Mirror Has Two Faces Quotes

Upset by two nostalgias facing each other like two mirrors, he lost his marvelous sense of unreality and he ended up recommending to all of them that they leave Macondo, that they forget everything he had taught them about the world and the human heart, that they shit on Horace, and that wherever they might be they always remember that the past was a lie, that memory has no return, that every spring gone by could never be recovered, and that the wildest and most tenacious love was an ephemeral truth in the end.

On the back part of the step, toward the right, I saw a small iridescent sphere of almost unbearable brilliance. At first I thought it was revolving; then I realised that this movement was an illusion created by the dizzying world it bounded. The Aleph's diameter was probably little more than an inch, but all space was there, actual and undiminished. Each thing (a mirror's face, let us say) was infinite things, since I distinctly saw it from every angle of the universe. I saw the teeming sea; I saw daybreak and nightfall; I saw the multitudes of America; I saw a silvery cobweb in the center of a black pyramid; I saw a splintered labyrinth (it was London); I saw, close up, unending eyes watching themselves in me as in a mirror; I saw all the mirrors on earth and none of them reflected me; I saw in a backyard of Soler Street the same tiles that thirty years before I'd seen in the entrance of a house in Fray Bentos; I saw bunches of grapes, snow, tobacco, lodes of metal, steam; I saw convex equatorial deserts and each one of their grains of sand; I saw a woman in Inverness whom I shall never forget; I saw her tangled hair, her tall figure, I saw the cancer in her breast; I saw a ring of baked mud in a sidewalk, where before there had been a tree; I saw a summer house in Adrogué and a copy of the first English translation of Pliny -- Philemon Holland's -- and all at the same time saw each letter on each page (as a boy, I used to marvel that the letters in a closed book did not get scrambled and lost overnight); I saw a sunset in Querétaro that seemed to reflect the colour of a rose in Bengal; I saw my empty bedroom; I saw in a closet in Alkmaar a terrestrial globe between two mirrors that multiplied it endlessly; I saw horses with flowing manes on a shore of the Caspian Sea at dawn; I saw the delicate bone structure of a hand; I saw the survivors of a battle sending out picture postcards; I saw in a showcase in Mirzapur a pack of Spanish playing cards; I saw the slanting shadows of ferns on a greenhouse floor; I saw tigers, pistons, bison, tides, and armies; I saw all the ants on the planet; I saw a Persian astrolabe; I saw in the drawer of a writing table (and the handwriting made me tremble) unbelievable, obscene, detailed letters, which Beatriz had written to Carlos Argentino; I saw a monument I worshipped in the Chacarita cemetery; I saw the rotted dust and bones that had once deliciously been Beatriz Viterbo; I saw the circulation of my own dark blood; I saw the coupling of love and the modification of death; I saw the Aleph from every point and angle, and in the Aleph I saw the earth and in the earth the Aleph and in the Aleph the earth; I saw my own face and my own bowels; I saw your face; and I felt dizzy and wept, for my eyes had seen that secret and conjectured object whose name is common to all men but which no man has looked upon -- the unimaginable universe. I felt infinite wonder, infinite pity.

Disaster is rarely as pervasive as it seems from recorded accounts. The fact of being on the record makes it appear continuous and ubiquitous whereas it is more likely to have been sporadic both in time and place. Besides, persistence of the normal is usually greater than the effect of the disturbance, as we know from our own times. After absorbing the news of today, one expects to face a world consisting entirely of strikes, crimes, power failures, broken water mains, stalled trains, school shutdowns, muggers, drug addicts, neo-Nazis, and rapists. The fact is that one can come home in the evening--on a lucky day--without having encountered more than one or two of these phenomena. This has led me to formulate Tuchman's Law, as follows: "The fact of being reported multiplies the apparent extent of any deplorable development by five- to tenfold" (or any figure the reader would care to supply).

