Masks We Wear Quotes

We all wear masks, and the time comes when we cannot remove them without removing some of our own skin.

I wish every day could be Halloween. We could all wear masks all the time. Then we could walk around and get to know each other before we got to see what we looked like under the masks.

Soul Alone by Hannah Baker I meet your eyes you don't even see me You hardly respond when I whisper hello Could be my soul mate two kindred spirits Maybe we're not I guess we'll never know My own mother you carried me in you Now you see nothing but what I wear People ask you how I'm doing You smile and nod don't let it end there Put me underneath God's sky and know me don't just see me with your eyes Take away this mask of flesh and bone and See me for my soul alone

Can’t you see, these masks we wear betray us. They reveal us.

We are all wearing masks. That is what makes us interesting.

We wear the mask that grins and lies, It hides our cheeks and shades our eyes,— This debt we pay to human guile; With torn and bleeding hearts we smile

Those masks we wear not to shield others; but ourselves from who we are.

Grown-ups might not have their shit figured out any more than we do. They just wear more-convincing masks. That disappoints me

We become the masks we wear.

No matter the masks we wear, we always end up together.

If what's always distinguished bad writing--flat characters, a narrative world that's clichéd and not recognizably human, etc.--is also a description of today's world, then bad writing becomes an ingenious mimesis of a bad world. If readers simply believe the world is stupid and shallow and mean, then [Bret] Ellis can write a mean shallow stupid novel that becomes a mordant deadpan commentary on the badness of everything. Look man, we'd probably most of us agree that these are dark times, and stupid ones, but do we need fiction that does nothing but dramatize how dark and stupid everything is? In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this world and to illuminate the possibilities for being alive and human in it. Postmodern irony and cynicism's become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what's wrong, because they'll look sentimental and naive to all the weary ironists. Irony's gone from liberating to enslaving. There's some great essay somewhere that has a line about irony being the song of the prisoner who's come to love his cage… The postmodern founders' patricidal work was great, but patricide produces orphans, and no amount of revelry can make up for the fact that writers my age have been literary orphans throughout our formative years. We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it’s stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naïveté. Sentiment equals naïveté on this continent. You burn with hunger for food that does not exist. A U. S. of modern A. where the State is not a team or a code, but a sort of sloppy intersection of desires and fears, where the only public consensus a boy must surrender to is the acknowledged primacy of straight-line pursuing this flat and short-sighted idea of personal happiness.

sometimes we wear masks so long to hide what we truly feel that those layers become an extra skin, a part of our identity

This life is so complex that we rarely get to be the people we are truly meant to be. Instead, we wear masks and put up walls to keep from dealing with the fear of rejection, the feeling of regret, the very idea that someone may not love us for who we are deep in our core, that they might not understand the things that drive us.

Everyone wears metaphorical masks during their lives. We all have different faces we show to work colleagues, or friends, or family. Sometimes we wear so many masks, we forget who we are underneath it all, but you have to find the courage to drop all the bullshit and revel your true self.

Do you think you wear a mask?’ ‘I’m wearing one right now.’ Valentino smiled softly. ‘We both are.’ ‘It’s a sad thought.’ ‘Yes,’ he said. ‘But sometimes I wonder about the alternative. Imagine if we had no secrets, no respite from the truth. What if everything was laid bare the moment we introduced ourselves?

Masquerades disclose the reality of souls. As long as no one sees who we are, we can tell the most intimate details of our life. I sometimes muse over this sketch of a story about a man afflicted by one of those personal tragedies born of extreme shyness who one day, while wearing a mask I don’t know where, told another mask all the most personal, most secret, most unthinkable things that could be told about his tragic and serene life. And since no outward detail would give him away, he having disguised even his voice, and since he didn’t take careful note of whoever had listened to him, he could enjoy the ample sensation of knowing that somewhere in the world there was someone who knew him as not even his closest and finest friend did. When he walked down the street he would ask himself if this person, or that one, or that person over there might not be the one to whom he’d once, wearing a mask, told his most private life. Thus would be born in him a new interest in each person, since each person might be his only, unknown confidant.

Camilla: You, sir, should unmask. Stranger: Indeed? Cassilda: Indeed it’s time. We all have laid aside disguise but you. Stranger: I wear no mask. Camilla: (Terrified, aside to Cassilda.) No mask? No mask! -- The King in Yellow, Act I, Scene 2.

How many of them have secrets they don't want the world to know? How many of them wear masks wherever they go? We're anything but typical.

No one reveals himself as he is; we all wear a mask and play a role. - On Psychology

I have to wonder if he has masks he wears, too. Maybe we all do.

I told them we’re tired of the culture wars, tired of Christianity getting entangled with party politics and power. Millennials want to be known by what we’re for, I said, not just what we’re against. We don’t want to choose between science and religion or between our intellectual integrity and our faith. Instead, we long for our churches to be safe places to doubt, to ask questions, and to tell the truth, even when it’s uncomfortable. We want to talk about the tough stuff—biblical interpretation, religious pluralism, sexuality, racial reconciliation, and social justice—but without predetermined conclusions or simplistic answers. We want to bring our whole selves through the church doors, without leaving our hearts and minds behind, without wearing a mask.

Everyone wears masks. They come in all different shapes and sizes. The only problem with trying one on - is that it fits. How easily we fall into the trap that we don't have to be who we really are. How easily we convince ourselves that we need to cover up what we were born to be. It's a tragedy - that fear keeps us from our destiny. It's hell - when the person you were created to be - is covered up by some cheap imposter.

We wear the mask that grins and lies, It hides our cheeks and shades our eyes,- - This debt we pay to human guile; With torn and bleeding hearts we smile And mouth with myriad subtleties. Why should the world be otherwise, In counting all our tears and sighs? Nay, let them only see thus, while We wear the mask. We smile, but, O great Christ, our cries To thee from tortured souls arise. We sing, but oh the clay is vile Beneath our feet, and long the mile; But let the world dream otherwise, We wear the mask!

We all wear masks, but it's the one we choose to wear that makes a difference.

It’s of some interest that the lively arts of the millenial U.S.A. treat anhedonia and internal emptiness as hip and cool. It’s maybe the vestiges of the Romantic glorification of Weltschmerz, which means world-weariness or hip ennui. Maybe it’s the fact that most of the arts here are produced by world-weary and sophisticated older people and then consumed by younger people who not only consume art but study it for clues on how to be cool, hip - and keep in mind that, for kids and younger people, to be hip and cool is the same as to be admired and accepted and included and so Unalone. Forget so-called peer-pressure. It’s more like peer-hunger. No? We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it’s stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naivete. Sentiment equals naïveté on this continent... ...Hal, who’s empty but not dumb, theorizes privately that what passes for hip cynical transcendence of sentiment is really some kind of fear of being really human, since to be really human (at least as he conceptualizes it) is probably to be unavoidably sentimental and naive and goo-prone and generally pathetic, is to be in some basic interior way forever infantile, some sort of not-quite-right-looking infant dragging itself anaclitically around the map, with big wet eyes and froggy-soft skin, huge skull, gooey drool. One of the really American things about Hal, probably, is the way he despises what it is he’s really lonely for: this hideous internal self, incontinent of sentiment and need, that pules and writhes just under the hip empty mask, anhedonia.

We wear different masks and hide our reality from everyone, including ourselves. Our assumed identities becomes our whole lives, and we start to believe them—even more than others do.

But he place a gentle palm under her chin and turned her face back to him. “I'm privileged to see you like this,” he said, his eyes fierce. “Wear you social mask at your balls and parties and when you visit your friends out there, but when we are alone, just the two of us in here, promise me this: that you'll show me only your real face, no matter how ugly you might think it. That's our true intimacy, not sex, but the ability to be ourselves when we are together. (Winter Makepeace)

We all wear masks, some with makeup some with smiles some with wives or husbands cars or clothes we hide from the world and from ourselves we hide from our truths behind our eyes running always from our real but somewhere there where truth meets courage we are waiting to be found

We tried to make a heaven of earth, But the earth is just a stage, a school, Where we wear our masks and play our roles And teach each other how to love.

Wearing a mask can thus be a strange thing: sometimes, more often than we tend to believe, there is more truth in the mask that in what we assume to be our "real self.

Funny, isn’t it? We middle-class people secretly want that the poor should remain poor, as poverty is a necessary condition for an easy supply of servants. Yet out in the open, we pretend that the penury of the masses concerns us deeply. We hide who we are and wear masks. All of us.

The shadow is the image of ourselves that slides along behind us as we walk toward the light. The persona, its opposite, is named after the Roman term for an actor’s mask. It is the face we wear to meet the social world around us.

In order to protect our emotional wounds, and because of our fear of being hurt, humans create something very sophisticated in the mind: a big denial system. In that denial system we become the perfect liars. We lie so perfectly that we lie to ourselves and we even believe our own lies. We don’t notice we are lying, and sometimes even when we know we are lying, we justify the lie and excuse the lie to protect ourselves from the pain of our wounds. The denial system is like a wall of fog in front of our eyes that blinds us from seeing the truth. We wear a social mask because it’s too painful to see ourselves or to let others see us as we really are. And the denial system lets us pretend that everyone believes what we want them to believe about us. We put up these barriers for protection, to keep other people away,

Hypocrisy is saying we believe something, then living as if we didn’t. Hypocrisy is preaching and not practicing. It says do as I say not as I do. It’s insincerity wearing a mask of sincerity.

Ironically, the term personality is derived from the Greek word for mask ( persona), reflecting our tendency to confuse the masks we wear with our true selves, even long after the threats of early childhood have passed.

We'd considered wearing uniform but Lesley said, what with her mask and everything, she'd look like a plastic cop monster from Doctor Who. I managed to restrain myself from telling her their real name.

This is what they say: Secure your own mask before helping others. And i think of us, all the people, and the masks we wear, the masks we hide behind and the masks that reveal. I imagine people pretending to be what they truly are, and discovering that other people are so much more and so much less than they imagined themselves to be or present themselves as. And then, I think about the need to help others, and how we mask ourselves to do it, and how unmasking makes us vulnerable... We are all wearing masks. That is what makes us interesting.

For me, Halloween is the best holiday in the world. It even beats Christmas. I get to dress up in a costume. I get to wear a mask. I get to go around like every other kid with a mask and nobody thinks I look weird. Nobody takes a second look. Nobody notices me. Nobody knows me. I wish every day could be Halloween. We could all wear masks all the time. Then we could walk around and get to know each other before we got to see what we looked like under the masks.

Everyone wears masks.They come in all different shapes and sizes.The only problem with trying one on is that it fits. How easily we fall into the trap that we don’t have to be who we really are.How easily we convince ourselves that we need to cover up what we were born to be.It’s a tragedy that fear keeps us from our destiny.It’s hell when the person you were created to be is covered up by some cheap imposter

Without wearing any mask we are conscious of, we have a special face for each friend

I'm starting to realize that being born into this social world is a little like being born into clean air. You take it in as soon as you breathe, and pretty soon you don't even realize that while you can walk around with clear lungs, other people are wearing oxygen masks just to survive.

All of us, more or less, wear masks. Because without masks we can’t survive in this violent world. Beneath an evil-spirit mask lies the natural face of an angel, beneath an angel’s mask lies the face of an evil spirit. It’s impossible to have just one or the other. That’s who we are. And that’s Carnaval. Schumann was able to see the many faces of humanity—the masks and the real faces—because he himself was a deeply divided soul, a person who lived in the stifling gap in between the two.

Why do we as humans always tend to remember the worse things about people? We may know someone for many years, know them as vibrant and healthy, yet when they fall ill and pass away, we can only picture them at their sickest, as though they were born and lived their whole lives wearing a death mask.

We wear the mask that grins and lies...

Everybody put on masks, including you and me. We all wear masks.

Maybe it's the fact the most of the arts here are produced by world-weary and sophisticated older people and then consumed by younger people who not only consume art but study it for clues on how to be cool, hip - and keep in mind that, for kids and younger people, to be hip and cool is the same as to be admired and accepted and included and so Unalone. Forget so-called peer-pressure. It's more like peer-hunger. No? We enter a spiritual puberty where we snap to the fact that the great transcendant horror is loneliness, excluded encagement in the self. Once we've hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it's stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naivete.

A label is a mask life wears. We put labels on life all the time. "Right," "wrong," "success," "failure," "lucky," "unlucky," may be as limiting a way of seeing things as "diabetic," "epileptic," "manic-depressive," or even "invalid." Labeling sets up an expectation of life that is often so compelling we can no longer see things as they really are. This expectation often gives us a false sense of familiarity toward something that is really new and unprecedented. We are in relationship with our expectations and not with life itself.

This life is complex that we rarely get to be the people we are truly meant to be. Instead, we wear masks and put up walls to keep from dealing with the fear of rejection, the feeling of regret, the very idea that someone may not love us for who we are deep in our core, that they might not understand the things that drive us,

This life is so complex that we rarely get to be the people we are truly meant to be. Instead, we wear masks and put up walls to keep from dealing with the fear of rejection, the feeling of regret, the very idea that someone may not love us for who we are deep in our core, that they might not understand the things that drive us. I want to study the realness of life, not the gloss. There is beauty everywhere; even in the dark, there is light, and that is the rarest kind of all.

What we want is for everyone to just wear a mask. But then there are people who say that requiring a mask is a gross infringement of their bodily rights. I don’t know how to make it any more clear: you don’t have any bodily rights when you’re dead.

We all wear a mask. The trick is keeping it in place.

At least we both know how shitty the world is. You wearing a beard as a mask to disguise it. I wearing my tired smile. I don't see how you do it. One hundred thousand university students marching with you. Toward A necessity which is not love but is a name.

It's of some interest that the lively arts of the millennial U.S.A. treat anhedonia and internal emptiness as hip and cool. It's maybe the vestiges of the Romantic glorification of Weltschmerz, which means world-weariness or hip ennui. Maybe it's the fact that most of the arts here are produced by world-weary and sophisticated older people and then consumed by younger people who not only consume art but study it for clues on how to be cool, hip—and keep in mind that, for kids and younger people, to be hip and cool is the same as to be admired and accepted and included and so Unalone. Forget so-called peer-pressure. It's more like peer-hunger. No? We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, to be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it’s stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naïveté. Sentiment equals naïveté on this continent.

Only by concealing our identities can we shed the masks we have to wear at school, at work, even at home - everywhere there is surveillance, policing, punishment - masks that are increasingly indistinguishable from ourselves.

