; For him no minstrel raptures swell; High though his titles, proud his name, Boundless his wealth as wish can claim,– Despite those titles, power, and pelf, The wretch, concentred all in self, Living, shall forfeit fair renown, And, doubly dying, shall go down To the vile dust from whence he sprung, Unwept, unhonored, and unsung.

Ever since I first read Midori Snyder’s essay, ‘The Armless Maiden and the Hero’s Journey’ in The Journal of Mythic Arts, I couldn’t stop thinking about that particular strand of folklore and the application of its powerful themes to the lives of young women. There are many different versions of the tale from around the world, and the ‘Armless Maiden’ or ‘Handless Maiden’ are just two of the more familiar. But whatever the title, we are essentially talking about a narrative that speaks of the power of transformation – and, perhaps more significantly when writing young adult fantasy, the power of the female to transform herself. It’s a rite of passage; something that mirrors the traditional journey from adolescence to adulthood. Common motifs of the stories include – and I am simplifying pretty drastically here – the violent loss of hands or arms for the girl of the title, and their eventual re-growth as she slowly regains her autonomy and independence. In many accounts there is a halfway point in the story where a magician builds a temporary replacement pair of hands for the girl, magical hands and arms that are usually made entirely of silver. What I find interesting is that this isn’t where the story ends; the gaining of silver hands simply marks the beginning of a whole new test for our heroine.

YOU CAN ALWAYS GET THERE FROM HERE A traveler returned to the country from which he had started many years before. When he stepped from the boat, he noticed how different everything was. There were once many buildings, but now there were few and each of them needed repair. In the park where he played as a child, dust-filled shafts of sunlight struck the tawny leaves of trees and withered hedges. Empty trash bags littered the grass. The air was heavy. He sat on one of the benches and explained to the woman next to him that he’d been away a long time, then asked her what season had he come back to. She replied that it was the only one left, the one they all had agreed on.

The Continuous Life What of the neighborhood homes awash In a silver light, of children hunched in the bushes, Watching the grown-ups for signs of surrender, Signs that the irregular pleasures of moving From day to day, of being adrift on the swell of duty, Have run their course? O parents, confess To your little ones the night is a long way off And your taste for the mundane grows; tell them Your worship of household chores has barely begun; Describe the beauty of shovels and rakes, brooms and mops; Say there will always be cooking and cleaning to do, That one thing leads to another, which leads to another; Explain that you live between two great darks, the first With an ending, the second without one, that the luckiest Thing is having been born, that you live in a blur Of hours and days, months and years, and believe It has meaning, despite the occasional fear You are slipping away with nothing completed, nothing To prove you existed. Tell the children to come inside, That your search goes on for something you lost—a name, A family album that fell from its own small matter Into another, a piece of the dark that might have been yours, You don't really know. Say that each of you tries To keep busy, learning to lean down close and hear The careless breathing of earth and feel its available Languor come over you, wave after wave, sending Small tremors of love through your brief, Undeniable selves, into your days, and beyond.

A late arrival had the impression of lots of loud people unnecessarily grouped within a smoke-blue space between two mirrors gorged with reflections. Because, I suppose, Cynthia wished to be the youngest in the room, the women she used to invite, married or single, were, at the best, in their precarious forties; some of them would bring from their homes, in dark taxis, intact vestiges of good looks, which, however, they lost as the party progressed. It has always amazed me - the capacity sociable weekend revelers have of finding almost at once, by a purely empiric but very precise method, a common denominator of drunkenness, to which everybody loyally sticks before descending, all together, to the next level. The rich friendliness of the matrons was marked by tomboyish overtones, while the fixed inward look of amiably tight men was like a sacrilegious parody of pregnancy. Although some of the guests were connected in one way or another with the arts, there was no inspired talk, no wreathed, elbow-propped heads, and of course no flute girls. From some vantage point where she had been sitting in a stranded mermaid pose on the pale carpet with one or two younger fellows, Cynthia, her face varnished with a film of beaming sweat, would creep up on her knees, a proffered plate of nuts in one hand, and crisply tap with the other the athletic leg of Cochran or Corcoran, an art dealer, ensconced, on a pearl-grey sofa, between two flushed, happily disintegrating ladies. At a further stage there would come spurts of more riotous gaiety. Corcoran or Coransky would grab Cynthia or some other wandering woman by the shoulder and lead her into a corner to confront her with a grinning imbroglio of private jokes and rumors, whereupon, with a laugh and a toss of her head, he would break away. And still later there would be flurries of intersexual chumminess, jocular reconciliations, a bare fleshy arm flung around another woman's husband (he standing very upright in the midst of a swaying room), or a sudden rush of flirtatious anger, of clumsy pursuit-and the quiet half smile of Bob Wheeler picking up glasses that grew like mushrooms in the shade of chairs. ("The Vane Sisters")