Commala-come-come There’s a young man with a gun. Young man lost his honey When she took it on the run. Commala-come-one! She took it on the run! Left her baby lonely But he baby ain’t done. Commala-come-coo The wind’ll blow ya through. Ya gotta go where ka’s wind blows ya Cause there’s nothin else to do. Commala-come-two! Nothin else to do! Gotta go where ka’s wind blows ya Cause there’s nothin else to do. Commala-come-key Can you tell me what ya see? Is it ghosts or just the mirror That makes ya wanna flee? Commala-come-three! I beg ya, tell me! Is it ghosts or just your darker self That makes ya wanna flee? Commala-come-ko Whatcha doin at my do’? If ya doan tell me now, my friend I’ll lay ya on de flo’. Commala-come-fo’! I can lay ya low! The things I’ve do to such as you You never wanna know. Commala-gin-jive Ain’t it grand to be alive? To look out on Discordia When the Demon Moon arrives. Commala-come-five! Even when the shadows rise! To see the world and walk the world Makes ya glad to be alive. Commala-mox-nix! You’re in a nasty fix! To take a hand in traitor’s glove Is to grasp a sheaf of sticks! Commala-come-six! Nothing there but thorns and sticks! When your find your hand in traitor’s glove You’re in a nasty fix. Commala-loaf-leaven! They go to hell or up to heaven! The the guns are shot and the fires hot, You got to poke em in the oven. Commala-come-seven! Salt and yow’ for leaven! Heat em up and knock em down And poke em in the oven. Commala-ka-kate You’re in the hands of fate. No matter if it’s real or not, The hour groweth late. Commala-come-eight! The hour groweth late! No matter what shade ya cast You’re in the hands of fate. Commala-me-mine You have to walk the line. When you finally get the thing you need It makes you feel so fine. Commala-come-nine! It makes ya feel fine! But if you’d have the thing you need You have to walk the line. Commala-come-ken It’s the other one again. You may know her name and face But that don’t make her your friend. Commala-come-ten! She is not your friend! If you let her get too close She’ll cut you up again! Commala-come-call We hail the one who made us all, Who made the men and made the maids, Who made the great and small. Commala-come-call! He made us great and small! And yet how great the hand of fate That rules us one and all. Commala-come-ki, There’s a time to live and one to die. With your back against the final wall Ya gotta let the bullets fly. Commala-come-ki! Let the bullets fly! Don’t ‘ee mourn for me, my lads When it comes my day to die. Commala-come-kass! The child has come at last! Sing your song, O sing it well, The child has come to pass. Commala-come-kass, The worst has come to pass. The Tower trembles on its ground; The child has come at last. Commala-come-come, The battle’s now begun! And all the foes of men and rose Rise with the setting sun.

At first he told them that everything was just the same, that the pink snails were still in the house where he had been born, that the dry herring still had the same taste on a piece of toast, that the waterfalls in the village still took on a perfumed smell at dusk. They were the notebook pages again, woven with the purple scribbling, in which he dedicated a special paragraph to each one. Nevertheless, and although he himself did not seem to notice it, those letters of recuperation and stimulation were slowly changing into pastoral letters of disenchantment. One winter night while the soup was boiling in the fireplace, he missed the heat of the back of his store, the buzzing of the sun on the dusty almond trees, the whistle of the train during the lethargy of siesta time, just as in Macondo he had missed the winter soup in the fireplace, the cries of the coffee vendor, and the fleeting larks of springtime. Upset by two nostalgias facing each other like two mirrors, he lost his marvelous sense of unreality and he ended up recommending to all of them that they leave Macondo, that they forget everything he had taught then about the world and the human heart, that they shit on Horace, and that wherever they might be they always remember that the past was a lie, that memory has no return, that every spring gone by could never be recovered, and that the wildest and most tenacious love was an ephemeral truth in the end.

Justice will not be served until those who are unaffected are as outraged as those who are. -Benjamin Franklin Not everything that is faced can be changed. But nothing can be changed until it is faced. -James Baldwin She wore an expression I've only seen in paintings in museums, of a love and a grief so fierce that they forged together to create some new, raw emotion. There are two types of people who become public defenders: those who believe they can save the world, and those who know damn well they can. Any public defender who tells you justice is blind is telling you a big fat lie. If no one ever talks about race in court, how is anything ever supposed to change? It is amazing how you can look in a mirror your whole life & think you are seeing yourself clearly. Then one day, you peel off a filmy gray layer of hypocrisy, & you realize you've never truly seen yourself at all. My client hates me. She thinks I'm a racist. Micah: She has a point. You're white and she's not, and you both happen to live in a world where white people have all the power. It is a strange thing being suddenly motherless. It's like losing a rudder that was keeping me on course, one that I never paid much mind to before now. Who will teach me how to parent, how to deal with the unkindness of strangers, how to be humble? You already did, I realize. She looks at me, and we laugh....we have more in common than we have differences. Everyone has prejudices. It's my job to make sure that they work in favor of the person I'm representing. The Millennials are the me generation. They usually think everything revolves around them, and make decisions based on what's going on in their lives & how it will affect their lives. They're minfields of egocentrism.

I have a system with bathrooms. I spend a lot of time in them. They are sanctuaries, public places of peace spaced throughout the world for people like me. When I pop into Aaron’s, I continue my normal routine of wasting time. I turn the light off first. Then I sigh. Then I turn around, face the door I just closed, pull down my pants, and fall on the toilet— I don’t sit; I fall like a carcass, feeling my butt accommodate the rim. Then I put my head in my hands and breathe out as I, well, y’know, piss. I always try to enjoy it, to feel it come out and realize that it’s my body doing something it has to do, like eating, although I’m not too good at that. I bury my face in my hands and wish that it could go on forever because it feels good. You do it and it’s done. It doesn’t take any effort or any planning. You don’t put it off. That would be really screwed up, I think. If you had such problems that you didn’t pee. Like being anorexic, except with urine. If you held it in as self-punishment. I wonder if anyone does that? I finish up and flush, reaching behind me, my head still down. Then I get up and turn on the light. (Did anyone notice I was in here in the dark? Did they see the lack of light under the crack and notice it like a roach? Did Nia see?) Then I look in the mirror. I look so normal. I look like I’ve always looked, like I did before the fall of last year. Dark hair and dark eyes and one snaggled tooth. Big eyebrows that meet in the middle. A long nose, sort of twisted. Pupils that are naturally large—it’s not the pot— which blend into the dark brown to make two big saucer eyes, holes in me. Wisps of hair above my upper lip. This is Craig. And I always look like I’m about to cry. I put on the hot water and splash it at my face to feel something. In a few seconds I’m going to have to go back and face the crowd. But I can sit in the dark on the toilet a little more, can’t I? I always manage to make a trip to the bathroom take five minutes.