I once asked the servants why none of them had blue eyes like my aunts. They replied that only the ladies could afford to buy the blue glass cups in which they kept their eyes at night to make them more blue and beautiful, and furthermore, if we went on asking silly questions, the rats that steal the faces of inquisitive children in order to wear them as masks would come to take us to live in the twilit world between the ceiling and the roof where no one ever dared to go.

The fields are fair in autumn yet, and the sun's still shining there, but we bow our heads and we brood and fret, because of the masks we wear, Or we nod and smile the social while, and we say we're doing well, But we break our herts! For the things we must not tell.

Modern man has too many masks to wear. We must unmask and be ourselves, sincerely, earnestly and live truly as we are,

We all need a mask in order to function. But wear the mask too long and we forget who really lives behind it. Right? We forget our authentic selves.

We wear our garments like masks. Take them off, and you strip a person of their pretenses.

the proof I need that grown-ups might not have their shit figured out any more than we do. They just wear more-convincing masks. That disappoints me. My phone vibrates in my pocket.

Like a child at the cinema, we get caught up in the illusion. From this comes all of our vanity, ambition, and insecurity. We fall in love with the illusions we have created and develop excessive pride in our appearance, our possessions, and our accomplishments. It’s like wearing a mask and proudly thinking that the mask is really you.

It’s all about the mask you wear to fit into a given situation. We all have several different masks. Having one at work and one at home isn’t that unusual. And another one for visiting the in-laws, perhaps.

Poem - I meet your eyes. You don't even see me. You hardly respond when I whisper hello. Could be my soul mate, two kindred spirits. Maybe we're not. I guess we'll never know. My own mother, you carried me in you. Now you see nothing but what I wear. People ask you how I am doing. You smile and nod. Don't let it end there. Put me underneath God's sky and know me. Don't just see me with your eyes. Take away this mask of flesh and bone and see me for my soul, alone.

My friend, I am not what I seem. Seeming is but a garment I wear-a care-woven garment that protects me from thy questionings and thee from my negligence. The “I” in me, my friend, dwells in the house of silence, and therein it shall remain for ever more, unperceived, unapproachable. I would not have thee believe in what I say nor trust in what I do-for my words are naught but thy own thoughts in sound and my deeds thy own hopes in action. When thou sayest, “The wind bloweth eastward,” I say, “Aye it doth blow eastward”; for I would not have thee know that my mind doth not dwell upon the wind but upon the sea. Thou canst not understand my seafaring thoughts, nor would I have thee understand. I would be at sea alone. When it is day with thee, my friend, it is night with me; yet even then I speak of the noontide that dances upon the hills and of the purple shadow that steals its way across the valley; for thou canst not hear the songs of my darkness nor see my wings beating against the stars-and I fain would not have thee hear or see. I would be with night alone. When thou ascendest to thy Heaven I descend to my Hell-even then thou callest to me across the unbridgeable gulf, “My companion, my comrade,” and I call back to thee, “My comrade, my companion”-for I would not have thee see my Hell. The flame would burn thy eyesight and the smoke would crowd thy nostrils. And I love my Hell too well to have thee visit it. I would be in Hell alone. Thou lovest Truth and Beauty and Righteousness; and I for thy sake say it is well and seemly to love these things. But in my heart I laughed at thy love. Yet I would not have thee see my laughter. I would laugh alone. My friend, thou art good and cautious and wise; nay, thou art perfect-and I, too, speak with thee wisely and cautiously. And yet I am mad. But I mask my madness. I would be mad alone. My friend, thou art not my friend, but how shall I make thee understand? My path is not thy path, yet together we walk, hand in hand.

Hemingway never said any of this. It's all AI-generated bullshit. The hardest lesson I’ve had to learn as an adult is the relentless need to keep going, no matter how shattered I feel inside." This truth is both raw and universal. Life doesn’t pause when our hearts are heavy, our minds are fractured, or our spirits feel like they’re unraveling. It keeps moving—unrelenting, unapologetic—demanding that we move with it. There’s no time to stop, no pause for repair, no moment of stillness where we can gently piece ourselves back together. The world doesn’t wait, even when we need it to. What makes this even harder is that no one really prepares us for it. As children, we grow up on a steady diet of stories filled with happy endings, tales of redemption and triumph where everything always falls into place. But adulthood strips away those comforting narratives. Instead, it reveals a harsh truth: survival isn’t glamorous or inspiring most of the time. It’s wearing a mask of strength when you’re falling apart inside. It’s showing up when all you want is to retreat. It’s choosing to move forward, step by painful step, when your heart begs for rest. And yet, we endure. That’s the miracle of being human—we endure. Somewhere in the depths of our pain, we find reserves of strength we didn’t know we possessed. We learn to hold space for ourselves, to be the comfort we crave, to whisper words of hope when no one else does. Over time, we realize that resilience isn’t loud or grandiose; it’s a quiet defiance, a refusal to let life’s weight crush us entirely. Yes, it’s messy. Yes, it’s exhausting. And yes, there are days when it feels almost impossible to take another step. But even then, we move forward. Each tiny step is proof of our resilience, a reminder that even in our darkest moments, we’re still fighting, still refusing to give up. That fight—that courage—is the quiet miracle of survival.

I suddenly see the world as no longer viable: you are out there burning the crops with some new sublimate This morning you left the bed we still share and went out to spread impotence upon the world I hate you. I hate the mask you wear, your eyes assuming a depth they do not possess, drawing me into the grotto of your skull the landscape of bone I hate your words they make you think of fake revolutionary bills crisp imitation parchment they sell at battlefields. Last night, in this room, weeping I asked you: what are you feeling? do you feel anything? Now in the torsion of your body as you defoliate the fields we lived from I have your answer.

The life that I touch for good or ill will touch another life, and that in turn another, until who knows where the trembling stops or in what far place and time my touch will be felt. Our lives are linked together. No man is an island. But there is another truth, the sister of this one, and it is that every man is an island. It is a truth that often the tolling of a silence reveals even more vividly than the tolling of a bell. We sit in silence with one another, each of us more or less reluctant to speak, for fear that if he does, he may sound life a fool. And beneath that there is of course the deeper fear, which is really a fear of the self rather than of the other, that maybe truth of it is that indeed he is a fool. The fear that the self that he reveals by speaking may be a self that the others will reject just as in a way he has himself rejected it. So either we do not speak, or we speak not to reveal who we are but to conceal who we are, because words can be used either way of course. Instead of showing ourselves as we truly are, we show ourselves as we believe others want us to be. We wear masks, and with practice we do it better and better, and they serve us well –except that it gets very lonely inside the mask, because inside the mask that each of us wears there is a person who both longs to be known and fears to be known. In this sense every man is an island separated from every other man by fathoms of distrust and duplicity. Part of what it means to be is to be you and not me, between us the sea that we can never entirely cross even when we would. “My brethren are wholly estranged from me,” Job cries out. “I have become an alien in their eyes.” The paradox is that part of what binds us closest together as human beings and makes it true that no man is an island is the knowledge that in another way every man is an island. Because to know this is to know that not only deep in you is there a self that longs about all to be known and accepted, but that there is also such a self in me, in everyone else the world over. So when we meet as strangers, when even friends look like strangers, it is good to remember that we need each other greatly you and I, more than much of the time we dare to imagine, more than more of the time we dare to admit. Island calls to island across the silence, and once, in trust, the real words come, a bridge is built and love is done –not sentimental, emotional love, but love that is pontifex, bridge-builder. Love that speak the holy and healing word which is: God be with you, stranger who are no stranger. I wish you well. The islands become an archipelago, a continent, become a kingdom whose name is the Kingdom of God.

With torn and bleeding hearts we smile.

One thing my recent experiences had taught me was to never assume that the mask we show in public is the same face we wear behind our own front door.

We want to bring our whole selves through the church doors, without leaving our hearts and minds behind, without wearing a mask.

We all wear masks. And the more we have to hide, the more accomplished the veneer.

It was called ‘We Wear the Mask’, by Paul Laurence Dunbar. I transcribed the first stanza and then started jotting down my reaction to it. We wear the mask that grins and lies, It hides our cheeks and shades our eyes,— This debt we pay to human guile; With torn and bleeding hearts we smile, And mouth with myriad subtleties. I used to wear masks so subtle I barely noticed them. A compliment to my mother after a dismal meal, a smile at my best friend when she sang out of tune, a forced laugh at my uncle’s bad jokes. I wore small masks that came and went, like fleeting expressions. I am stuck inside the mask I wear now. I want to rip it off. I want to show my scars to the world, to unveil the ugliness that breathes inside me. I want to be unashamed. I want to be unafraid. But every day the mask gets tighter, and I suffocate a little more. I stopped writing.

In social situations we all wear masks, and keep our defenses up. It is embarrassing, after all, to reveal one’s true feelings. As a seducer you must find a way to lower these resistances.

Forget so-called peer-pressure. It’s more like peer-hunger. No? We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young.

The reality is that physical or emotional pain, especially when it is chronic, has a way of stripping away the masks we tend to wear, leaving our hearts exposed and our self-sufficient ways of life threatened.

On Saturday afternoons I used to go for a walk with my mother. From the dusk of the hallway, we stepped at once into the brightness of the day. The passerby, bathed in melting gold, had their eyes half-closed against the glare, as if they were drenched with honey, upper lips were drawn back, exposing the teeth. Everyone in this golden day wore that grimace of heat–as if the sun had forced his worshippers to wear identical masks of gold. The old and the young, women and children, greeted each other with these masks, painted on their faces with thick gold paint; they smiled at each other's pagan faces–the barbaric smiles of Bacchus.

Healthy people understand that others have the capacity to choose to end relationships and it serves as motivation for them to learn to relate in healthy and loving ways. However, when we are driven by shame, we don't just fear losing a relationship, but we live in terror that if we let anyone really get to know us, we would never be desired, pursued, or loved. In us, that fear can be worked out in the development of unhealthy denial, workaholism, perfectionism, chameleon-type behavior, and sadly, even revictimization... When we live in denial or present a false self out of fear... we will do anything to be accepted by people... When we begin to tell the truth about what happened to us we also begin the process of turning about from this type of idolatry... When we begin to tear away our layers of illegitimate shame... When our own vision is not distorted by our shame we can discern what was our responsibility and what wasn't.

I once laughed at the vanity of women of thirty or forty who whitened their ruddy old skin with lead, but now I know such salves are not disguises for old crones who wish to catch a young husband. Instead they are only a mask we wear so that we can, for a little while, still recognize ourselves.

We wear the mask that grins and lies. It shades our cheeks and hides our eyes. This debt we pay to human guile With torn and bleeding hearts… We smile and mouth the myriad subtleties. Why should the world think otherwise In counting all our tears and sighs. Nay let them only see us while We wear the mask.

The answer is that we can never do the right thing as long as we are out to please someone else. We can only be the people we are, and we cannot force our parents to love us. There are parents who can only love the mask their child wears.

Everyone wears different masks on a regular basis. Some people simply aren’t aware of it. Also, I like to think of the masks as different versions of the same person. Humans are complex, complicated. We are so much more than just one mask.

Why do we call a dishonest person two-faced? Is it really so honest to wear the same face day in, day out, regardless of our mood, our condition, or the event? We are not clocks! Have a face for every occasion, I say! Be honest: Wear a mask.

But truly, what man doth not wear a mask? For all of us are maskèd in some way– Some choose sharp cruelty as their outward face, Some put themselves behind a king's façade, Some hind behind the mask of bravery, Some put on the disguise of arrogance. But underneath our masks are we not one? Do we not all wish for love, and joy, and peace?

I began to see the magic of Jocelyn's horse psychology school. You couldn't put on airs with a horse, as we so often do with people. Horses look through the masks we wear and the things we say. They see who we really are. They gauge our intentions in a thousand invisible ways that have nothing to do with the words we say. They shy away from the barriers of fear, self-centeredness, jealousy, anger, impatience. They are drawn in by kindness, understanding, concern, openness, love. The thing is, so are people.

I do not think we change who we essentially are. We simply learn to wear masks that protect us from our own vulnerability and present a face that society wants to see. We call it our duty, but it is really a means of hiding our true selves in order to pass muster.

We all wear masks. We all have something to hide at one point or another.

We wear masks to give others a reality that they can accept.

Love has a powerful way of removing the mask we all insist on wearing.

The so-called “innocents” are still wearing the skins of sheep to cover their evil intentions. Thus, we must avoid flatterers at any cost, so as not to become their victims.

Voyagers can remove the masks and those sinuous, intricate disguises we wear at home in the dangerous equilibrium of our common lives.

grown-ups might not have their shit figured out any more than we do. They just wear more-convincing masks.

The gym exposes deficiencies in our bodies’ strength and stamina—and appearance. You can wear all kinds of daytime clothes that hide or minimize aspects of your body that you would like to be less visible to the eye. But in the gym, you cannot hide them. There you and your coach (and unfortunately everyone around you) can see where you bulge where you shouldn’t. It’s an incentive to get to work. And so this metaphor tells us that when life is going along just fine, the flaws in our character can be masked and hidden from others and from ourselves. But when troubles and difficulties hit, we are suddenly in “God’s gymnasium”—we are exposed. Our inner anxieties, our hair-trigger temper, our unrealistic regard of our own talents, our tendency to lie or shade the truth, our lack of self-discipline—all of these things come out.

Why do we so dread to think of our species as a species? Can it be that we are afraid of what we may find? That human self-love would suffer too much and that the image of God might prove to be a mask? This could be only partly true, for if we could cease to wear the image of a kindly, bearded, interstellar dictator, we might find ourselves true images of his kingdom, our eves the nebulae, and universes in our cells.

Millennials want to be known by what we're for, ... not just what we're against. We don't want to choose between science and religion or between our intellectual integrity and our faith. Instead, we long for our churches to be safe places to doubt, to ask questions, and to tell the truth, even when it's uncomfortable. We want to talk about the tough stuff—biblical interpretation, religious pluralism, sexuality, racial reconciliation, and social justice—but without predetermined conclusions or simplistic answers. We want to bring our whole selves through the church doors without leaving our hearts and minds behind, without wearing a mask.

We all wear masks. We have a public face and a private face and our real face. A person like this, someone who could do to another human being what you see in those pictures, once you strip away all their masks there’s nothing there.