It's only second period, and the whole school knows Emma broke up with him. So far, he's collected eight phone numbers, one kiss on the cheek, and one pinch to the back of his jeans. His attempts to talk to Emma between classes are thwarted by a hurricane of teenage females whose main goal seems to be keeping him and his ex-girlfriend separated. When the third period bell rings, Emma has already chosen a seat where she'll be barricaded from him by other students. Throughout class, she pays attention as if the teacher were giving instructions on how to survive a life-threatening catastrophe in the next twenty-four hours. About midway through class, he receives a text from a number he doesn't recognize. If you let me, I can do things to u to make u forget her. As soon as he clears it, another one pops up from a different number. Hit me back if u want to chat. I'll treat u better than E. How did they get my number? Tucking his phone back into his pocket, he hovers over his notebook protectively, as if it's the only thing left that hasn't been invaded. Then he notices the foreign handwriting scribbled on it by a girl named Shena who encircled her name and phone number with a heart. Not throwing it across the room takes almost as much effort as not kissing Emma. At lunch, Emma once again blocks his access to her by sitting between people at a full picnic table outside. He chooses the table directly across from her, but she seems oblivious, absently soaking up the grease from the pizza on her plate until she's got at least fifteen orange napkins in front of her. She won't acknowledge that he's staring at her, waiting to wave her over as soon as she looks up. Ignoring the text message explosion in his vibrating pocket, he opens the contain of tuna fish Rachel packed for him. Forking it violently, he heaves a mound into his mouth, chewing without savoring it. Mark with the Teeth is telling Emma something she thinks is funny, because she covers her mouth with a napkin and giggles. Galen almost launches from his bench when Mark brushes a strand of hair from her face. Now he knows what Rachel meant when she told him to mark his territory early on. But what can he do if his territory is unmarking herself? News of their breakup has spread like an oil spill, and it seems as though Emma is making a huge effort to help it along. With his thumb and index finger, Galen snaps his plastic fork in half as Emma gently wipes Mark's mouth with her napkin. He rolls his eyes as Mark "accidentally" gets another splotch of JELL-O on the corner of his lips. Emma wipes that clean too, smiling like she's tending to a child. It doesn't help that Galen's table is filling up with more of his admirers-touching him, giggling at him, smiling at him for no reason, and distracting him from his fantasy of breaking Mark's pretty jaw. But that would only give Emma a genuine reason to assist the idiot in managing his JELL-O.

Over a five-year period they had met casually with Montero’s chief supporters, in the fields of science and defense. In each case a simple handshake or pat on the back yielded the fleck of skin or single strand of hair needed for a genetic sample. These specimens were then studied with the individual’s particular vulnerabilities being identified. Later, pathogen-loaded viruses, or DNA bombs as Donald called them, were engineered from the samples to deliver infectious agents lethal only to the original donors. These viruses could then be injected harmlessly into the assassin and carried invisibly to their mark. In the target’s presence, a simple cough would release the magic bullet, killing the victim within a few hours or days. Referring to Special Atomic Miniature Munitions, or SAMM suitcase nuclear warheads,

You do me proud, Captain. But, dear, I want to say one thing and then I'm done; for you don't need much advice of mine after my good man has spoken. I read somewhere that every inch of rope in the British Navy has a strand of red in it, so wherever a bit of it is found it is known. That is the text of my little sermon to you. Virtue, which means honour, honesty, courage, and all that makes character, is the red thread that marks a good man wherever he is. Keep that always and everywhere, so that even if wrecked by misfortune, that sign shall still be found and recognized. Yours is a rough life, and your mates not all we could wish, but you can be a gentleman in the true sense of the word; and no matter what happens to your body, keep your soul clean, your heart true to those who love you, and do your duty to the end.