The two girls sit and face each other. One girl will apply makeup to the other’s face, but the trick is that the girl applying the makeup has to do it blindfolded! That’s why it’s important that the makeup be safe to use on the face, especially if it accidentally gets on the lips or eyes. The audience can gather around and watch (no hints!) as the blindfolded girl applies makeup. When she’s done, the two girls switch roles, but nobody is allowed to look in the mirror until both are done. Then they can look! Option:

She has come to stay, to be with Claire for a day or two. To sleep in the spare room. To accompany her dying, the same way she accompanied Gloria's dying six years ago. The slow car journey back to Missouri. The smile on Gloria's face. Her sister, Janice, in the front seat, driving. Playing games with the rearview mirror. Both of them pushing Gloria in a wheelchair along the banks of the river, Up a lazy river where the robin's song wakes a brand-new morning as we roll along. It was a celebration, that day. They had dug their feet down into happiness and weren't prepared to let go. They threw sticks into an eddy and watched them circle. Put a blanket down, ate Wonder Bread sandwiches. Later in the afternoon, her sister began crying, like a change in the weather, for no reason except the popping of a wine cork. Jaslyn handed her a wadded tissue. Gloria laughed at them and said that she'd overtaken grief a long time ago, that she was tired of everyone wanting to go to heaven, nobody wanting to die. The only thing worth grieving over, she said, was that sometimes there was more beauty in this life than the world could bear.

Book Excerpt: "What about your family, Abu Huwa? Are you an orphan?” the little girl very innocently asked the Sphinx. “My father and your father are one and the same. However, I do have a brother who has stood as my mirror throughout time on the opposite horizon. It is I who faces east, but it is he who faces west. I am the recorder of yesterday and he holds the records of tomorrow. I am the positive, and he is my negative. I carry the right eye of the sun and he carries the left eye of the moon. He keeps his eye on the underworld and I keep an eye on the world over. Together we have joined the sky and earth, and split fire and water.” Seham stood on all toes to peek over the Sphinx's shoulder for a sign of his brother. “Where is he?” she asked, her eyes still searching the open horizon. “He has yet to be uncovered, but as I stand above the sands of time, he still sleeps below. Before the descent of Adam, we have both stood as loyal Protectors of the Two Halls of Truth.” The girl asked in astonishment, “I've never heard of these halls, Abu Huwa. Where are they?” “At the end of each of our tails is a passage that will reveal to you the secrets of Time. One hall reflects a thousand truths, and the other hall reflects all that is untrue. One will speak to your heart, and the other will speak to your mind. This is why you need to use both your heart and mind to understand which one is real, and which is a distorted illusion created to misguide those that have neglected their conscience. Both passageways connect you to the Great Hall of Records.” “What is the Hall of Records?” “The Great Pyramid, my child. It is as multidimensional in its shape as it is in its purpose. Every layer and every brick marks the coming of a prophet, the ascension of evil, or another cycle of man. It contains the entire history and future of mankind. And, as is above, so is below. Above ground, it serves as the most powerful energy source to harmonize and power the world! The shape of the pyramid above ground is also the same image mirrored beneath it. Underground, it serves as a powerful well and drain. This is really why Egypt is called the Land of Two Lands. There exists a huge world of its own underneath the plateau, a world within worlds. Large amounts of gold, copper and mercury were once housed here, including the secrets of Time, the 100th name of He Who Is All, and a gift from Truth that still awaits to be discovered. It sleeps with Time in the Great Pyramid, hidden away in a lower shaft that leads to the stars.” Dialogue from 'The Little Girl and the Sphinx' by Suzy Kassem, Rise Up and Salute the Sun (Dar-El Shams, 2010)

ALMOST EVERY FUNDAMENTAL PRINCIPLE OF LIFE can be expressed in two opposite ways. There are those who say that to attain the highest wisdom we must be still and calm, immovable in the midst of turmoil. And there are those who say that we must move on as life moves, never stopping for a moment either in fear of what is to come or to turn a regretful glance at what has gone. The former are as those who listen to music, letting the flow of notes pass through their minds without trying either to arrest them or to speed them on. Like Chuang-tzu’s perfect man, they employ their minds as a mirror: it grasps nothing; it refuses nothing; it receives, but does not keep. The latter are as those who dance to music, keeping pace with its movement and letting their limbs flow with it as unceasingly and as unhesitatingly as clouds respond to the breath of wind. The one seems to reflect events as they pass, and the other to move forward with them. Both points of view, however, are true, for to attain that highest wisdom we must at once walk on and remain still. Consider life as a revolving wheel set upright with man walking on its tire. As he walks, the wheel is revolving toward him beneath his feet, and if he is not to be carried backward by it and flung to the ground he must walk at the same speed as the wheel turns. If he exceeds that speed, he will topple forward and slip off the wheel onto his face. For at every moment we stand, as it were, on the top of a wheel; immediately we try to cling to that moment, to that particular point of the wheel, it is no longer at the top and we are off our balance. Thus by not trying to seize the moment, we keep it, for the second we fail to walk on we cease to remain still. Yet within this there is a still deeper truth. From the standpoint of eternity we never can and never do leave the top of the wheel, for if a circle is set in infinite space it has neither top nor bottom. Wherever you stand is the top, and it revolves only because you are pushing it round with your own feet.