Then he kissed her as though he had never thought to do so again, hands cradling the back of her head, fingers in her hair. For a moment, there was only the sensation of lips and teeth and tongue. Of skin, and the scent of him that wasn’t masked by bleach or soap, like a charge of electricity in the air. And when he pressed her back against the wall like he had outside the bar that first night, she grinned up at him. “Charlie Hall,” he whispered into her hair. “There will never be anyone like you.” “For which we can all be grateful,” she whispered back, regretting wearing the stretchy pants, which were hell to get off.

There is no sentimentality here. We need dirt under our nails and smoke stiffening our hair. We need salt drying on our chests, and bramble snagged calves. We must dedicate ourselves to forty days in the wilderness rather than our five minutes of fame. Magic must become more savage if it is to have any meaning in the world, any power. Myths are not to be draped about poetry, they come from the very substance of the earth, this is the mask we must wear. Be fierce from this understanding taking root.

Glossa Time goes by, time comes along, All is old and all is new; What is right and what is wrong, You must think and ask of you; Have no hope and have no fear, Waves that rise can never hold; If they urge or if they cheer, You remain aloof and cold. To our sight a lot will glisten, Many sounds will reach our ear; Who could take the time to listen And remember all we hear? Keep aside from all that patter, Seek yourself, far from the throng When with loud and idle clatter Time goes by, time comes along. Nor forget the tongue of reason Or its even scales depress When the moment, changing season, Wears the mask of happiness - It is born of reason's slumber And may last a wink as true: For the one who knows its number All is old and all is new. Be as to a play, spectator, As the world unfolds before: You will know the heart of matter Should they act two parts or four; When they cry or tear asunder From your seat enjoy along And you'll learn from art to wonder What is right and what is wrong. Past and future, ever blending, Are the twin sides of same page: New start will begin with ending When you know to learn from age; All that was or be tomorrow We have in the present, too; But what's vain and futile sorrow You must think and ask of you; For the living cannot sever From the means we've always had: Now, as years ago, and ever, Men are happy or are sad: Other masks, same play repeated; Diff'rent tongues, same words to hear; Of your dreams so often cheated, Have no hope and have no fear. Hope not when the villains cluster By success and glory drawn: Fools with perfect lack of luster Will outshine Hyperion! Fear it not, they'll push each other To reach higher in the fold, Do not side with them as brother, Waves that rise can never hold. Sounds of siren songs call steady Toward golden nets, astray; Life attracts you into eddies To change actors in the play; Steal aside from crowd and bustle, Do not look, seem not to hear From your path, away from hustle, If they urge or if they cheer; If they reach for you, go faster, Hold your tongue when slanders yell; Your advice they cannot master, Don't you know their measure well? Let them talk and let them chatter, Let all go past, young and old; Unattached to man or matter, You remain aloof and cold. You remain aloof and cold If they urge or if they cheer; Waves that rise can never hold, Have no hope and have no fear; You must think and ask of you What is right and what is wrong; All is old and all is new, Time goes by, time comes along.

Sometimes huge truths are uttered in unusual contexts. I fly too much, a concept and a sentence that would have been impossible for me to understand as a young man, when every plane journey was exciting and miraculous, when I would stare out of the window at the clouds below and imagine that they were a city, or a world, somewhere I could walk safely. Still, I find myself, at the start of each flight, meditating and pondering the wisdom offered by the flight attendants as if it were a koan or a tiny parable, or the high point of all wisdom. This is what they say: Secure your own mask before helping others. And I think of us, all the people, and the masks we wear, the masks we hide behind and the masks that reveal. I imagine people pretending to be what they truly are, and discovering that other people are so much more and so much less than they imagine themselves to be or present themselves as. And then, I think about the need to help others, and how we mask ourselves to do it, and how unmasking makes us vulnerable… We are all wearing masks That is what makes us interesting.

We sit in a room together and are told to trust each other. We are taught that good is the default and evil is rare. And then we learn that good was the mask. That we trusted too easily. Now people keep telling us to think for ourselves, look out for ourselves, keep an eye out for one another, and report what we see. But who should we report to? If we’re not sure who to trust? How do we know who wears the mask?

We're wearing masks, all of us, all of the time. We're presenting a face, a version of ourselves, to the world, to each other. We show a different face depending on who we're with and what they expect of us. Even when we're alone it's just another mask, the version of ourselves we'd prefer to be.

The performative dimension at work here consists of the symbolic efficiency of the “mask”: wearing a mask actually makes us what we feign to be. In other words, the conclusion to be drawn from this dialectic is the exact opposite of the common wisdom by which every human act (achievement, deed) is ultimately just an act (posture, pretense): the only authenticity at our disposal is that of impersonation, of “taking our act (posture) seriously.

And I think of us, all the people, and the masks we wear, the masks we hide behind and the masks that reveal. I imagine people pretending to be what they truly are, and discovering that other people are so much more and so much less than they imagined themselves to be or present themselves as. And

We claim no glory. If the tempest rolls About us we have fear, and then Having so small a stake grow bold again. We know not definitely even this But 'cause some vague half knowing half doth miss Our consciousness and leaves us feeling That somehow all is well, that sober, reeling From the last carouse, or in what measure Of so called right or so damned wrong our leisure Runs out uncounted sand beneath the sun, That, spite your carping, still the thing is done With some deep sanction, that, we know not how, Sans thought gives us this feeling; you allow That this not need we know our every thought Or see the work shop where each mask is wrought Wherefrom we view the world of box and pit, Careless of wear, just so the mask shall fit And serve our jape's turn for a night or two.

A man without a mask’ is indeed very rare. One even doubts the possibility of such a man. Everyone in some measure wears a mask, and there are many things we do not put ourselves into fully. In ‘ordinary’ life it seems hardly possible for it to be otherwise. The false self of the schizoid individual differs, however, in certain important respects from the mask worn by the ‘normal’ person, and also from the false front that is characteristically maintained by the hysteric.

It’s of some interest that the lively arts of the millennial U.S.A. treat anhedonia and internal emptiness as hip and cool. It’s maybe the vestiges of the Romantic glorification of Weltschmerz, which means world-weariness or hip ennui. Maybe it’s the fact that most of the arts here are produced by world-weary and sophisticated older people and then consumed by younger people who not only consume art but study it for clues on how to be cool, hip — and keep in mind that, for kids and younger people, to be hip and cool is the same as to be admired and accepted and included and so Unalone. Forget so-called peer-pressure. It’s more like peer-hunger. No? We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it’s stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naïveté. Sentiment equals naïveté on this continent (at least since the Reconfiguration). One of the things sophisticated viewers have always liked about J. O. Incandenza’s The American Century as Seen Through a Brick is its unsubtle thesis that naïveté is the last true terrible sin in the theology of millennial America. And since sin is the sort of thing that can be talked about only figuratively, it’s natural that Himself’s dark little cartridge was mostly about a myth, viz. that queerly persistent U.S. myth that cynicism and naïveté are mutually exclusive. Hal, who’s empty but not dumb, theorizes privately that what passes for hip cynical transcendence of sentiment is really some kind of fear of being really human, since to be really human (at least as he conceptualizes it) is probably to be unavoidably sentimental and naïve and goo-prone and generally pathetic, is to be in some basic interior way forever infantile, some sort of not-quite-right-looking infant dragging itself anaclitically around the map, with big wet eyes and froggy-soft skin, huge skull, gooey drool. One of the really American things about Hal, probably, is the way he despises what it is he’s really lonely for: this hideous internal self, incontinent of sentiment and need, that pules and writhes just under the hip empty mask, anhedonia. 281 281 - This had been one of Hal’s deepest and most pregnant abstractions, one he’d come up with once while getting secretly high in the Pump Room. That we’re all lonely for something we don’t know we’re lonely for. How else to explain the curious feeling that he goes around feeling like he misses somebody he’s never even met? Without the universalizing abstraction, the feeling would make no sense.

It’s surprisingly easy to pretend to be someone you’re not. Writers do it all the time; that’s how they write a story—pluck a character from the air and try her on for size. What I know now is that we’re all made up of stories, the ones we tell ourselves and the ones we tell each other. They’re the masks we wear every day, the personal histories we write and revise again and again, the futures we imagine, the images we project online, the narratives we construct in order to fit in. Then there are the other stories, the stories we don’t tell, the ones we lock away within the hidden, dark rooms of ourselves—the secrets. Here’s what I also know now: secrets tend to seek the light.

I think Joy sleeps in strange places. We're always looking for her in shiny, happy, fun times, assuming that Joy prefers her twin brother, Pleasure, when she often hangs out with her somewhat stoic big sister, Strength. Joy is not always easy to recognize, dirt-smudged and sweating, brambles in her hair. I want to believe she sometimes wears a ski mask.

The word personality comes from the Latin persona, which means “mask.” In the public we all wear masks, and this has a positive function.

A singular hoax was displaying the agent wearing a paper bag mask, posing as an informer. “There’s no doubt that they think we have a rat-snitch fingering them,” Richards rejoiced.

We are all wearing masks. That is what makes us interesting. These are stories about those masks, and the people we are underneath them.

I knew, of course, that we couldn’t just go on sweeping things under the rug. There were so many things there already that the rug barely touched the floor anymore.

We wear masks not to be something different, but to deny the ‘something different’ that we are without the mask.

The “face of Christ” is the innocence and love behind the masks we all wear,

We are all wearing masks. That is what makes us interesting.

We all wear masks. The challenge is keeping them in place.

All I can say is we all have our reasons for wearing masks, and most of the time it’s not done out of malice, but either to protect someone we love or ourselves.

We all wear masks, and that while masks have uses, taking them off can allow for deeper connection, shared growth, and more fruitful collaboration.

The mask we wear for the world, and the reality we keep hidden inside can be two very different things.

Do people have different perspectives or we wear masks?? We choose masks or situations choose for us??

We all wear our masks well," he replies. "It just takes time to figure out which face is the real one.

wish every day could be Halloween. We could all wear masks all the time. Then we could walk around and get to know each other before we got to see what we looked like under the masks.

The English word personality is derived from the Latin word for “mask.” Simply put, our personality is the mask we wear. Taking off that mask, trying to get behind the mask, is the work of the spiritual journey. A mark of spiritual growth is when we stop polishing the mask and instead start working on our character. The Enneagram helps us do that character-structure work.

To really free ourselves and live our Shadow Lives, we have to be able to not just remove the mask we’ve been wearing but to look at the monster that hides beneath it and learn to love it.

One goes through life like a flower with its face turned to the sun, ever seeking, ever hoping, wanting to trust others, but afraid to do so. How much better if we trusted one another, if we saw only the good things, the finer things in our fellow creatures! How much better if we were frank and open, if we went on our ways without the cloak of hypocrisy and lies that we wear now.

AS LONG AS we follow a spiritual approach promising salvation, miracles, liberation, then we are bound by the “golden chain of spirituality.” Such a chain might be beautiful to wear, with its inlaid jewels and intricate carvings, but nevertheless, it imprisons us. People think they can wear the golden chain for decoration without being imprisoned by it, but they are deceiving themselves. As long as one’s approach to spirituality is based upon enriching ego, then it is spiritual materialism, a suicidal process rather than a creative one. All the promises we have heard are pure seduction. We expect the teachings to solve all our problems; we expect to be provided with magical means to deal with our depressions, our aggressions, our sexual hangups. But to our surprise we begin to realize that this is not going to happen. It is very disappointing to realize that we must work on ourselves and our suffering rather than depend upon a savior or the magical power of yogic techniques. It is disappointing to realize that we have to give up our expectations rather than build on the basis of our preconceptions. We must allow ourselves to be disappointed, which means the surrendering of me-ness, my achievement. We would like to watch ourselves attain enlightenment, watch our disciples celebrating, worshiping, throwing flowers at us, with miracles and earthquakes occurring and gods and angels singing and so forth. This never happens. The attainment of enlightenment from ego’s point of view is extreme death, the death of self, the death of me and mine, the death of the watcher. It is the ultimate and final disappointment. Treading the spiritual path is painful. It is a constant unmasking, peeling off of layer after layer of masks. It involves insult after insult.

For all of us, there is an internal bewildering that builds over time when we neglect private communion with God. Who we are and who God is both fade. It is in withdrawal from everything and everyone to be with God that we re-center. It is when we are alone with him that there is least chance for playing games, wearing a mask, hiding our sins, covering our anxieties. It is then that we can most fully open our hearts up to God.

Not a trace of emotion on her face. Not a flicker of a change in expression. Did she not care, or was she wearing an exceptional mask? Funny, just how easily those masks came to people. Costumes were nothing in the grand scheme of things. Cloth or kevlar, spider silk or steel. It was the false faces we wore, the layers of defenses, the lies we told ourselves, that formed the real barriers between us and the hostile world around us.

We all want to live in a world where we can make a difference... That's why Spider-Man fights the good fight. Or Captain Marvel. Or me. Or... There are a lot of us. And we don't all wear masks these days. Iron Man went public. So did Captain America. Others. Probably because it's harder to keep secrets in an internet surveillance age. But I think some of it, too, is that the ethical paradox can wear you down. No one on the white-hat side has ever hidden his or her identity with less than noble intent: to make the fight about something bigger than us. To represent a greater justice, where the focus can be on right and wrong... and not on whether the bad guys will exact reprisal on those close to us. And sometimes you have to lie... because you can justify a lie if lives are riding on it. Even as you fight for, as the saying goes, truth and justice... even if you're a lawyer who has sworn to live by the truth... you willingly bear false witness.

Everybody wears so many different masks. Who we are is constantly in flux—so who you get from someone else at any given time is something special, if you think about it. Relating to another person in a real way—even if it’s brief—is a rare gift.

We all wear masks, some with make up, some with smiles, some with wives or husbands cars or clothes we hide from our truths behind our eyes running always from our real but somewhere there where truth meets courage bee are waiting to be found waiting to stand to the world masks down and say loudly and boldly this is us this is our truth this is everything real about me and when that day comes if it is true we will begin our lives again the way we were intended when the world first saw our face.

We are old friends,” Cogo said. “But men have roles and masks that they wear, and these have a reality of their own. Authority is a delicate thing, and it must be carefully cultivated by proper ritual and action from the governing and the governed alike.

We all need a mask in order to function. But wear the mask too long and we forget who really lives behind it. Right? We forget our authentic selves.” Lily shifts in her chair, increasingly uncomfortable with this talk on the back of her session with Garth.