VII" Oh you can make fun of the splendors of moonlight, But what would the human heart be if it wanted Only the dark, wanted nothing on earth But the sea’s ink or the rock’s black shade? On a summer night to launch yourself into the silver Emptiness of air and look over the pale fields At rest under the sullen stare of the moon, And to linger in the depths of your vision and wonder How in this whiteness what you love is past Grief, and how in the long valley of your looking Hope grows, and there, under the distant, Barely perceptible fire of all the stars, To feel yourself wake into change, as if your change Were immense and figured into the heavens’ longing. And yet all you want is to rise out of the shade Of yourself into the cooling blaze of a summer night When the moon shines and the earth itself Is covered and silent in the stoniness of its sleep.

It is the best of times in physics. Physicists are on the verge of obtaining the long-sought theory of everything. In a few elegant equations, perhaps concise enough to be emblazoned on a T-shirt, this theory will reveal how the universe began and how it will end. The key insight is that the smallest constituents of the world are not particles, as had been supposed since ancient times, but “strings”—tiny strands of energy. By vibrating in different ways, these strings produce the essential phenomena of nature, the way violin strings produce musical notes. String theory isn’t just powerful; it’s also mathematically beautiful. All that remains to be done is to write down the actual equations. This is taking a little longer than expected. But, with almost the entire theoretical-physics community working on the problem—presided over by a sage in Princeton, New Jersey—the millennia-old dream of a final theory is sure to be realized before long. It is the worst of times in physics. For more than a generation, physicists have been chasing a will-o’-the-wisp called string theory. The beginning of this chase marked the end of what had been three-quarters of a century of progress. Dozens of string-theory conferences have been held, hundreds of new Ph.D.’s have been minted, and thousands of papers have been written. Yet, for all this activity, not a single new testable prediction has been made; not a single theoretical puzzle has been solved. In fact, there is no theory so far—just a set of hunches and calculations suggesting that a theory might exist. And, even if it does, this theory will come in such a bewildering number of versions that it will be of no practical use: a theory of nothing. Yet the physics establishment promotes string theory with irrational fervor, ruthlessly weeding dissenting physicists from the profession. Meanwhile, physics is stuck in a paradigm doomed to barrenness.

Before she could think, he bent his head and was kissing her, only this wasn't anything like the chaste kiss she'd gave him. His mouth slanted across hers, demanding her response. Soft and warm, his tongue brushed against the tender skin. With a sigh, Clarissa parted her lips and he quickly took advantage, deepening their kiss. His hand cupped the back of her head and his fingers tangled in her hair, while his other arm around her waist locked her against him. Clarissa twined her arms around his neck and felt the cold wall of the house at her back as he pressed her into it. Her pulse raced as their kiss became even more heated, each second that passed marking time they didn't have. Langston's tongue stroked hers in a dance that set fire to her blood. The shadow of whiskers on his face softly abraded her skin. His hair was silky, and she couldn't resist from pushing her fingers into the thick strands, which he must have liked, judging by the masculine groan that met her ears. When he finally lifted his head, both of them were breathing hard.

She opened the satchel. And honestly, fate couldn't have provided a better prize at the end of a scavenger hunt. She pulled out a beautiful, sparkling crown. Her large green eyes grew even larger. Despite the hour and lack of sunlight, its jewels still managed to shimmer and twinkle in a magical, expensive way. Rapunzel might not have had much experience with royal gems or any kind of precious stone, but it was very clear that these were those. The thing was straight out of a fairy tale, what a princess would be wearing when she was turned back from a swan. The giant diamonds were even shaped like swans' eggs. Under each was a round pink ruby, and threading between them was a strand of perfectly round pearls. She turned it over in her hands, tracing the tiny, intricately wound gold wire that held it all together. And there, in a small flat patch of smooth metal, was the artist's mark-- and a multi-rayed sun symbol. The same one on her bracelet clasp. The same one that she constantly painted and dreamed of. The one that meant life and happiness and energy in the personal vocabulary of Rapunzel's soul.