The story that the church has been telling for two thousand years is an outrageous tale about a man who was executed by the state but rose up from the dead. The crux of the story isn't that Jesus figured out the right answer to all the questions facing Israel in his day. What makes all the difference is that Jesus defeated the ultimate enemy and got up from the dead.

Latter-day Saints are far from being the only ones who call Jesus the Savior. I have known people from many denominations who say those words with great feeling and deep emotion. After hearing one such passionate declaration from a devoutly Christian friend, I asked, “From what did Jesus save us?” My friend was taken aback by the question, and struggled to answer. He spoke of having a personal relationship with Jesus and being born again. He spoke of his intense love and endless gratitude for the Savior, but he still never gave a clear answer to the question. I contrast that experience with a visit to an LDS Primary where I asked the same question: “If a Savior saves, from what did Jesus save us?” One child answered, “From the bad guys.” Another said, “He saved us from getting really, really, hurt really, really bad.” Still another added, “He opened up the door so we can live again after we die and go back to heaven.” Then one bright future missionary explained, “Well, it’s like this—there are two deaths, see, physical and spiritual, and Jesus, well, he just beat the pants off both of them.” Although their language was far from refined, these children showed a clear understanding of how their Savior has saved them. Jesus did indeed overcome the two deaths that came in consequence of the Fall of Adam and Eve. Because Jesus Christ “hath abolished death, and hath brought life and immortality to light” (2 Timothy 1:10), we will all overcome physical death by being resurrected and obtaining immortality. Because Jesus overcame spiritual death caused by sin—Adam’s and our own—we all have the opportunity to repent, be cleansed, and live with our Heavenly Father and other loved ones eternally. “Though your sins be as scarlet, they shall be as white as snow” (Isaiah 1:18). To Latter-day Saints this knowledge is basic and fundamental—a lesson learned in Primary. We are blessed to have such an understanding. I remember a man in Chile who scoffed, “Who needs a Savior?” Apparently he didn’t yet understand the precariousness and limited duration of his present state. President Ezra Taft Benson wrote: “Just as a man does not really desire food until he is hungry, so he does not desire the salvation of Christ until he knows why he needs Christ. No one adequately and properly knows why he needs Christ until he understands and accepts the doctrine of the Fall and its effects upon all mankind” (“Book of Mormon,” 85). Perhaps the man who asked, “Who needs a Savior?” would ask President Benson, “Who believes in Adam and Eve?” Like many who deny significant historical events, perhaps he thinks Adam and Eve are only part of a folktale. Perhaps he has never heard of them before. Regardless of whether or not this man accepts the Fall, he still faces its effects. If this man has not yet felt the sting of death and sin, he will. Sooner or later someone close to him will die, and he will know the awful emptiness and pain of feeling as if part of his soul is being buried right along with the body of his loved one. On that day, he will hurt in a way he has not yet experienced. He will need a Savior. Similarly, sooner or later, he will feel guilt, remorse, and shame for his sins. He will finally run out of escape routes and have to face himself in the mirror knowing full well that his selfish choices have affected others as well as himself. On that day, he will hurt in a profound and desperate way. He will need a Savior. And Christ will be there to save from both the sting of death and the stain of sin.