Their conversation ceased abruptly with the entry of an oddly-shaped man whose body resembled a certain vegetable. He was a thickset fellow with calloused and jaundiced skin and a patch of brown hair, a frizzy upheaval. We will call him Bell Pepper. Bell Pepper sidled up beside The Drippy Man and looked at the grilled cheese in his hand. The Drippy Man, a bit uncomfortable at the heaviness of the gaze, politely apologized and asked Bell Pepper if he would like one. “Why is one of your legs fatter than the other?” asked Bell Pepper. The Drippy Man realized Bell Pepper was not looking at his sandwich but towards the inconsistency of his leg sizes. “You always get your kicks pointing out defects?” retorted The Drippy Man. “Just curious. Never seen anything like it before.” “I was raised not to feel shame and hide my legs in baggy pants.” “So you flaunt your deformity by wearing short shorts?” “Like you flaunt your pockmarks by not wearing a mask?” Bell Pepper backed away, kicking wide the screen door, making an exit to a porch over hanging a dune of sand that curved into a jagged upward jab of rock. “He is quite sensitive,” commented The Dry Advisor. “Who is he?” “A fellow who once manipulated the money in your wallet but now curses the fellow who does.

The paper was made in Bohemia,” I said. “Precisely. And the man who wrote the note is a German. Do you note the peculiar construction of the sentence—‘This account of you we have from all quarters received.’ A Frenchman or Russian could not have written that. It is the German who is so uncourteous to his verbs. It only remains, therefore, to discover what is wanted by this German who writes upon Bohemian paper and prefers wearing a mask to showing his face. And here he comes, if I am not mistaken, to resolve all our doubts.

Aubade to Langston" When the light wakes & finds again the music of brooms in Mexico, when daylight pulls our hands from grief, & hearts cleaned raw with sawdust & saltwater flood their dazzling vessels, when the catfish in the river raise their eyelids towards your face, when sweetgrass bends in waves across battlefields where sweat & sugar marry, when we hear our people wearing tongues fine with plain greeting: How You Doing, Good Morning when I pour coffee & remember my mother’s love of buttered grits, when the trains far away in memory begin to turn their engines toward a deep past of knowing, when all I want to do is burn my masks, when I see a woman walking down the street holding her mind like a leather belt, when I pluck a blues note for my lazy shadow & cast its soul from my page, when I see God’s eyes looking up at black folks flying between moonlight & museum, when I see a good-looking people who are my truest poetry, when I pick up this pencil like a flute & blow myself away from my death, I listen to you again beneath the mercy of a blue morning’s grammar. Originally published in the Southern Humanities Review, Vol. 49.3

You cannot control us, witch,” said Brum. “Our hoods, our masks, every stitch of clothing we wear is reinforced with Grisha steel. Corecloth created to our specifications by Grisha Fabrikators under our control and designed for just this purpose. You cannot force us to your will. You cannot harm us.

Forget so-called peer-pressure. It’s more like peer-hunger. No? We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded engagement of the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young.

I have learnt to hide my true feelings behind a mask of obedience, and sometimes feigned ignorance. It has become a part of my nature, allowing my thoughts to remain my own even if my actions, words and demeanour are often at the command of others. Don’t we all wear masks, either to protect ourselves or to deceive others?

the flight attendants as if it were a koan or a tiny parable, or the high point of all wisdom. This is what they say: Secure your own mask before helping others. And I think of us, all the people, and the masks we wear, the masks we hide behind and the masks that reveal. I imagine people pretending to be what they truly are, and discovering that other people are so much more and so much less than they imagined themselves to be or present themselves as. And then, I think about the need to help others, and how we mask ourselves to do it, and how unmasking makes us vulnerable . . . We are all wearing masks. That is what makes us interesting.

Over the years I have read many, many books about the future, my ‘we’re all doomed’ books, as Connie liked to call them. ‘All the books you read are either about how grim the past was or how gruesome the future will be. It might not be that way, Douglas. Things might turn out all right.’ But these were well-researched, plausible studies, their conclusions highly persuasive, and I could become quite voluble on the subject. Take, for instance, the fate of the middle-class, into which Albie and I were born and to which Connie now belongs, albeit with some protest. In book after book I read that the middle-class are doomed. Globalisation and technology have already cut a swathe through previously secure professions, and 3D printing technology will soon wipe out the last of the manufacturing industries. The internet won’t replace those jobs, and what place for the middle-classes if twelve people can run a giant corporation? I’m no communist firebrand, but even the most rabid free-marketeer would concede that market-forces capitalism, instead of spreading wealth and security throughout the population, has grotesquely magnified the gulf between rich and poor, forcing a global workforce into dangerous, unregulated, insecure low-paid labour while rewarding only a tiny elite of businessmen and technocrats. So-called ‘secure’ professions seem less and less so; first it was the miners and the ship- and steel-workers, soon it will be the bank clerks, the librarians, the teachers, the shop-owners, the supermarket check-out staff. The scientists might survive if it’s the right type of science, but where do all the taxi-drivers in the world go when the taxis drive themselves? How do they feed their children or heat their homes and what happens when frustration turns to anger? Throw in terrorism, the seemingly insoluble problem of religious fundamentalism, the rise of the extreme right-wing, under-employed youth and the under-pensioned elderly, fragile and corrupt banking systems, the inadequacy of the health and care systems to cope with vast numbers of the sick and old, the environmental repercussions of unprecedented factory-farming, the battle for finite resources of food, water, gas and oil, the changing course of the Gulf Stream, destruction of the biosphere and the statistical probability of a global pandemic, and there really is no reason why anyone should sleep soundly ever again. By the time Albie is my age I will be long gone, or, best-case scenario, barricaded into my living module with enough rations to see out my days. But outside, I imagine vast, unregulated factories where workers count themselves lucky to toil through eighteen-hour days for less than a living wage before pulling on their gas masks to fight their way through the unemployed masses who are bartering with the mutated chickens and old tin-cans that they use for currency, those lucky workers returning to tiny, overcrowded shacks in a vast megalopolis where a tree is never seen, the air is thick with police drones, where car-bomb explosions, typhoons and freak hailstorms are so commonplace as to barely be remarked upon. Meanwhile, in literally gilded towers miles above the carcinogenic smog, the privileged 1 per cent of businessmen, celebrities and entrepreneurs look down through bullet-proof windows, accept cocktails in strange glasses from the robot waiters hovering nearby and laugh their tinkling laughs and somewhere, down there in that hellish, stewing mess of violence, poverty and desperation, is my son, Albie Petersen, a wandering minstrel with his guitar and his keen interest in photography, still refusing to wear a decent coat.

One of our greatest obstacles in knowing God is our own lack of self-knowledge. So we end up wearing a mask—before God, ourselves, and other people. And we can’t become self-aware if we cut off our humanity out of fear of our feelings. This fear leads to unwillingness to know ourselves as we truly are and stunts our growth in Christ.

The problem with wearing masks is even when we receive love, it’s really the mask that is receiving the love, not us. Whatever gets thrown at us will always hit the mask and can’t penetrate our souls. So it is with God’s grace. Every second of every day he pursues us and offers grace, but until we take off our masks, we will never be able to accept it.

If you inhabit a role too well and too long you start to become that role. You have lost yourself. The man who always wears a mask becomes the mask. There is no longer a real face under the mask, just a ghastly blank where a human soul once was. We live in a Persona World, a world of masks where everyone is faking it. What is more fake than social media?

Fundamentally supremacism means doing anything to keep one's soul conceit, even if it means losing one's soul. It means not wearing the mask that would save you, because it would mean taking off one's privilege. It means always choosing poisonous pride over preservation, pride over nation, pride over anyone or anything. This realization is not ours. It is.

The morning grass was damp and cool with dew. My yellow rain slicker must have looked sharp contrasted against the bright green that spring provided. I must have looked like an early nineteenth century romantic poet (Walt Whitman, perhaps?) lounging around a meadow celebrating nature and the glory of my existence. But don’t make this about me. Don’t you dare. This was about something bigger than me (by at least 44 feet). I was there to unselfishly throw myself in front of danger (nothing is scarier than a parked bulldozer), in the hopes of saving a tree, and also procuring a spot in a featured article in my local newspaper. It’s not about celebrity for me, it’s about showing that I care. It’s not enough to just quietly go about caring anymore. No, now we need the world to see that we care. I was just trying to do my part to show I was doing my part. But no journalists or TV news stations came to witness my selfless heroics. In fact, nobody came at all, not even Satan’s henchmen (the construction crew). People might scoff and say, “But it was Sunday.” Yes, it was Sunday. But if you’re a hero you can’t take a day off. I’d rather be brave a day early than a day late. Most cowards show up late to their destiny. But I always show up early, and quite often I leave early too, but at least I have the guts to lay down my life for something I’d die for. Now I only laid down my life for a short fifteen-minute nap, but I can forever hold my chin high as I loudly tell anyone who will listen to my exploits as an unsung hero (not that I haven’t written dozens of songs dedicated to my bravery). Most superheroes hide anonymously behind masks. That’s cowardly to me. I don’t wear a mask. And the only reason I’m anonymous is that journalists don’t respond to my requests for interviews, and when I hold press conferences nobody shows up, not even my own mother. The world doesn’t know all the good I’ve done for the world. And that’s fine with me. Not really. But if I have to go on being anonymous to make this world a better place, I will. But that doesn’t mean I’m not thinking about changing my hours of altruism from 7-8 am Sunday mornings to 9-5 am Monday through Friday, and only doing deeds of greatness in crowded locations.

Taking off the masks, being real, and living in freedom—this is a process. After all, it takes some time to get to know the real you. This is not about loving yourself more and embracing the “you” that you were always meant to be. No, this is about seeing the real you in the real Light. It is a good thing to feel horrified by the real you and run to the only One who can save you from yourself. The gospel frees you to believe that there is no “making it” and therefore you can stop “faking it.” You already have everything you need through the righteousness earned for you on the cross. If you believe these truths, the masks you wear will begin to melt away. Then, bit by bit, we can help one another become free as well. Allow other moms to be imperfect. Allow yourself to be imperfect. Be free!

In fact, a “Pa” and/or a “Mister” are likely to turn up in anybody’s life. They might be wearing the mask of war, the mask of famine, the mask of physical affliction. The mask of caste, race, class, sex, mental illness, or disease. Their meaning to us, often, is that they are simply an offering, a challenge, provided by “God” i.e., the All Present and All Magical, that requires us to grow. And though we may be confused, even traumatized, as Celie is, by their historical, social, and psychological configuration, if we persevere we may, like her, eventually settle into amazement: that by some unfathomable kindness we have received just the right keys we need to unlock the deepest, darkest dungeons of our emotional and spiritual bondage, and to experience our much longed for liberation and peace.

People come to us...us novelists...looking for information about all the other people in the world; what we're thinking, what we need, what we dream about, what we hate, what makes us tick.... People are opaque, mysterious, even those dearest to us are closed books. If you want to know what people are like, if you want to know what's going on in their heads behind those masks we all wear then read a novel.

Confess your sins to one another” (James 5:16). Those who remain alone with their evil are left utterly alone. It is possible that Christians may remain lonely in spite of daily worship together, prayer together, and all their community through service—that the final breakthrough to community does not occur precisely because they enjoy community with one another as pious believers, but not with one another as those lacking piety, as sinners. For the pious community permits no one to be a sinner. Hence all have to conceal their sins from themselves and from the community. We are not allowed to be sinners. Many Christians would be unimaginably horrified if a real sinner were suddenly to turn up among the pious. So we remain alone with our sin, trapped in lies and hypocrisy, for we are in fact sinners. However, the grace of the gospel, which is so hard for the pious to comprehend, confronts us with the truth. It says to us, you are a sinner, a great, unholy sinner. Now come, as the sinner that you are, to your God who loves you. For God wants you as you are, not desiring anything from you—a sacrifice, a good deed—but rather desiring you alone. “My child, give me your heart” (Prov. 23:26). God has come to you to make the sinner blessed. Rejoice! This message is liberation through truth. You cannot hide from God. The mask you wear in the presence of other people won’t get you anywhere in the presence of God. God wants to see you as you are, wants to be gracious to you. You do not have to go on lying to yourself and to other Christians as if you were without sin. You are allowed to be a sinner. Thank God for that; God loves the sinner but hates the sin.

PIETT: But truly, what man doth not wear a mask? For all of us are masked in sone way -- Some choose sharp cruelty as their outward face, Some put themselves behind a king's facade, Some put on the disguise of arrogance, But underneath our masks, are we not one? Do not all wish for love, and joy, and peace? And whether rebel or Imperial, Do not our hearts all beat in time to make The pounding rhythm of the galaxy?

The denial system is like a wall of fog in front of our eyes that blinds us from seeing the truth. We wear a social mask because it’s too painful to see ourselves or to let others see us as we really are. And the denial system lets us pretend that everyone believes what we want them to believe about us. We put up these barriers for protection, to keep other people away, but those barriers also keep us inside, restricting our freedom.

This was the last thing we needed. I was sure we made quite a pair, me in my evening gown and Milo in his bloodstained shirt. 'Let's hurry to the car, Milo.' I made a move to descend the front steps, ready to push my way through the crowd, but Milo stopped me with a hand on my arm. 'Just a moment, darling.' 'What is it?' 'Let's give them something to put in the gossip columns first, shall we?' And he pulled me to him and kissed me thoroughly in the blinding glare of the flashbulbs.

It's not un-American to suggest that as Americans, we each owe our fellow Americans something. Not to infect them with a deadly virus by refusing to wear a mask, for one thing. Think of all the Americans who gave their lives storming the beaches of Normandy to protect those back home. I wonder how they'd feel about their sacrifice now if they could see their fellow Americans refusing to get vaccinated, or ranting and raving about being forced to wear a mask in order to protect others.

One way to find greater fulfillment in our work or career is to start with being. That is, be who we inherently are -- strong, creative, joyful, balanced, worthy, loving, free, powerful, wise, beautiful beings. This means letting go of the insecurities and feelings of unworthiness we carry around. Letting go of the need to control, or the desire to be small and hide. It means putting aside the masks we sometimes wear to help us feel important or safe. It means getting down to our true selves.