Well, poetry—at least lyric poetry—tries to lead us to relocate ourselves in the self. But everything we want to do these days is an escape from self. People don’t want to sit home and think. They want to sit home and watch television. Or they want to go out and have fun. And having fun is not usually meditative. It doesn’t have anything to do with reassessing one’s experience and finding out who one is or who the other guy is. It has to do with burning energy. When you go to the movies, you’re overcome with special effects and monstrous goings-on. Things unfold with a rapidity that’s thrilling. You’re not given a second to contemplate the previous scene, to meditate on something that’s just happened—something else takes its place. We seem to want instant gratification. Violent movies give you instant gratification. And drugs give you instant gratification. Sporting events give you instant gratification. Prostitutes give you instant gratification. This is what we seem to like. But that which requires effort, that which reveals itself only in the long term, that which demands some learning, patience, or skill—and reading is a skill—there’s not enough time for that, it seems. We forget that there is a thrill that attends the slower pleasures, pleasures that become increasingly powerful the more time we spend pursuing them. SHAWN Maybe people avoid poetry because it somehow actively makes them nervous or anxious. STRAND They don’t want to feel the proximity of the unknown—or the mysterious. It’s too deathlike; it’s too threatening. It suggests the possibility of loss of control right around the corner.

Violent Storm" Those who have chosen to pass the night Entertaining friends And intimate ideas in the bright, Commodious rooms of dreams Will not feel the slightest tremor Or be wakened by what seems Only a quirk in the dry run Of conventional weather. For them, The long night sweeping over these trees And houses will have been no more than one In a series whose end Only the nervous or morbid consider. But for us, the wide-awake, who tend To believe the worst is always waiting Around the next corner or hiding in the dry, Unsteady branch of a sick tree, debating Whether or not to fell the passerby, It has a sinister air. How we wish we were sunning ourselves In a world of familiar views And fixed conditions, confined By what we know, and able to refuse Entry to the unaccounted for. For now, Deeper and darker than ever, the night unveils Its dubious plans, and the rain Beats down in gales Against the roof. We sit behind Closed windows, bolted doors, Unsure and ill at ease While the loose, untidy wind, Making an almost human sound, pours Through the open chambers of the trees. We cannot take ourselves or what belongs To us for granted. No longer the exclusive, Last resorts in which we could unwind, Lounging in easy chairs, Recalling the various wrongs We had been done or spared, our rooms Seem suddenly mixed up in our affairs. We do not feel protected By the walls, nor can we hide Before the duplicating presence Of their mirrors, pretending we are the ones who stare From the other side, collected In the glassy air. A cold we never knew invades our bones. We shake as though the storm were going to hurl us down Against the flat stones Of our lives. All other nights Seem pale compared to this, and the brilliant rise Of morning after morning seems unthinkable. Already now the lights That shared our wakefulness are dimming And the dark brushes against our eyes.

The diversity of India is tremendous; it is obvious: it lies on the surface and anybody can see it. It concerns itself with physical appearances as well as with certain mental habits and traits. There is little in common, to outward seeming, between the Pathan of the Northwest and the Tamil in the far South. Their racial stocks are not the same, though there may be common strands running through them; they differ in face and figure, food and clothing, and, of course, language … The Pathan and Tamil are two extreme examples; the others lie somewhere in between. All of them have still more the distinguishing mark of India. It is fascinating to find how the Bengalis, the Marathas, the Gujaratis, the Tamils, the Andhras, the Oriyas, the Assamese, the Canarese, the Malayalis, the Sindhis, the Punjabis, the Pathans, the Kashmiris, the Rajputs, and the great central block comprising the Hindustani-speaking people, have retained their peculiar characteristics for hundreds of years, have still more or less the same virtues and failings of which old tradition or record tells us, and yet have been throughout these ages distinctively Indian, with the same national heritage and the same set of moral and mental qualities.    There was something living and dynamic about this heritage, which showed itself in ways of living and a philosophical attitude to life and its problems. Ancient India, like ancient China, was a world in itself, a culture and a civilization which gave shape to all things. Foreign influences poured in and often influenced that culture and were absorbed. Disruptive tendencies gave rise immediately to an attempt to find a synthesis. Some kind of a dream of unity has occupied the mind of India since the dawn of civilization. That unity was not conceived as something imposed from outside, a standardization of externals or even of beliefs. It was something deeper and, within its fold, the widest tolerance of beliefs and customs was practiced and every variety acknowledged and even encouraged.    In ancient and medieval times, the idea of the modern nation was non-existent, and feudal, religious, racial, and cultural bonds had more importance. Yet I think that at almost any time in recorded history an Indian would have felt more or less at home in any part of India, and would have felt as a stranger and alien in any other country. He would certainly have felt less of a stranger in countries which had partly adopted his culture or religion. Those, such as Christians, Jews, Parsees, or Moslems, who professed a religion of non-Indian origin or, coming to India, settled down there, became distinctively Indian in the course of a few generations. Indian converts to some of these religions never ceased to be Indians on account of a change of their faith. They were looked upon in other countries as Indians and foreigners, even though there might have been a community of faith between them.6