Can you drive it?" "No. I can't drive a stick at all. It's why I took Andy's car and not one of yours." "Oh people, for goodness' sake...move over." Choo Co La Tah pushed past Jess to take the driver's seat. Curious about that, she slid over to make room for the ancient. Jess hesitated. "Do you know what you're doing?" Choo Co La Tah gave him a withering glare. "Not at all. But I figured smoeone needed to learn and no on else was volunteering. Step in and get situated. Time is of the essence." Abigail's heart pounded. "I hope he's joking about that." If not, it would be a very short trip. Ren changed into his crow form before he took flight. Jess and Sasha climbed in, then moved to the compartment behind the seat. A pall hung over all of them while Choo Co La Tah adjusted the seat and mirrors. By all means, please take your time. Not like they were all about to die or anything... She couldn't speak as she watched their enemies rapidly closing the distance between them. This was by far the scariest thing she'd seen. Unlike the wasps and scorpions, this horde could think and adapt. They even had opposable thumbs. Whole different ball game. Choo Co La Tah shifted into gear. Or at least he tried. The truck made a fierce grinding sound that caused jess to screw his face up as it lurched violently and shook like a dog coming in from the rain. "You sure you odn't want me to try?" Jess offered. Choo Co La Tah waved him away. "I'm a little rusty. Just give me a second to get used to it again." Abigail swallowed hard. "How long has it been?" Choo Co La Tah eashed off the clutch and they shuddred forward at the most impressive speed of two whole miles an hour. About the same speed as a limping turtle. "Hmm, probably sometime around nineteen hundred and..." They all waited with bated breath while he ground his way through more gears. With every shift, the engine audibly protested his skills. Silently, so did she. The truck was really moving along now. They reached a staggering fifteen miles an hour. At this rate, they might be able to overtake a loaded school bus... by tomorrow. Or at the very least, the day after that. "...must have been the summer of...hmm...let me think a moment. Fifty-three. Yes, that was it. 1953. The year they came out with color teles. It was a good year as I recall. Same year Bill Gates was born." The look on Jess's and Sasha's faces would have made her laugh if she wasn't every bit as horrified. Oh my God, who put him behind the wheel? Sasha visibly cringed as he saw how close their pursuers were to their bumper. "Should I get out and push?" Jess cursed under his breath as he saw them, too. "I'd get out and run at this point. I think you'd go faster." Choo Co La Tah took their comments in stride. "Now, now, gentlemen. All is well. See, I'm getting better." He finally made a gear without the truck spazzing or the gears grinding.

Romance Sonambulo" Green, how I want you green. Green wind. Green branches. The ship out on the sea and the horse on the mountain. With the shade around her waist she dreams on her balcony, green flesh, her hair green, with eyes of cold silver. Green, how I want you green. Under the gypsy moon, all things are watching her and she cannot see them. Green, how I want you green. Big hoarfrost stars come with the fish of shadow that opens the road of dawn. The fig tree rubs its wind with the sandpaper of its branches, and the forest, cunning cat, bristles its brittle fibers. But who will come? And from where? She is still on her balcony green flesh, her hair green, dreaming in the bitter sea. —My friend, I want to trade my horse for her house, my saddle for her mirror, my knife for her blanket. My friend, I come bleeding from the gates of Cabra. —If it were possible, my boy, I’d help you fix that trade. But now I am not I, nor is my house now my house. —My friend, I want to die decently in my bed. Of iron, if that’s possible, with blankets of fine chambray. Don’t you see the wound I have from my chest up to my throat? —Your white shirt has grown thirsty dark brown roses. Your blood oozes and flees a round the corners of your sash. But now I am not I, nor is my house now my house. —Let me climb up, at least, up to the high balconies; Let me climb up! Let me, up to the green balconies. Railings of the moon through which the water rumbles. Now the two friends climb up, up to the high balconies. Leaving a trail of blood. Leaving a trail of teardrops. Tin bell vines were trembling on the roofs. A thousand crystal tambourines struck at the dawn light. Green, how I want you green, green wind, green branches. The two friends climbed up. The stiff wind left in their mouths, a strange taste of bile, of mint, and of basil My friend, where is she—tell me— where is your bitter girl? How many times she waited for you! How many times would she wait for you, cool face, black hair, on this green balcony! Over the mouth of the cistern the gypsy girl was swinging, green flesh, her hair green, with eyes of cold silver. An icicle of moon holds her up above the water. The night became intimate like a little plaza. Drunken “Guardias Civiles” were pounding on the door. Green, how I want you green. Green wind. Green branches. The ship out on the sea. And the horse on the mountain.

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

The Brits call this sort of thing Functional Neurological Symptoms, or FNS, the psychiatrists call it conversion disorder, and almost everyone else just calls it hysteria. There are three generally acknowledged, albeit uncodified, strategies for dealing with it. The Irish strategy is the most emphatic, and is epitomized by Matt O’Keefe, with whom I rounded a few years back on a stint in Ireland. “What are you going to do?” I asked him about a young woman with pseudoseizures. “What am I going to do?” he said. “I’ll tell you what I’m goin’ to do. I’m going to get her, and her family, and her husband, and the children, and even the feckin’ dog in a room, and tell ’em that they’re wasting my feckin’ time. I want ’em all to hear it so that there is enough feckin’ shame and guilt there that it’ll keep her the feck away from me. It might not cure her, but so what? As long as I get rid of them.” This approach has its adherents even on these shores. It is an approach that Elliott aspires to, as he often tells me, but can never quite marshal the umbrage, the nerve, or a sufficiently convincing accent, to pull off. The English strategy is less caustic, and can best be summarized by a popular slogan of World War II vintage currently enjoying a revival: “Keep Calm and Carry On.” It is dry, not overly explanatory, not psychological, and does not blame the patient: “Yes, you have something,” it says. “This is what it is [insert technical term here], but we will not be expending our time or a psychiatrist’s time on it. You will have to deal with it.” Predictably, the American strategy holds no one accountable, involves a brain-centered euphemistic explanation coupled with some touchy-feely stuff, and ends with a recommendation for a therapeutic program that, very often, the patient will ignore. In its abdication of responsibility, motivated by the fear of a lawsuit, it closely mirrors the beginning of the end of a doomed relationship: “It’s not you, it’s … no wait, it’s not me, either. It just is what it is.” Not surprisingly, estimates of recurrence of symptoms range from a half to two-thirds of all cases, making this one of the most common conditions that a neurologist will face, again and again.