It's of some interest that the lively arts of the millenial U.S.A. treat anhedonia and internal emptiness as hip and cool. It's maybe the vestiges of the Romantic glorification of Weltschmerz, which means world-weariness or hip ennui. Maybe it's the fact that most of the arts here are produced by world-weary and sophisticated older people and then consumed by younger people who not only consume art but study it for clues on how to be cool, hip -- and keep in mind that, for kids and younger people, to be hip and cool is the same to be admired and accepted and included and so Unalone. Forget so-called peer pressure. It's more like peer-hunger. No? We enter a spiritual puberty where we snap to the fact that the great tanscendent horror is loneliness, excluded encagement in the self. Once we've hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the sahpe of whatever it wears. And then it's stuck there, the weary cynicism that save us from gooey sentiment and unsophisticated naïveté. Sentiment equals naïveté on this continent (at least since the Reconfiguration). One of the things sophisticated viewers have always liked about J. O. Incandenza's The American Century as Seen Through a Brick is its unsubtle thesis that naïveté is the last true terrible sin in the theology of millennial America. And since sin is the sort of thing that can be talked about only figuratively, it's natural that Himself's dark little cartridge was mostly about a myth, viz. that queerly persistent U.S. myth that cynicism and naïveté are mutually exclusive. Hal, who's empty but not dumb, theorizes privately that what passes for hip cynical transcendence of sentiment is really some kind of fear of being really human, since to be really human (at least as he conceptualizes it) is probably to be unavoidably sentimental and naïve and goo-prone and generally pathetic, is to be in some basic interior way forever infantile, some sort of not-quite-right-looking infant dragging itself anaclitically around the map, with big wet eyes and froggy-soft skin, huge skull, gooey drool. One of the really American things about Hal, probably, is thie way he despises what it is he's really lonely for: this hideous internal self, incontinent of sentiment and need, that pules and writhes just under the hip empty mask, anhedonia.

The mask is an essential part of life that helps us function in our world. Is there a problem with the mask? Yes. When we believe we have to wear the mask at all times because of our fear of judgment, then we are unable to reveal our true selves. This leads to the circular fear of social anxiety: I am afraid people will judge me, but if they knew I was afraid of being judged, they would judge me even more. This fear blocks us from revealing ourselves as we are in the moment, and keeps the mask frozen in place.

...despite the mask we are all so good at wearing, we somehow manage to wake up every day hoping there's still a chance. That maybe, somehow, we can balance the debt ledger we carry in our hearts. That maybe God is offering a special that week and one good equals two bad. But then there are the lies that the memories whisper.' Her tears were flowing freely now. She asked, 'What do they say?' 'They say we are alone. That bad choices and mistakes have drained the value out of us. And that we are not worth the cost of getting to us.

You think this is a game?” I snap, pointing at Stanwin’s body. “A puzzle, with disposable pieces. Solve it and we get to go home.” He frowns at me, as if I’m a stranger who’s asked directions to a place that doesn’t exist. “I don’t understand your concern.” “If we solve Evelyn’s murder in the manner you’re suggesting, we don’t deserve to go home! Can’t you see? These masks we wear betray us. They reveal us.” “You’re babbling,” he says, searching Stanwin’s pockets. “We are never more ourselves than when we think people aren’t watching. Don’t you realize that? It doesn’t matter if Stanwin’s alive tomorrow; you murdered him today. You murdered a man in cold blood, and that will blot your soul for the rest of your life. I don’t know why we’re here, Daniel, or why this is happening to us, but we should be proving that it’s an injustice, not making ourselves worthy of it.” “You’re misguided,” he says, contempt creeping into his voice. “We can no more mistreat these people than we could their shadow cast upon the wall. I don’t understand what you’re asking of me.” “That we hold ourselves to a higher standard,” I say, my voice rising. “That we be better men than our hosts! Murdering Stanwin was Daniel Coleridge’s solution, but it shouldn’t be yours. You’re a good man. You can’t lose sight of that.” “A good man,” he scoffs. “Avoiding unpleasant acts doesn’t make a man good. Look at where we are, what’s been done to us. Escaping this place requires that we do what is necessary, even if our nature compels us otherwise. I know this makes you squeamish, that you don’t have the stomach for it. I was the same, but I no longer have the time to tiptoe around my ethics. I can end this tonight and I mean to, so don’t measure me by how tightly I cling to my goodness, measure me by what I’m willing to sacrifice that you might cling to yours. If I fail, you can always try another way.” “And how will you live with yourself when you’re done?” I demand. “I’ll look at the faces of my family and know that what I lost in this place was not nearly as important as my reward for leaving it.” “You can’t believe that,” I say. “I do, and so will you after a few more days in this place,

He looks tired. He looks like he’s over it. It disappoints me a little. Sometimes I feel like being an adult is so much easier than being a teenager, because you should have it all figured out as an adult. You’re more emotionally mature, so you can handle crises better. But seeing Jonah right now as he tries to pretend he’s not distracted, and watching my mother try to navigate her life as if her will still exists, is all the proof I need that grown-ups might not have their shit figured out any more than we do. They just wear more-convincing masks.

We are imperfect creatures, and the society we create cannot help but reflect those imperfections, or even exaggerate them. The spark of tyranny resides in every one of us. From this, we find tyrannical despots terrorizing entire nations. We are prone to jealousy, and from that, armies invade, lands are stolen and the bodies of victims are stacked like cordwood. We lie to hide our crimes, and for this work, historians need to glide over past atrocities. And so it goes, on and on. In the end, honesty is the enemy of us all. We wear civilization like a proud mask. But it's still a mask.

When I realized he was about to open up the floor for discussion, I folded myself into the chair, trying to make my body smaller, trying to disappear. Will you make me explain this? Will you ask me to tell this all-white class about the masks Black people wear? I was surprised by own reaction. It felt deeply gratifying to have my own experience named, lifted up, discussed, considered worthy of everyone’s attention. And yet, I had no desire to be the Black spokesperson. It felt too risky. I wasn’t sure that my classmates had earned the right to know, to understand, to be given access to such a vulnerable place in my experience. For me, this was more than an educational exercise. This is how we survive.

As you leave the Grand Canyon and me, I want to [teach] you about success. Success is not attainment of status nor wealth, power or position. These are easy things to obtain. Success is living in harmony with nature, enthusiasm for life, fulfilled relationships, and energy for living. To achieve it you must let go of the ego. Ego is a mask people wear—it is a role we play, like an actor in a play. Ego is always looking to others for approval. It thinks little of itself and is rooted in fear. We need to discover true self to achieve real success and happiness. True self is our spirit, our soul. We have no fear. We look within our self for approval. We understand everyone is the same self, just wearing different costumes.” Corey

toe. He was even wearing a ski mask with strange meshlike coverings over the eyes. We didn’t get a lot of ninjas in Half-Moon Hollow. And I’m pretty sure Jed would have responded. So I wasn’t quite sure how to react here. Was this some sort of test from Jane to determine whether I would survive a parking-lot attack? Couldn’t I just roll around in a gym with a practice dummy or something? The figure cocked his head to the side, staring at me like some predatory creature considering his best approach. I dropped my bag and kicked out of my sandals. I could do this. Sure, I had no fighting experience, but I had superstrength and speed on my side. Then again maybe this guy did, too. He could be a ninja chupacabra for all I knew. But

Seconds turn into minutes and minutes into hours. It is all still the same. Or it no longer is. If I were to ask what has changed, perhaps nothing, but conceivably everything would be the befitting reply. I no longer feel the same. Loss preceded me, alienating my soul from the body. I feel I am gliding through an alley making a journey from the known towards the unknown. There is a deep abyss inside where sometime back, my heart used to beat and a noisy, rusty old machine has replaced my mind; solitarily creating useless noise. I don’t remember what day it is and since when have I been lying here. It must have been yesterday… or was it day before. I cannot recollect anything except the dull throbbing pain inside my brain. I can see the time, almost 9: 45, difficult to say which time of the day it is. The bigger hand is soon going to overshadow the smaller hand. It looks like a game of cat and mouse; the bigger hand chasing the smaller one. Anyone stronger in terms of physical appearance, money, power, fame or name tramples upon the weak ones - that is the rule of the world. There are only two possible reasons behind it, love or hate. When you love someone you want to control everything that person does and hence, sometimes, knowingly or unknowingly you squash them like melons. While on the other hand in the case of hate, there is no need to specify the reason for walking over someone like that. Hate is a strong reason in itself. I am confused as to what crushed me, was it love or hate? I somehow don’t like the sound of it – love, it in itself smells of treachery, for love is not a pure emotion. Lust and hatred are the only pure emotions. Love is camouflaged, for needs and desires. Desires – they are magical in their own way. They can be innocent. They can be monstrous. But they exist, no matter what, and many such needs and desires make us helpless slaves of the same. We hide these desires either in the realms of our mind or in the dusty corners of our hearts for we are scared…what if someone finds out what we desire. We give them identities so as to not let the real thing show. The only thing visible on the front is a mask we wear to deceive people or that’s what I thought. For I was deceived while I believed I am the deceiver. Or was I not? I debated as my mind once again tried to enter a sleep-induced trance.

We have evoked the curious presence, in the empty city, of the armed guards and of the two characters whose identity it is now time to reveal. Francesca Falk has drawn attention to the fact that the two figures standing near the cathedral are wearing the characteristic beaked mask of plague doctors. Horst Bredekamp had spotted the detail, but had not drawn any conclusions from it; Falk instead rightly stresses the political (or biopolitical) significance that the doctors acquired during an epidemic. Their presence in the emblem recalls 'the selection and the exclusion, and the connection between epidemic, health, and sovereignity'. Like the mass of plague victims, the unrepresentable multitude can be represented only through the guards who monitor its obedience and the doctors who treat it. It dwells in the city, but only as the object of the duties and concerns of those who exercise the sovereignity. This is what Hobbes clearly affirms in chapter 13 of De Cive, when, after having recalled that 'all the duties of those who rule are comprised in this single maxim,"the safety of the people is the supreme law"', he felt the need to specify that 'by people we do not understand here a civil person, nor the city itself that governs, but the multitude of citizens who are governed', and that by 'safety' we should understand not only 'the simple preservation of life, but (to the extent that is possible) that of a happy life'. While perfectly illustrating the paradoxical status of the Hobbesian multitude, the emblem of the frontispiece is also a courier that announces the biopolitical turn that sovereign power was preparing to make.

We all wear masks to veil the truth. Truth is nakedness. Truth is fear. Truth is the gardener making you sit on his lap asking you to light his cigarette. Truth is father— with a limp cigarette on his lips —telling you to never use his matches to light it for him. Truth is father yelling: "It is not nice for little girls to do so”. Truth is a curious girl wanting to ignite a match like a woman. Truth is the maid watching from the kitchen, knowing. But knowing isn’t truth. Truth is the maid calling: Come. Come. Truth is the gardener understanding. But understanding isn’t truth. Truth is the maid saying, "Stay away!" Truth is a girl thinking she is in control. That nothing happened, nothing bad. But the truest truth is a girl knowing, a girl understanding that on that day someone stole a little piece of her truth.

keep in mind that, for kids and younger people, to be hip and cool is the same as to be admired and accepted and included and so Unalone. Forget so-called peer-pressure. It’s more like peer-hunger. No? We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it’s stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naïveté. Sentiment equals naïveté on this continent (at least since the Reconfiguration).

Think of “Pa” as Celie’s Tsunami, I said, and “Mister” as her hurricane. In fact, a “Pa” and/ or a “Mister” are likely to turn up in anybody’s life. They might be wearing the mask of war, the mask of famine, the mask of physical affliction. The mask of caste, race, class, sex, mental illness, or disease. Their meaning to us, often, is that they are simply an offering, a challenge, provided by “God” i.e., the All Present and All Magical, that requires us to grow. And though we may be confused, even traumatized, as Celie is, by their historical, social, and psychological configuration, if we persevere we may, like her, eventually settle into amazement: that by some unfathomable kindness we have received just the right keys we need to unlock the deepest, darkest dungeons of our emotional and spiritual bondage, and to experience our much longed for liberation and peace.

Once we realised it was just Jodi’s mum wearing hair rollers and a moisturising face mask everyone stopped screaming, except for Maisie. That’s when Jodi’s mum said, “Oh darling, I’m so sorry. I must look a fright!” But Maisie wouldn’t stop screaming or believe that it was Jodi’s mum even when she rubbed the face mask off. That’s when Jodi said, “Er, Mum, what did you put in that face mask? Your face looks a bit weird.” And it DID look weird. It was red and bumpy and her eyelids were starting to get all bulgy. Then Jodi’s mum said, “Just what the lady on the TV said to put in. It’s a vegetable facemask. Why? Does it smell funny?” And I said that it DID smell a bit but that wasn’t the reason Maisie was screaming. But Jodi’s mum didn’t understand what was going on until Jodi took her over to the mirror. And that’s when we couldn’t hear Maisie screaming any more because Jodi’s mum screamed louder than I have probably ever heard anyone scream

I'm sorry.' I blinked. 'What do you possibly have to be sorry for?' 'His hands were shaking- as if in the aftermath of that fury at what Keir had called me, what he'd threatened. Perhaps he'd brought me here before heading home in order to have some privacy before his friends could interrupt. 'I shouldn't have let you go. Let you see that part of us. Of me.' I'd never seen him so raw, so... stumbling. 'I'm fine.' I didn't know what to make of what had been done. Both between us and to Keir. But it had been my choice. To play that role, to wear those clothes. To let him touch me. But... I said slowly, 'We knew what tonight would require of us. Please- please don't start protecting me. Not like that.' He knew what I meant. He'd protected me Under the Mountain, but that primal, male rage he'd just shown Keir... A shattered study splattered in paint flashed through my memory. Rhys rasped. 'I will never- never lock you up, force you to stay behind. But when he threatened you tonight, when he called you...' Whore. That's what they'd called him. For fifty years, they'd hissed it. I'd listened to Lucien spit the words in his face. Rhys released a jagged breath. 'It's hard to shut down my instincts.' Instincts. Just like... like someone else had instincts to protect, to hide me away. 'Then you should have prepared yourself better,' I snapped. 'You seemed to be going along just fine with it, until Keir said-' 'I will kill anyone who harms you,' Rhys snarled. 'I will kill them, and take a damn long time doing it.' He panted. 'Go ahead. Hate me- despise me for it.' 'You are my friend,' I said, and my voice broke on the word. I hated the tears that slipped down my face. I didn't even know why I was crying. Perhaps for the fact that it had felt real on that throne with him, even for a moment, and... and it likely hadn't been. Not for him. 'You're my friend- and I understand that you're High Lord. I understand that you will defend your true court, and punish threats against it. But I can't... I don't want you to stop telling me things, inviting me to do things, because of the threats against me.' Darkness rippled, and wings tore from his back. 'I am not him,' Rhys breathed. 'I will never be him, act like him. He locked you up and let you wither, and die.' 'He tried-' 'Stop comparing. Stop comparing me to him.' The words cut me short. I blinked. 'You think I don't know how stories get written- how this story will be written?' Rhys put his hands on his chest, his face more open, more anguished than I'd seen it. 'I am the dark lord, who stole away the bride of spring. I am a demon, and a nightmare, and I will meet a bad end. He is the golden prince- the hero who will get to keep you as his reward for not dying of stupidity and arrogance.' The things I love have a tendency to be taken from me. He'd admitted that to me Under the Mountain. But his words were kindling to my temper, to whatever pit of fear was yawning open inside of me. 'And what about my story?' I hissed. 'What about my reward? What about what I want?' 'What is it that you want, Feyre?' I had no answer. I didn't know. Not anymore. 'What is it that you want, Feyre?' I stayed silent. His laugh was bitter, soft. 'I thought so. Perhaps you should take some time to figure that out one of these days.' 'Perhaps I don't know what I want, but at least I don't hide what I am behind a mask,' I seethed. 'At least I let them see who I am, broken bits and all. Yes- it's to save your people. But what about the other masks, Rhys? What about letting your friends see your real face? But maybe it's easier not to. Because what if you did let someone in? And what if they saw everything, and still walked away? Who could blame them- who would want to bother with that sort of mess?' He flinched. The most powerful High Lord in history flinched. And I knew I'd hit hard- and deep. Too hard. Too deep. 'Rhys,' I said.