What else did her mother tell you?” Ethan asked, looking for any advantage in his task of winning her over. “That she’d call us later and give us pointers on wooing her daughter. Apparently, Naomi has something of a stubborn nature.” A snort escaped him. “I hadn’t noticed.” Javier paced the living room as Ethan stroked Naomi’s silky hair, unable to resist running his fingers through the long brown strands. “What are you thinking?” “That fate is laughing at me.” A chuckle made Ethan’s chest vibrate, causing Naomi’s head to jiggle. He cradled her head in his big palm to prevent her from falling before replying. “She’s certainly not what either of us expected, that’s for sure.” Javier shot him a dark look. “No shit, Sherlock. I mean don’t get me wrong, short and curvy works fine for me, but I always expected, if ever fate was cruel enough to curse me, she’d at least give me a woman who likes me.” “I’m sure she will in time. We took her by surprise, not to mention she’s in pain. Besides, I kind of like that she’s feisty. She’ll need it to keep up with us.” Round eyes and an open mouth met his answer. “You, my friend, are insane. One ball too many to the head I think. I mean, not only does she not want you, shouldn’t you be more pissed that it looks like she’s meant for both of us?” Ethan shrugged. “I’ll admit, I never expected to share, but if fate says that’s my lot, then at least it chose someone I could tolerate. And beat in a wrestling match if I need to. Besides, I’ll only have to share if you bother to stick around to mark her.” “Oh, I’m staying, so you can forget about keeping her for yourself,” Javier replied shooting him a dark look. “What happened to I’m not meant for monogamy?” Ethan pitched his voice mockingly. A sigh emerged from Javier’s mouth before he slumped in the chair across from him. “I haven’t thought that far ahead. It’s hard to think at all with my damned cat yammering for me to bite her. Mayhap if you were to claim her first, the need for me to do so would vanish?” The optimism in his friend’s voice made him laugh again. “Sorry, no such luck I’m afraid. From everything I’ve ever heard, once you find the one, you’re done for. The need to mark her, claim her, just gets stronger and stronger.” Already the urge to take her rode Ethan hard. It didn’t help that he held her cuddled on his lap, her sweet fragrance tickling his nose while her lush body pressed against his turgid cock.

ANYWHERE COULD BE SOMEWHERE I might have come from the high country, or maybe the low country, I don’t recall which. I might have come from the city, but what city in what country is beyond me. I might have come from the outskirts of a city from which others have come or maybe a city from which only I have come. Who’s to know? Who’s to decide if it rained or the sun was out? Who’s to remember? They say things are happening at the border, but nobody knows which border. They talk of a hotel there, where it doesn’t matter if you forgot your suitcase, another will be waiting, big enough, and just for you.

Gerry reached up to smooth a bit of that snowy mane. The strands slipped through his fingers like silk to reveal a witch's mark, a spiral of olive-green stones that seemed to be a part of Ghost’s very forehead, shining against the translucent skin. Gerry had seen such marks before, peculiar glyphs burned into a witch's skin in vibrant jewel-tone inks to offer protection or enhance their power, or so the witches claimed. This was the first time he had seen actual jewels used, though. He thought it was beautiful, exotic like all of Ghost, with that white hair and those ice blue eyes. Gerry returned to admiring the peaceful face resting on his shoulder.