An Irishman tried to convert me to belief in Christ; he would repeat, over and over, the goyim's saying: All roads lead to Rome. At night, my delirium would grow fat upon that metaphor: I sensed that the world was a labyrinth, impossible to escape— for all roads, even if they pretended to lead north or south, returned finally to Rome, which was also the rectangular prison where my brother lay dying, and which was also the Villa Triste-le-Roy. During those nights, I swore by the god that sees with two faces, and by all the gods of fever and of mirrors, to weave a labyrinth around the man who had imprisoned my brother. I have woven it, and it has stood firm: its materials are a dead heresiologue, a compass, an eighthcentury cult, a Greek word, a dagger, the rhombuses of a paint factory....

The muezzins were calling the faithful to their early morning prayers when Averroes entered his library again. (In the harem, the dark-haired slave girls had tortured a red-haired slave girl, but he would not know it until the afternoon.) Something had revealed to him the meaning of the two obscure words. With firm and careful calligraphy he added these lines to the manuscript : 'Aristu (Aristotle) gives the name of tragedy to panegyrics and that of comedy to satires and anathemas. Admirable tragedies and comedies abound in the pages of the Koran and in the mohalacas of the sanctuary.' He felt sleepy, he felt somewhat cold. Having unwound his turban, he looked at himself in a metal mirror. I do not know what his eyes saw, because no historian has ever described the forms of his face. I do know that he disappeared suddenly, as if fulminated by an invisible fire, and with him disappeared the houses and the unseen fountain and the books and the manuscript and the doves and the many dark-haired slave girls and the tremulous red-haired slave girl and Farach and Abulcasim and the rose bushes and perhaps the Guadalquivir.

OUR ABILITY TO RECOGNIZE FAMILIAR THINGS At first glance our ability to recognize familiar things may not seem so unusual, but brain researchers have long realized it is quite a complex ability. For example, the absolute certainty we feel when we spot a familiar face in a crowd of several hundred people is not just a subjective emotion, but appears to be caused by an extremely fast and reliable form of information processing in our brain. In a 1970 article in the British science magazine Nature, physicist Pieter van Heerden proposed that a type of holography known as recognition holography offers a way of understanding this ability. * In recognition holography a holographic image of an object is recorded in the usual manner, save that the laser beam is bounced off a special kind of mirror known as a focusing mirror before it is allowed to strike the unexposed film. If a second object, similar but not identical * Van Heerden, a researcher at the Polaroid Research Laboratories in Cambridge, Massachusetts, actually proposed his own version of a holographic theory of memory in 1963, but his work went relatively unnoticed. to the first, is bathed in laser light and the light is bounced off the mirror and onto the film after it has been developed, a bright point of light will appear on the film. The brighter and sharper the point of light the greater the degree of similarity between the first and second objects. If the two objects are completely dissimilar, no point of light will appear. By placing a light-sensitive photocell behind the holographic film, one can actually use the setup as a mechanical recognition system.7 A similar technique known as interference holography may also explain how we can recognize both the familiar and unfamiliar features of an image such as the face of someone we have not seen for many years. In this technique an object is viewed through a piece of holographic film containing its image. When this is done, any feature of the object that has changed since its image was originally recorded will reflect light differently. An individual looking through the film is instantly aware of both how the object has changed and how it has remained the same. The technique is so sensitive that even the pressure of a finger on a block of granite shows up immediately, and the process has been found to have practical applications in the materials testing industry.

It seems that in death the chakras are externalised, so to speak, becoming visible for the dead man., expressing themselves in concrete form like the astrological heavens, with their houses of the Zodiac. . . . The moment of death, one has the presentiment of a great light, the Midnight Sun of the ancients. Then follows the diminution of this light and the indecision of the choice of paths, the dejection particular to a change of state, when the dead person is swallowed up by the Whale of Death. Of coarse, whoever has followed a discipline of initiation in this life will be in a position to overcome this great crisis of dejection and arrest the slow process of decomposition. 'The 'ego' is really a reflection of an Eternal Form, of the 'Name written in the Book of the Stars'. When consciousness disappears, the 'ego' dissolves in the waters of death, in a prolonged dream. In death, only the one who has become alive, who has managed to wake up, takes this eternal form, his real name, and gives it a face: the face of his soul, which is the face of his Beloved. . . . To die is like passing to the other side of the mirror, 'into an upside-down sky', like 'falling out of one's skin into the soul'. Whoever has experienced mystic death during his life is already the Lord of the Two Worlds.