The number of infections kept rising. By the end of March the US led the world in infections and deaths caused by the virus. What does Trump do? He refuses to wear a mask. He’s not going to look like a weakling. Testing? Overrated. It increases the number of infections. Why doesn’t the country have enough PPE and ventilators? Obama’s fault. The President is in charge, but if there’s any failure, it’s the fault of governors and mayors. He keeps repeating his mantra, “The situation is under control.” Pence’s team will whip the virus. Or was it Jared’s team? This virus isn’t as bad as the flu. America always wins. Doesn’t matter who or what the enemy is, we always triumph. We’re going to kill that little bug. Those people wearing masks are doing it to spite me, Donald J. Trump, the greatest President in history. “The situation is under control.” But the deaths keep mounting. It surpasses annual deaths from auto accidents, 34,000. It surpasses US deaths in the Vietnam War, 58,000. Next, it’s going to surpass total deaths of US soldiers in World War I, 116,500, and it’s not going to stop there.

The triumph of the transsexual and of transvestitism casts a strange light, retrospectively, upon the sexual liberation espoused by an earlier generation. It now appears that this liberation - which, according to its own discourse, meant the bursting forth of the body's full erotic force, a process especially favorable to the principles of femininity and of sexual pleasure - may actually have been no more than an intermediate phase on the way to the confusion of categories that we have been discussing. The sexual revolution may thus turn out to have been just a stage in the genesis of transsexuality. What is at issue here, fundamentally, is the problematic fate of all revolutions. The cybernetic revolution, in view of the equivalence of brain and computer, places humanity before the crucial question 'Am I a man or a machine? ' The genetic revolution that is taking place at the moment raises the question 'Am I a man or just a potential clone? ' The sexual revolution, by liberating all the potentialities of desire, raises another fundamental question, 'Am I a man or a woman?' (If it has done nothing else, psychoanalysis has certainly added its weight to this principle of sexual uncertainty.) As for the political and social revolution, the prototype for all the others, it will turn out to have led man by an implacable logic - having offered him his own freedom, his own free will - to ask himself where his own will lies, what he wants in his heart of hearts, and what he is entitled to expect from himself. To these questions there are no answers. Such is the paradoxical outcome of every revolution: revolution opens the door to indeterminacy, anxiety and confusion. Once the orgy was over, liberation was seen to have left everyone looking for their generic and sexual identity - and with fewer and fewer answers available, in view of the traffic in signs and the multiplicity of pleasures on offer. That is how we became transsexuals - just as we became transpoliticals: in other words, politically indifferent and undifferentiated beings, androgynous and hermaphroditic - for by this time we had embraced, digested and rejected the most contradictory ideologies, and were left wearing only their masks: we had become, in our own heads - and perhaps unbeknownst to ourselves - transvestites of the political realm.

He’s not a superhero, he’s a vigilante. He’s just a rich bloke with cool toys. If Bane (he’s the pork chop with all the pipes coming out of his dust mask) can break Batman’s back, then what chance would he have against Superman? I mean, Batman versus Superman! What the hell is that all about? Bruce Wayne in a bat suit is no different to you or I, we would break a hand in multiple places if we punched Superman. Spiderman is a superhero and – as I’ve already said – my favourite of them all, but facts are facts. Spidey wouldn’t even get to quip, ‘Hey, over here red pants!’ before he was melted into red and blue jelly.  No. If you are Superman, then you are invincible and completely awesome. You can fucking fly. You get to shoot lasers out of your eyes, and see through shit. And you know the best part? The bit that most people don’t even think about? Just because you’re Superman doesn’t mean you have to dress like him.  If I were Superman, I would wear the Spiderman outfit by day (pretending to spin webs and climb walls etc.) and then switch to Batman at night (fighting crime, being cool and laughing – high pitched to piss the bad guys off, not like Christian Bale – while bullets bounced off me). Plus, who the hell would ever think about using Kryptonite on those two? No one.

She thought I should woo you into removing the mask I told her you were wearing." She'd managed to surprise him yet again, to go by his expression and the lambent look that entered his eyes. "That sounds entirely too interesting. You have my rapt attention. Woo away." "I wouldn't know how," she admitted, lowering her head and suddenly feeling embarrassed. "Move a little closer,m'dear. I promise I'll get the message." Her head shot back up. "You're entirely too bold,Rupert St. John." "I know.It's wonderful,isn't it?" She rolled her eyes. She supposed this Rupert was much preferable to the dangerous one she'd briefly met in Nigel's room.But which was the real St. John? Aware that the dance was going to end at any moment,she said, "Now it's my turn.Are you really a spy?" "Good God,do you really think I'd say so if I was?" he replied,aghast, which was obviously feigned. "I thought we were being honest." "No,you are being honest. I'm merely being delighted by it." Rebecca gritted her teeth. He'd finally managed to provoke her ire with his evasiveness. She stopped dancing, pulled away from his hands,and walked away. But she heard him call softly after her, "Wait! You haven't heard my dire warnings!" "Keep them," she shot back. "I wouldn't believe them anyway." DId he have to laugh at that?

Now, what on earth does that mean, especially if one does not spiritualize it away, as Matthew immediately did, into “poor [or destitute] in spirit”—that is, the spiritually humble or religiously obedient? Did Jesus really think that bums and beggars were actually blessed by God, as if all the destitute were nice people and all the aristocrats correspondingly evil? Is this some sort of naive or romantic delusion about the charms of destitution? If, however, we think not just of personal or individual evil but of social, structural, or systemic injustice—that is, of precisely the imperial situation in which Jesus and his fellow peasants found themselves—then the saying becomes literally, terribly, and permanently true. In any situation of oppression, especially in those oblique, indirect, and systemic ones where injustice wears a mask of normalcy or even of necessity, the only ones who are innocent or blessed are those squeezed out deliberately as human junk from the system’s own evil operations. A contemporary equivalent: only the homeless are innocent. That is a terrifying aphorism against society because, like the aphorisms against the family, it focuses not just on personal or individual abuse of power but on such abuse in its systemic or structural possibilities—and there, in contrast to the former level, none of our hands are innocent or our consciences particularly clear.

I told them we’re tired of the culture wars, tired of Christianity getting entangled with party politics and power. Millennials want to be known by what we’re for, I said, not just what we’re against. We don’t want to choose between science and religion or between our intellectual integrity and our faith. Instead, we long for our churches to be safe places to doubt, to ask questions, and to tell the truth, even when it’s uncomfortable. We want to talk about the tough stuff—biblical interpretation, religious pluralism, sexuality, racial reconciliation, and social justice—but without predetermined conclusions or simplistic answers. We want to bring our whole selves through the church doors, without leaving our hearts and minds behind, without wearing a mask. I explained that when our gay, lesbian, bisexual, and transgender friends aren’t welcome at the table, then we don’t feel welcome either, and that not every young adult gets married or has children, so we need to stop building our churches around categories and start building them around people. And I told them that, contrary to popular belief, we can’t be won back with hipper worship bands, fancy coffee shops, or pastors who wear skinny jeans. We millennials have been advertised to our entire lives, so we can smell b.s. from a mile away. The church is the last place we want to be sold another product, the last place we want to be entertained.

That girl is me. Me and Peter, in the hot tub on the ski trip. Oh my God. I scream. Margot comes racing in, wearing one of those Korean beauty masks on her face with slits for eyes, nose, and mouth. “What? What?” I try to cover the computer screen with my hand, but she pushes it out of the way, and then she lets out a scream too. Her mask falls off. “Oh my God! Is that you?” Oh my God oh my God oh my God. “Don’t let Kitty see!” I shout. Kitty’s wide-eyed. “Lara Jean, I thought you were a goody-goody.” “I am!” I scream. Margot gulps. “That…that looks like…” “I know. Don’t say it.” “Don’t worry, Lara Jean,” Kitty soothes. “I’ve seen worse on regular TV, not even HBO.” “Kitty, go to your room!” Margot yells. Kitty whimpers and clings closer to me. I can’t believe what I am seeing. The caption reads Goody two shoes Lara Jean having full-on sex with Kavinsky in the hot tub. Do condoms work underwater? Guess we’ll find out soon enough. ;) The comments are a lot of wide-eyed emojis and lols. Someone named Veronica Chen wrote, What a slut! Is she Asian?? I don’t even know who Veronica Chen is! “Who could have done this to me?” I wail, pressing my hands to my cheeks. “I can’t feel my face. Is my face still my face?” “Who the hell is Anonybitch?” Margot demands. “No one knows,” I say, and the roaring in my ears is so loud I can hardly hear my own voice. “People just re-gram her. Or him. Am I talking really loud right now?” I’m in shock. Now I can’t feel my hands or feet. I’m gonna faint. Is this happening? Is this my life?

At the top of Anonybitch’s feed, there is a video of a boy and a girl making out in a hot tub. Anonybitch is particularly famous for her hot tub videos. She tags them #rubadub. This one’s a little grainy, like it was zoomed in from far away. I click play. The girl is sitting in the boy’s lap, her body draped over his, legs hooked around his waist, arms around his neck. She’s wearing a red nightgown, and it billows in the water like a full sail. The back of her head obscures the boy. Her hair is long, and the ends dip into the hot tub like calligraphy brushes in ink. The boy runs his hands down her spine like she is a cello and he is playing her. I’m so entranced I don’t notice at first that Kitty is watching with me. Both of our heads are tilted, trying to suss out what it is we’re looking at. “You shouldn’t be looking at this,” I say. “Are they doing it?” she asks. “It’s hard to say because of her nightgown.” But maybe? Then the girl touches the boy’s cheek, and there is something about the movement, the way she touches him like she is reading braille. Something familiar. The back of my neck goes icy cold, and I am hit with a gust of awareness, of humiliating recognition. That girl is me. Me and Peter, in the hot tub on the ski trip. Oh my God. I scream. Margot comes racing in, wearing one of those Korean beauty masks on her face with slits for eyes, nose, and mouth. “What? What?” I try to cover the computer screen with my hand, but she pushes it out of the way, and then she lets out a scream too. Her mask falls off. “Oh my God! Is that you?” Oh my God oh my God oh my God. “Don’t let Kitty see!” I shout. Kitty’s wide-eyed. “Lara Jean, I thought you were a goody-goody.” “I am!” I scream.

Why did you come here tonight?” she asked. “Other than the fact that you’ve finally come to your senses and realize you love me.” Chuckling, Grey reached up and untied the ribbons that held her mask. The pretty silk fell away to reveal the beautiful face beneath. “I missed you,” he replied honestly. “And you were right-about everything. I’m tired of drifting through life. I want to live again-with you.” A lone tear trickled down her cheek. “I think that might be the most romantic thing you’ve ever said to me.” He grinned. “I have more.” She pressed her fingers to his lips. “I’m tired of talking.” She kissed him, teasing his lips with the ripe curves of hers, sliding her tongue inside to rub against his in a sensual rhythm that had him fisting his hands in her skirts. By the time they reached Mayfair, Grey’s hair was mussed, Rose’s skirts crushed, and he was harder than an oratory competition for mutes. “I can’t believe you came,” she told him as the entered the house, arms wrapped around each other. “I’m so proud of you.” “I wouldn’t have done it without you.” She shook her head. “You did it for yourself not for me.” Perhaps that was true, and perhaps it wasn’t. He had no interest in discussing it tonight. “It’s just the beginning,” he promised. “I’m going to go wherever you want to go from now on. Within reason.” She laughed. “Of course. We can’t have you attending a musicale just to please me, can we?” She gazed up at him. “You know, I think I’m going to want to spend plenty of evenings at home as well. That time I spent out of society had some very soothing moments.” “Of course,” he agreed, thinking about all the things they could do to one another at home. Alone. “There has to be moderation.” Upstairs in their bedroom, he undressed her, unbuttoning each tiny button one by one until she sighed in exasperation. “In a hurry?” he teased. His wife got her revenge, when clad only in her chemise and stockings, she turned those nimble fingers of hers to his cravat, working the knot so slowly he thought he might go mad. She worsened the torment by slowly rubbing her hips against his thigh. His cock was so rigid he could hang clothes on it, and the need to bury himself inside her consumed him. Still, a skilled lover knows when to have patience-and a man in love knows that his woman’s pleasure comes far, far before his own. So, as ready as he was, Grey was in no hurry to let this night end, not when it might prove to be the best of his new-found life. Wearing only his trousers, he took Rose’s hand and led her to their bed. He climbed onto the mattress and pulled her down beside him, lying so that they were face-to-face. Warm fingers came up to gently touch the scar that ran down his face. Odd, but he hadn’t thought of it at all that evening. In fact, he’d almost forgot about it. “I heard you that night,” he admitted. “When you told me you loved me.” Her head tilted. “I thought you were asleep.” “No.” He held her gaze as he raised his own hand to brush the softness of her cheek. “I should have said it then, but I love you too, Rose. So much.” Her smile was smug. “I know.” She kissed him again. “Make love to me.” His entire body pulsed. “I intend to, but there’s one thing I have to do first.” Rose frowned. “What’s that?” Grey pulled the brand-new copy of Voluptuous from beneath the pillow where he’d hidden it before going to the ball. “There’s a story in here that I want to read to you.