In the past year, a new divestment campaign has caught on, faster than any other such campaign in history, according to a recent Oxford university study. Investors representing more than $2.5tn in assets under management, including the Rockefeller Brothers Fund, Norway’s giant oil fund and the Church of England (whose archbishop is a former oil executive) have all joined the chorus saying sayonara to their dirtiest fossil fuel investments. They reason this is not about biting the hand that fed them; rather, it is about morality and economics. It is about the morality of not standing on the sidelines of climate change, “the most pressing moral issue in our world” in the words of the lead bishop on the environment for the Church of England. It is also about the economics of not getting stuck holding a bag of stranded fossil fuel assets that cannot be burnt if the world is to adhere to a given carbon budget, a topic on which Mark Carney, governor of the Bank of England, has expressed concerns. And it is about not missing out on the transition from a high-carbon to a low-carbon economy. The president of Harvard University, whose endowment is estimated to have a carbon footprint as big as that of Jamaica, is not convinced. As Drew Faust argues, constraining investment options risks significantly constraining investment returns, while divestment is unlikely to have a financial impact on the affected companies. It also raises the troubling problem of boycotting a whole class of companies whose products and services we rely on.

Of more angst to drivers are the customer ratings systems imposed by the app companies. While most drivers do not have a problem with the notion of being rated, they are concerned that they will receive poor marks for circumstances beyond their control. Customers can give even the most earnest drivers bad ratings for any reason such as bumpy rides over pothole strewn roads, traffic congestion and passengers underestimating how much time they need to reach their destinations. Miscommunication between passengers and drivers can occur because passengers cannot speak the local language, are drunk, or fall asleep and cannot direct the driver to their remote destinations. Perhaps some passengers just do not like the ethnic group to which some drivers appear to belong. Circumstances such as these are clearly the fault of passengers who may rate drivers poorly nonetheless. Drivers with low ratings can be expelled from on-demand taxi services. This unfairness is compounded to the extent that drivers make large investments in their cars, insurance and fuel. Making drivers, who basically invested in a franchise, vulnerable to expulsion from a system because of unfair ratings seems to me to be a potential source of dissention or even litigation. Another concern associated with the taxi app business model is that drivers only have 15 seconds to respond to notices of pick up opportunities. Drivers that fail to respond in such tight windows lose the business. Repeat failures to make timely responses can result in temporary suspensions. This pressure, and related distractions associated with interacting with handsets, is applied simultaneously with all of the challenges of navigating traffic in a variety of weather conditions. Foremost, this is a driving hazard that imperils everyone in the vicinity. It also ties in with the ratings systems because drivers are only rated on the rides they complete. Drivers who claim rides but abandon the customer if it looks like the pickup will be delayed have no ratings risk. Paradoxically, no ratings result in the worst customer service as passengers end up stranded.

You don’t read a poem to find the meaning of life. The opposite. I mean, you’d be foolish to. Now, some American poets present the reader with a slice of life, saying, I went to the store today, and I saw a man, and he looked at me, and I looked at him, and we both knew we were … thieves. And aren’t we all thieves? You know, this is extracting from everyday experience a statement about life, or a moral.

What happened at Newport in 1965 was not just a musical disagreement or a single artist breaking with his past. It marked the end of the folk revival as a mass movement and the birth of rock as the mature artistic voice of a generation, and in their respective halves of the decade both folk and rock symbolized much more than music. Fifty years later both the music and the booing still resonate, in part because Dylan continues to be an icon, in part because the generation that cared then has continued to care—but also because the moment itself has become iconic. This book traces the strands that led to that moment, sometimes seeking to untangle them, sometimes emphasizing how tangled they remain, sometimes suggesting where later chroniclers may have imagined or added strands that did not exist or were not visible at the time, sometimes trying to explain, sometimes trying to make the story more complicated, sometimes pointing out how different a familiar strand can seem if we look at it in a new light.

He ran west, away from the rising sun. The wet sand glistened in the morning light and felt spongy beneath his shoes. The tide was out, and the beach sat wide, filled with a fresh assortment of seashells and sand crabs scurrying sideways and jellyfish stranded out of water. Seagulls picked over dead fish, and a pelican stood witness. The wind was down, the sea smooth, and the waves low swells instead of whitecaps. The air was fresh, and the beach was his.