I also kept wondering, throughout that week in the summer of 2016, what if all I wanted to do was bang Nick Jonas (a question still) and maybe wrote a fifteen-hundred-word ode, talking about his chest and his ass and his dumb-sexy face and the fact I didn’t really like his music—would that have been a dis on Nick? Or what if a woman wanted to write about how she really hated Drake’s music but found him so physically hot and desirable that she was lusting for him anyway? Where would that put her? Where would that put me? Would either of these pieces raise any eyebrows? Were we then equal? No, not even close, because in our culture social-justice warriors always prefer women to be victims. The responses from Jezebel and Flavorwire and Teen Vogue all recast Ferreira as a victim, reinforcing her (supposed) violation at the hands of a male writer—the usual hall-of-mirrors loop people find themselves in when looking for something, anything, to get angry about, and one where they can occasionally, eventually, get tripped up. The reality is that men look at women, and men look at other men, and women look at men, and women especially size up other women and objectify them. Has anybody who’s ever been on a dating app recently not seen how our Darwinian impulses are gratified by a swipe or two?

Frankie turned back and forth in front of the three-way mirror. "I have absolutely no ass whatsoever." A few feet away,a woman whose designer velour fit her like a sausage casing, gave an amused snort. "Honey," she said over a display of two-hundred-dollar T-shirts. "I have been waiting forty years to say those words." Frankie padded toward her in his socks and Alexander McQuenn pants.He thrust his hands into the pockets, pulling the fabric tighter, and presented her with his outthrust bottom. "Honestly. This is what you want?" She lasted about five seconds before grinning-and sighing at the same time. "No,I guess not." He turned around, leaned in, and informed her conspiratorially, "There is not a T-shirt on earth worth that much." She looked down at the plain blue cotton in her hands. "You are so right." She put it back. "And with that face, sweetie, you could have the ass of a rhino and no one would notice.I'm just saying." "What does she know?" he muttered when she'd gone. "What good has this face done me?" Apparently, Connor hadn't been quite as available as he'd let on. Apparently, along with dancing, juggling was one of his talents. "You couldn't have known," Sadie said gently. "Oh,yes,I could.I mean, he's a guy,isn't he?" There's not much you can say to a boy when he makes a statement like that. So we just scooted in until we were up against Frankie's thin shoulders, bookending him.

In one of the most famous experiments in the history of psychology, Walter Mischel and his students exposed four-year-old children to a cruel dilemma. They were given a choice between a small reward (one Oreo), which they could have at any time, or a larger reward (two cookies) for which they had to wait 15 minutes under difficult conditions. They were to remain alone in a room, facing a desk with two objects: a single cookie and a bell that the child could ring at any time to call in the experimenter and receive the one cookie. As the experiment was described: “There were no toys, books, pictures, or other potentially distracting items in the room. The experimenter left the room and did not return until 15 min had passed or the child had rung the bell, eaten the rewards, stood up, or shown any signs of distress.” The children were watched through a one-way mirror, and the film that shows their behavior during the waiting time always has the audience roaring in laughter. About half the children managed the feat of waiting for 15 minutes, mainly by keeping their attention away from the tempting reward. Ten or fifteen years later, a large gap had opened between those who had resisted temptation and those who had not. The resisters had higher measures of executive control in cognitive tasks, and especially the ability to reallocate their attention effectively. As young adults, they were less likely to take drugs. A significant difference in intellectual aptitude emerged: the children who had shown more self-control as four-year-olds had substantially higher scores on tests of intelligence.

A shudder went through me at the thought of what I should still learn in this hour. How awry, altered and distorted everything and everyone was in these mirrors, how mockingly and unattainably did the face of truth hide itself behind all these reports, counter-reports and legends! What was still truth? What was still credible? And what would remain when I also learned about myself, about my own character and history from the knowledge stored in these archives? I must be prepared for anything. Suddenly I could bear the uncertainty and suspense no longer. I hastened to the section Chattorum res gestas, looked for my sub-division and number and stood in front of the part marked with my name. This was a niche, and when I drew the thin curtains aside I saw that it contained nothing written. It contained nothing but a figure, an old and worn-looking model made from wood or wax, in pale colours. It appeared to be a kind of deity or barbaric idol. At first glance it was entirely incomprehensible to me. It was a figure that really consisted of two; it had a common back. I stared at it for a while, disappointed and surprised. Then I noticed a candle in a metal candlestick fixed to the wall of the niche. A match-box lay there. I lit the candle and the strange double figure was now brightly illuminated. Only slowly did it dawn upon me. Only slowly and gradually did I begin to suspect and then perceive what it was intended to represent. It represented a figure which was myself, and this likeness of myself was unpleasantly weak and half-real; it had blurred features, and in its whole expression there was something unstable, weak, dying or wishing to die, and looked rather like a piece of sculpture which could be called "Transitoriness" or "Decay," or something similar. On the other hand, the other figure which was joined to mine to make one, was strong in colour and form, and just as I began to realise whom it resembled, namely, the servant and President Leo, I discovered a second candle in the wall and lit this also. I now saw the double figure representing Leo and myself, not only becoming clearer and each image more alike, but I also saw that the surface of the figures was transparent and that one could look inside as one can look through the glass of a bottle or vase. Inside the figures I saw something moving, slowly, extremely slowly, in the same way that a snake moves which has fallen asleep. Something was taking place there, something like a very slow, smooth but continuous flowing or melting; indeed, something melted or poured across from my image to that of Leo's. I perceived that my image was in the process of adding to and flowing into Leo's, nourishing and strengthening it. It seemed that, in time, all the substance from one image would flow into the other and only one would remain: Leo. He must grow, I must disappear. As I stood there and looked and tried to understand what I saw, I recalled a short conversation that I had once had with Leo during the festive days at Bremgarten. We had talked about the creations of poetry being more vivid and real than the poets themselves. The candles burned low and went out. I was overcome by an infinite weariness and desire to sleep, and I turned away to find a place where I could lie down and sleep.