Straightening reluctantly, she strolled about the room with forced nonchalance, her hands clasped behind her back, looking blindly at the cobwebs in the corner of the ceiling, trying to think what to say. And then inspiration struck. The solution was demeaning but practical, and properly presented, it could appear she was graciously doing him a favor. She paused a moment to arrange her features into what she hoped was the right expression of enthusiasm and compassion, then she wheeled around abruptly. “Mr. Thornton!” Her voice seemed to explode in the room at the same time his startled amber gaze riveted on her face, then drifted down her bodice, roving boldly over her ripened curves. Unnerved but determined, Elizabeth forged shakily ahead: “It appears as if no one has occupied this house in quite some time.” “I commend you on that astute observation, lady Cameron,” Ian mocked lazily, watching the tension and emotion play across her expressive face. For the life of him he could not understand what she was doing here or why she seemed to be trying to ingratiate herself this morning. Last night the explanation he’d given Jake had made sense; now, looking at her, he couldn’t quite believe any of it. Then he remembered that Elizabeth Cameron had always robbed him of the ability to think rationally. “Houses do have a way of succumbing to dirt when no one looks after them,” she stated with a bright look. “Another creditable observation. You’ve certainly a quick mind.” “Must you make this so very difficult!” Elizabeth exclaimed. “I apologize,” he said with mocking gravity. “Do go on. You were saying?” “Well, I was thinking, since we’re quite stranded here-Lucinda and I, I mean-with absolutely nothing but time on our hands, that this house could certainly use a woman’s touch.” “Capital idea!” burst out Jake, returning from his mission to locate the butter and casting a highly hopeful look at Lucinda. He was rewarded with a glare from her that could have pulverized rock. “It could use an army of servants carrying shovels and wearing masks on their faces,” the duenna countered ruthlessly. “You needn’t help, Lucinda,” Elizabeth explained, aghast. “I never meant to imply you should. But I could! I-“ She whirled around as Ian Thornton surged to his feet and took her elbow in a none-too-gentle grasp. “Lady Cameron,” he said. “I think you and I have something to discuss that may be better spoken in private. Shall we?” He gestured to the open door and then practically dragged her along in his wake. Outdoors in the sunlight he marched her forward several paces, then dropped her arm. “Let’s hear it,” he said. “Hear what?” Elizabeth said nervously. “An explanation-the truth, if you’re capable of it. Last night you drew a gun on me, and this morning you’re awash with excitement over the prospect over the prospect of cleaning my house. I want to know why.” “Well,” Elizabeth burst out in defense of her actions with the gun, “you were extremely disagreeable!” “I am still disagreeable,” he pointed out shortly, ignoring Elizabeth’s raised brows. “I haven’t changed. I am not the one who’s suddenly oozing goodwill this morning.” Elizabeth turned her head to the lane, trying desperately to think of an explanation that wouldn’t reveal to him her humiliating circumstances. “The silence is deafening, Lady Cameron, and somewhat surprising. As I recall, the last time we met you could scarcely contain all the edifying information you were trying to impart to me.” Elizabeth knew he was referring to her monologue on the history of hyacinths in the greenhouse. “I just don’t know where to begin,” she admitted. “Let’s stick to the salient points. What are you doing here?

Here we should notice a peculiar fact: that there are movements which are both essentially involuntary and yet confined to persons - to creatures with a self-conscious perspective. Smiles and blushes are the two most prominent examples. Milton puts the point finely in Paradise Lost: for smiles from Reason flow, To brute denied, and are of love the food. These physiognomic movements owe their rich intentionality to this involuntary character, for it is this which suggests that they show the other 'as he really is'. Hence they become the pivot and focus of our interpersonal responses, and of no response more than sexual desire. The voluntary smile is not a smile at all, but a kind of grimace which, while it may have its own species of sincerity—as in the smile of Royalty, which as it were pays lip-service to good nature — is not esteemed as an expression of the soul. On the contrary, it is perceived as a mask, which conceals the 'real being' of the person who wears it. Smiling must be understood as a response to another person, to a thought or perception of his presence, and it has its own intentionality. To smile is to smile at something or someone, and hence when we see someone smiling in the street we think of him as 'smiling to himself, meaning that there is some hidden object of his present thought and feeling. The smile of love is a kind of intimate recognition and acceptance of the other's presence - an involuntary acknowledgement that his existence gives you pleasure. The smile of the beloved is not flesh, but a kind of stasis in the movement of the flesh. It is a paradigm of 'incarnation': of the other made flesh, and so transforming the flesh in which he is made. Thus the smile of Beatrice conveys her spiritual reality; Dante must be fortified in order to bear it, for to look at it is to look at the sun (Paradiso, XXIII, 47—8): tu hai vedute cose, che possente set fatto a sostener lo riso mio.

How are Good Europeans such as ourselves distinguished from the patriots? In the first place, we are atheists and immoralists, but we take care to support the religions and the morality which we associate with the gregarious instinct: for by means of them, an order of men is, so to speak, being prepared, which must at some time or other fall into our hands, which must actually crave for our hands. Beyond Good and Evil, — certainly; but we insist upon the unconditional and strict preservation of herd-morality. We reserve ourselves the right to several kinds of philosophy which it is necessary to learn: under certain circumstances, the pessimistic kind as a hammer; a European Buddhism might perhaps be indispensable. We should probably support the development and the maturation of democratic tendencies; for it conduces to weakness of will: in "Socialism" we recognise a thorn which prevents smug ease. Attitude towards the people. Our prejudices; we pay attention to the results of cross-breeding. Detached, well-to-do, strong: irony concerning the "press" and its culture. Our care: that scientific men should not become journalists. We mistrust any form of culture that tolerates news-paper reading or writing. We make our accidental positions (as Goethe and Stendhal did), our experiences, a foreground, and we lay stress upon them, so that we may deceive concerning our backgrounds. We ourselves wait and avoid putting our heart into them. They serve us as refuges, such as a wanderer might require and use — but we avoid feeling at home in them. We are ahead of our fellows in that we have had a disciplina voluntatis. All strength is directed to the development of the will, an art which allows us to wear masks, an art of understanding beyond the passions (also "super-European" thought at times). This is our preparation before becoming the law-givers of the future and the lords of the earth; if not we, at least our children. Caution where marriage is concerned.

You know those statistics people are always spouting off, about teenage boys thinking about sex every seven seconds? Is that really true?” “Nope. And I just want to point out that you’re the one who keeps bringing up sex. I think teenage girls might be more obsessed than boys.” “Maybe,” I say, and his eyes widen, all excited. Hastily I add, “I mean, I’m definitely curious about it. It’s definitely a thought. But I don’t see myself doing it anytime soon. With anybody. Including you.” I can tell Peter is embarrassed, the way he rushes to say, “Okay, okay, I got it. Let’s just change the subject.” Under his breath he mutters, “I didn’t even want to talk about it in the first place.” It’s sweet that he’s embarrassed. I didn’t think he would be, with all his experience. I tug on his sweater sleeve. “At some point, when I’m ready, if I’m ready, I’ll let you know.” And then I pull him toward me and press my lips against his softly. His mouth opens, and so does mine, and I think, I could kiss this boy for hours. Mid-kiss, he says, “Wait, so we’re never having sex? Like ever?” “I didn’t say never. But not now. I mean, not until I’m really, really sure. Okay?” He lets out a laugh. “Sure. You’re the one driving this bus. You have been from the start. I’m still catching up.” He snuggles closer and sniffs my hair. “What’s this new shampoo you’re wearing?” “I stole it from Margot. It’s juicy pear. Nice, right?” “It’s all right, I guess. But can you go back to the one you used to wear? The coconut one? I love the smell of that one.” A dreamy look crosses his face, like evening fog settling over a city. “If I feel like it,” I say, which makes him pout. I’m already thinking I should buy a bottle of the coconut hair mask, too, but I like to keep him on his toes. Like he said, “I’m the one driving this bus. Peter pulls me against him so he’s curved around my back like shelter. I let my head rest on his shoulder, rest my arms on his kneecaps. This is nice. This is cozy. Just me and him, just for a while, apart from the rest of the world.

There is a porter at the door and at the reception-desk a grey-haired woman and a sleek young man. 'I want a room for tonight.' 'A room? A room with bath?' I am still feeling ill and giddy. I say confidentially, leaning forward: 'I want a light room.' The young man lifts his eyebrows and stares at me. I try again. 'I don't want a room looking on the courtyard. I want a light room.' 'A light room?' the lady says pensively. She turns over the pages of her books, looking for a light room. 'We have number 219,' she says. 'A beautiful room with bath. Seventy-five francs a night.' (God, I can't afford that.) 'It's a very beautiful room with bath. Two windows. Very light,' she says persuasively. A girl is called to show me the room. As we are about to start for the lift, the young man says, speaking out of the side of his mouth: 'Of course you know that number 219 is occupied.' 'Oh no. Number 219 had his bill before yesterday.' the receptionist says. 'I remember. I gave it to him myself.' I listen anxiously to this conversation. Suddenly I feel that I must have number 219, with bath - number 219, with rose-coloured curtains, carpet and bath. I shall exist on a different planet at once if I can get this room, if only for a couple of nights. It will be an omen. Who says you can't escape from your faith? I'll escape from mine, into room number 219. Just try me, just give me a chance. 'He asked for his bill,' the young man says, in a voice which is a triumph of scorn and cynicism. 'He asked for his bill but that doesn't mean that he has gone.' The receptionist starts arguing. 'When people ask for their bills, it's because they are going, isn't it?' 'Yes,' he says, 'French' people. The others ask for their bills to see if we're going to cheat them.' 'My God,' says the receptionist, 'foreigners, foreigners, my God. ...' The young man turns his back, entirely dissociating himself from what is going on. Number 219 - well, now I know all about him. All the time they are talking I am seeing him - his trousers, his shoes, the way he brushes his hair, the sort of girls he likes. His hand-luggage is light yellow and he has a paunch. But I can't see his face. He wears a mask, number 219. ... 'Show the lady number 334.

You look like a goddess,” he murmured as he raked his eyes down her form. And she melted into a puddle. “Thank you.” She tried to sound cool and sophisticated. “I much prefer wearing a gown that’s not too tight.” “Except where it should be.” He dropped his gaze pointedly to her bosom. The frank admiration in his eyes made her glad that she’d let Betty guide her choice for tonight. After that other scandalous gown, she’d been reluctant to wear anything low cut, but this one did look beautiful on her, even with its décolletage. Salmon had always been a good color for her, and the satin rouleaux trim made her feel pretty and elegant. “So it’s presentable enough for dinner with your family?” she asked. “They don’t even deserve to see you in it.” The low rumble of his voice made her breath catch in her throat. “I only wish that you and I could-“ “You do look lovely,” said another voice. Lord Gabriel came up from behind Oliver, dressed all in black as usual. A look of pure mischief crossed his face. “Sorry I’m late, Miss Butterfield, but thank you, brother, for keeping her company until I arrived.” Oliver glared at him. “What the devil do you mean?” “I’m taking the young lady down to dinner.” “That office should be left to her fiancé, don’t you think?” Oliver bit out. “Pretend fiancé. You have no real claim on her. And since you had her to yourself all day…” Lord Gabriel offered his arm. “Shall we, Miss Butterfield?” Maria hesitated, unsure what to do. But Oliver was a danger to her sanity, and his brother wasn’t. So she was better off with Lord Gabriel. “Thank you, sir,” she said, taking his arm. “Now just wait one blasted minute. You can’t-“ “What? Be friendly to our guest?” Lord Gabriel asked, his face a mask of innocence. “Really, old boy, I didn’t realize it mattered that much. But if it upsets you to see Miss Butterfield on the arm of another man, I’ll certainly yield the field.” Lord Gabriel’s words seemed to give Oliver pause. Glancing from Maria to his brother, he smiled, though it didn’t nearly reach his eyes. “No, it’s fine,” he said tightly. “Perfectly fine.” When they headed down the hall with Oliver following behind, Lord Gabriel flashed her a conspiratorial glance. She wasn’t sure what the conspiracy was, but since it seemed to irritate Oliver, she went along. The incident was only the first in a series that continued throughout the week. Whenever she and Oliver found themselves alone, even for a moment, one of his siblings popped up to offer some entertainment-a stroll in the gardens, a ride into Ealing, a game of loo. With each instance, Oliver grew more annoyed, for no reason that she could see. Unless… No, that was crazy.

Or, in your case, as wide. Wait. Did you just say Gandalf?” “He is the founder of our order, and the first of the Five Warlocks. He comes from afar across the Western Ocean, from Easter Island, or perhaps from Japan.” “No, I think he comes from the mind of a story writer. An old-fashioned Roman Catholic from the days just before First Space Age. Unless I am confusing him with the guy who wrote about Talking Animal Land? With the Cowardly Lion who gets killed by a Wicked White Witch? I never read the text, I watched the comic.” “Oh, you err so! The Witches, we have preserved this lore since the time of the Fall of the Giants, whom we overthrew and destroyed. The tale is this: C. S. Lewis and Arthur C. Clarke were led by the Indian Maiden Sacagawea to the Pacific Ocean and back, stealing the land from the Red Man and selling them blankets impregnated with smallpox. It was called the Lewis and Clarke Expedition. When they reached the Pacific, they set out in the Dawn Treader to find the sea route to India, where the sacred river Alph runs through caverns measureless to man down to a sunless sea. They came to the Last Island, called Ramandu or Selidor, where the World Serpent guards the gateway to the Land of the Dead, and there they found Gandalf, returned alive from the underworld, and stripped of all his powers. He came again to mortal lands in North America to teach the Simon Families. The Chronicle is a symbolic retelling of their journey. It is one of our Holy Books.” “Your Holy Books were written for children by Englishmen.” “The gods wear many masks! If the Continuum chooses the lips of a White Man to be the lips through which the Continuum speaks, who are we to question? Tolkien was not Roman. He was of a race called the hobbits, Homo floresiensis, discovered on an isle in Indonesia, and he would have lived in happiness, had not the White Man killed him with DDT. So there were no Roman Catholics involved. May the Earth curse their memory forever! May they be forgotten forever!” “Hm. Earth is big. Maybe it can do both. You know about Rome? It perished in the Ecpyrosis, somewhat before your time.” “How could we not? The Pope in Rome created the Giants, whom the Witches rose up against and overthrew. Theirs was the masculine religion, aggressive, intolerant, and forbidding abortion. Ours is the feminine religion, peaceful and life-affirming and all-loving, and we offer the firstborn child to perish on our sacred fires. The First Coven was organized to destroy them like rats! When Rome was burned, we danced, and their one god was cast down and fled weeping on his pierced feet, and our many gods rose up. My ancestors hunted the Christians like stoats, and when we caught them, we burned them slowly, as they once did of us in Salem. What ill you do is returned to you tenfold!” “Hm. Are you willing to work with a Giant? I saw one in the pit, and saw the jumbo-sized coffin they pried him out from. What if he is a baptized Christian? Most of them were, since they were created by my pet pope and raised by nuns.” “All Christians must perish! Such is our code.” “Your code is miscoded.” “What of the Unforgettable Hate?” “Forget about it.

Wife's Letter (excerpt) It was not the mask that died among the boots, but you. The girl with the yoyo was not the only one to know about your masked play. From the very first instant, when, elated with pride, you talked about the distortion of the magnetic field, I too saw through you completely. Please don’t insult me any more by asking how I did it. Of course, I was flustered, confused, and frightened to death. Under any circumstances, it was an unimaginably drastic way of acting, so different from your ordinary self. It was hallucinatory, seeing you so full of self-confidence. Even you knew very well that I had seen through you. You knew and yet demanded that we go on with the play in silence. ... But you went from one misunderstanding to the next, didn’t you? You write that I rejected you, but that’s not true. Didn’t you reject yourself all by yourself?.. In a happy frame of mind, I reflected that love strips the mask from each of us, and we must endeavor for those we love to put the mask on so that it can be taken off again. For if there is no mask to start with, there is no pleasure in removing it, is there? ... Is what you think to be the mask in reality your real face, or is what you think to be your real face really a mask? Yes, you do understand. Anyone who is seduced is seduced realizing this. ... At first you were apparently trying to get your own self back by means of the mask, but before you knew it you had come to think of it only as your magician’s cloak for escaping from yourself. So it was not a mask, but somewhat the same as another real face, wasn’t it? You finally revealed your true colors. It was not the mask, but you yourself. It is meaningful to put a mask on, precisely because one makes others realize it is a mask. Even with cosmetics, which you abominate so, we never try to conceal the fact that it is make-up. After all, it was not that the mask was bad, but that you were too unaware of how to treat it. Even though you put the mask on, you could not do a thing while you were wearing it. Good or bad, you could not do a thing. All you could manage was to wander through the streets and write long, never-ending confessions, like a snake with its tail in its mouth. It was all the same to you whether you burned your face or didn’t, whether you put on a mask or didn’t. You were incapable of calling the mask back. Since the mask will not come back, there is no reason for me to return either. ... While you spoke of the face as being some kind of roadway between fellow human beings, you were like a snail that thinks only of its own doorway. You were showing off. Even though you had forced me into a compound where I had already been, you set up a fuss as if I had scaled a prison wall, as if I had absconded with money. And so, when you began to focus on my face you were flustered and confused, and without a word you at once nailed up the door of the mask. Indeed, as you said, perhaps death filled the world. I wonder if scattering the seeds of death is not the deed of men who think only of themselves, as you do. You don’t need me. What you really need is a mirror. Because any stranger is for you simply a mirror in which to reflect yourself.

*Wife's Letter* Pt1 ... It was not the mask that died among the boots, but you. The girl with the yoyo was not the only one to know about your masked play. From the very first instant, when, elated with pride, you talked about the distortion of the magnetic field, I too saw through you completely. Please don’t insult me any more by asking how I did it. Of course, I was flustered, confused, and frightened to death. Under any circumstances, it was an unimaginably drastic way of acting, so different from your ordinary self. It was hallucinatory, seeing you so full of self-confidence. Even you knew very well that I had seen through you. You knew and yet demanded that we go on with the play in silence. I considered it a dreadful thing at first, but I soon changed my mind, thinking that perhaps you were acting out of sympathy for me. Then, though the things you did seemed a little embarrassing, they began to present the appearance of a delicate and suave invitation to a dance. And as I watched you become amazingly serious and go on pretending to be deceived, my heart began to fill with a feeling of gratitude, and so I followed after you meekly. But you went from one misunderstanding to the next, didn’t you? You write that I rejected you, but that’s not true. Didn’t you reject yourself all by yourself? I felt that I could understand your wanting to. In view of the accident and all, I had more than half resigned myself to sharing your suffering. For that very reason, your mask seemed quite good to me. In a happy frame of mind, I reflected that love strips the mask from each of us, and we must endeavor for those we love to put the mask on so that it can be taken off again. For if there is no mask to start with, there is no pleasure in removing it, is there? Do you understand what I mean? I think you do. After all, don’t even you have your doubts? Is what you think to be the mask in reality your real face, or is what you think to be your real face really a mask? Yes, you do understand. Anyone who is seduced is seduced realizing this. But the mask did not return. At first you were apparently trying to get your own self back by means of the mask, but before you knew it you had come to think of it only as your magician’s cloak for escaping from yourself. So it was not a mask, but somewhat the same as another real face, wasn’t it? You finally revealed your true colors. It was not the mask, but you yourself. It is meaningful to put a mask on, precisely because one makes others realize it is a mask. Even with cosmetics, which you abominate so, we never try to conceal the fact that it is make-up. After all, it was not that the mask was bad, but that you were too unaware of how to treat it. Even though you put the mask on, you could not do a thing while you were wearing it. Good or bad, you could not do a thing. All you could manage was to wander through the streets and write long, never-ending confessions, like a snake with its tail in its mouth. It was all the same to you whether you burned your face or didn’t, whether you put on a mask or didn’t. You were incapable of calling the mask back. Since the mask will not come back, there is no reason for me to return either.

My father had a sister, Mady, who had married badly and ‘ruined her life.’ Her story was a classic. She had fallen in love before the war with an American adventurer, married him against her family’s wishes, and been disinherited by my grandfather. Mady followed her husband romantically across the sea. In America he promptly abandoned her. By the time my parents arrived in America Mady was already a broken woman, sick and prematurely old, living a life two steps removed from destitution. My father, of course, immediately put her on an allowance and made her welcome in his home. But the iron laws of Victorian transgression had been set in motion and it was really all over for Mady. You know what it meant for a woman to have been so disgraced and disinherited in those years? She had the mark of Cain on her. She would live, barely tolerated, on the edge of respectable society for the rest of her life. A year after we arrived in America, I was eleven years old, a cousin of mine was married out of our house. We lived then in a lovely brownstone on New York’s Upper West Side. The entire house had been cleaned and decorated for the wedding. Everything sparkled and shone, from the basement kitchen to the third-floor bedrooms. In a small room on the second floor the women gathered around the bride, preening, fixing their dresses, distributing bouquets of flowers. I was allowed to be there because I was only a child. There was a bunch of long-stemmed roses lying on the bed, blood-red and beautiful, each rose perfection. Mady walked over to them. I remember the other women were wearing magnificent dresses, embroidered and bejeweled. Mady was wearing only a simple white satin blouse and a long black skirt with no ornamentation whatever. She picked up one of the roses, sniffed deeply at it, held it against her face. Then she walked over to a mirror and held the rose against her white blouse. Immediately, the entire look of her plain costume was altered; the rose transferred its color to Mady’s face, brightening her eyes. Suddenly, she looked lovely, and young again. She found a long needle-like pin and began to pin the rose to her blouse. My mother noticed what Mady was doing and walked over to her. Imperiously, she took the rose out of Mady’s hand and said, ‘No, Mady, those flowers are for the bride.’ Mady hastily said, ‘Oh, of course, I’m sorry, how stupid of me not to have realized that,’ and her face instantly assumed its usual mask of patient obligation. “I experienced in that moment an intensity of pain against which I have measured every subsequent pain of life. My heart ached so for Mady I thought I would perish on the spot. Loneliness broke, wave after wave, over my young head and one word burned in my brain. Over and over again, through my tears, I murmured, ‘Unjust! Unjust!’ I knew that if Mady had been one of the ‘ladies’ of the house my mother would never have taken the rose out of her hand in that manner. The memory of what had happened in the bedroom pierced me repeatedly throughout that whole long day, making me feel ill and wounded each time it returned. Mady’s loneliness became mine. I felt connected, as though by an invisible thread, to her alone of all the people in the house. But the odd thing was I never actually went near her all that day. I wanted to comfort her, let her know that I at least loved her and felt for her. But I couldn’t. In fact, I avoided her. In spite of everything, I felt her to be a pariah, and that my attachment to her made me a pariah, also. It was as though we were floating, two pariahs, through the house, among all those relations, related to no one, not even to each other. It was an extraordinary experience, one I can still taste to this day. I was never again able to address myself directly to Mady’s loneliness until I joined the Communist Party. When I joined the Party the stifled memory of that strange wedding day came back to me. . .

No I mean, I don't think I can pretend." "Of course you can. We all do it every day. We wear masks and hold back saying what we really feel because maybe...maybe we just don't want to destroy what little good we have.

As we are beginning to restart our world after being hit by a horrific global health crisis, our actions hold the key to a fast recovery for the entire humankind - therefore, wear a mask whenever you are in public, avoid gatherings and wash your hands frequently - these are by far the most effective way to make sure we keep our friends and family as well as ourselves safe.

No one is real. Everyone on Earth is pretending. Even we are not true to ourselves, when no one is around. We all are wearing mask so that we can hide our face...

We are a totality – a whole comprising our unconscious and conscious. If our unconscious takes a decision, are we to disown it? Our unconscious is as much “us” as our conscious is – in fact, arguably more so. Our unconscious can be seen as our true, immortal Self, and our conscious as a contingent, mortal persona – a mask we wear during this lifetime.

While the passive stance we take in the initial construction of our persona can make it feel like a permanent part of our being, we do have the ability to re-sculpt the masks we wear in public. Rather than being the man or woman who others want us to be, we can heed the ancient wisdom to “become who we are” and we can construct a persona more aligned with our values and the strengths of our character. For as Jung points out, in the construction of one’s persona there are two sources around which to orient it. It can be oriented around “the expectations and demands of society”, which is the path of the conformist, or it can be oriented around “the social aims and aspirations of the individual”, which is the path we must take if we are dissatisfied with our role on the stage of life.

To achieve social success while spurning the chains of conformity requires that we cultivate a genuine pride in who we are. We must accept what makes us unique if we are to have any hope of others doing the same. For if we are different, but insecure about our differences, then we will forever remain a social outcast. Therefore, if we choose to re-sculpt our persona in a manner that reflects our individuality, we need to first develop a solid foundation upon which to build. We should strive to live with purpose, to adopt ambitious goals which align with our values, and to take the consistent action required to move us in this direction. By doing this we will develop a justified pride in who we are, and this will be reflected through whatever social masks we choose to wear.

Normally I’d think someone wearing a sparkly mask and calling themselves Physic was crazy. But it’s the Black Swan, so . . .” Sophie sighed. “She better be as good as Elwin.” “If she’s not, we’ll sneak into the Lost Cities and kidnap him,” Keefe promised. When she didn’t smile, he nudged her with his elbow. “Aw, don’t worry too much, Foster. Fitz didn’t look half as bad as you did during your last few brushes with death, and you’re still with us—though maybe you two could cool it with the almost dying thing, okay?

I sat in front of the TV hour after hour watching the news about how Trump was fucking up the government’s response to the spreading corona virus infection. Why didn’t he invoke the federal government’s power under the Defense Production Act as soon as the virus hit Washington State? All the experts knew how fast-spreading and dangerous this corona virus could be? Instead, he ignores the CDC’s advice and downplays the risk to the nation’s health. Not until mid April, when it’s way too late, does Trump finally use some of the government’s power under the DPA, and even then it’s a half-assed measure. Not enough testing, not enough ventilators, not enough PPE, not enough swabs. The number of infections kept rising. By the end of March the US led the world in infections and deaths caused by the virus. What does Trump do? He refuses to wear a mask. He’s not going to look like a weakling. Testing? Overrated. It increases the number of infections. Why doesn’t the country have enough PPE and ventilators? Obama’s fault. The President is in charge, but if there’s any failure, it’s the fault of governors and mayors. He keeps repeating his mantra, “The situation is under control.” Pence’s team will whip the virus. Or was it Jared’s team? This virus isn’t as bad as the flu. America always wins. Doesn’t matter who or what the enemy is, we always triumph. We’re going to kill that little bug. Those people wearing masks are doing it to spite me, Donald J. Trump, the greatest President in history. “The situation is under control.” But the deaths keep mounting. It surpasses annual deaths from auto accidents, 34,000. It surpasses US deaths in the Vietnam War, 58,000. Next, it’s going to surpass total deaths of US soldiers in World War I, 116,500, and it’s not going to stop there. What the fuck!? This is the United States of America! We’re supposed to have the best healthcare in the world, the best of everything. We’re Number One! Yeah, Trump made America great again. He said with him as President America would win so much we’d get tired of winning. Right on, man! We are Number One – in corona virus infections and deaths! After spending all day switching back and forth among the cable news networks on TV, I’d turn off the television and get on my laptop and rant on Twitter about what an idiot the President was. That was my life during the lockdown. From "Anarchist, Republican... Assassin

How does resistance manifest? It wears a thousand masks, many of which are so effective we don’t even recognize resistance is behind them. Laziness, procrastination, fear, doubt, instant gratification, self-loathing, indecision, escapism, pride, self-deception, friction, tension, and self-sabotage are just some of the ways resistance manifests its ugly self in our lives and causes us to settle for so much less than God has imagined for us. You cannot become the-best-version-of-yourself unless you wake up every morning ready to slay resistance. It stands between you and the person God created you to be. Resistance stands between you and happiness. You have to break through resistance in order to accomplish even the smallest tasks. I catch myself in a battle with resistance several times a day.

Reason is indeed all about identity, or, rather, tautology. Mathematics is the eternal, necessary system of rational, analytic tautology. Tautology is not “empty”, as it is so often characterized by philosophers. It is in fact the fullest thing there, the analytic ground of existence, and the basis of everything. Mathematical tautology has infinite masks to wear, hence delivers infinite variety. Mathematical tautology provides Leibniz’s world that is “simplest in hypothesis and the richest in phenomena.” No hypothesis cold be simpler than the one revolving around tautologies concerning “nothing.” There is something – existence – because nothing is tautologous, and “something” is how that tautology is expressed. If we write x = 0, where x is any expression that has zero as its net result, then we have a world of infinite possibilities where something (“x”) equals nothing (0).