She sits with shoulders slumped, staring at the wall, waiting for an answer, waiting to feel some joy. She's holding her breath without knowing it, listening to her body like a pregnant woman, listening, bending down deep into herself. But nothing stirs, everything is silent and empty like a forest when no birds are singing. She tries harder, this twenty-eight-year-old woman, to remember what it is to be happy, and with alarm she realizes that she no longer knows, that it's like a foreign language she learned in childhood but has now forgotten, remembering only that she knew it once. When was the last time I was happy? She thinks hard, and two little lines are etched in her bowed forehead. Gradually it comes to her: an image as though from a dim mirror, a thin-legged blond girl, her schoolbag swinging above her short cotton skirt. A dozen other girls are swirling about her: it's a game of rounders in a park in suburban Vienna. A surge of laughter, a bright trill of high spirits following the ball into the air, now she remembers how light, how free that laughter felt, it was never far away, it tickled under her skin, it swirled through her blood; one shake and it would spill out over her lips, it was so free, almost too free: on the school bench you had to hug yourself and bite your lip to keep from laughing at some funny remark or silliness in French class. Any little thing would set off waves of that effervescent girlish laughter. A teacher who stammered, a funny face in the mirror, a cat chasing its tail, a look from an officer on the street, any little thing, any tiny, senseless bit of nonsense, you were so full of laughter that anything could bring it out. It was always there and ready to erupt, that free, tomboyish laughter, and even when she was asleep, its high-spirited arabesque was traced on her young mouth.

Everywhere power has to be seen in order to give the impression that it sees. But this is not the case. It doesn't see anything. It is like a woman walled up in a 'peepshow'. It is separated from society by a two-way mirror. And it turns slowly, undresses slowly, adopting the lewdest poses, little suspecting that the other is watching and masturbating in secret. The metro. A man gets on - by his glances, gestures and movements, he carves out a space for himself and protects it. From that space, he sets his actions to those of the neighbouring, approximate molecules. He becomes the centre of a physical pressure, sniffs out hostile vibrations and emanations, or friendly ones, on the verge of panic. He joins up with others out of fear. He innervates his whole body with a calculated indifference, wraps himself in a superficial reverie, created only to keep others at a distance. He deciphers nothing, protects himself from the crossfire of everyone's gazes and sets his own as a backhand down the line, staring at a particular face at the back of the carriage until the very lightness of his stare stirs the other in his sleep. When the train accelerates or brakes, all the bodies are thrown in the same direction, like the shoals of fish which change direction simultaneously. The marvellous underwater lethargy of the metro, the self-defence of the capillary systems, the cruel play of vague thoughts - all while waiting for the stop at Faidherbe-Chaligny. The crucial thing is not to have sweeping views of the future, but to know where to plant your primal scene. The danger for us is that we'll keep running up against the wall of the Revolution. For this is the source of our misery: our phobias, our prohibitions, our phantasies, our utopias are imbedded in the nineteenth century, where their foundations were laid down. We have to put an end to this historical coagulation. Beyond it, all is permitted. It will perhaps be the adventure of the end of the century to dissolve the wall of the Revolution and to plunge on beyond it, towards the marvels of form and spirit.

The light changed slightly. Mari looked up and over at one wall. There was now a narrow, roughly door-shaped hole in it. Standing in the hole was Mage Alain. Mari stood up, realizing that her mouth was hanging open. That wall was solid. I felt it. There wasn't any opening. She watched as the Mage took two shaky steps into the cell, then paused, some of the strain leaving his face. She blinked, wondering what she had just seen, as the hole in the wall vanished as if it had never been. One moment it was there, the next it was gone. ... Mari took a long slow breath. 'They use smoke and mirrors and other 'magic' to make commons think they can create temporary holes in walls and things like that. It's all nonsense.' "Mages actually can make real holes in walls." "No." Her head hurting with increased intensity, Mari glowered at the Mage. "You didn't make a hole in the wall?" "I made the illusion of a hole in the illusion of the wall." Mari looked at Mage Alain for what felt like a long time, trying to detect any sign of mockery or lying. But he seemed perfectly sincere. And unless she had completely lost her mind, he had just walked through that solid wall. ... "We can get out the same way that you got in?" Mari asked. "Through imaginary holes in the imaginary wall?" She wondered how her guild would feel about seeing that in her report. Actually, she didn't have to wonder, but she wasn't about to turn down a chance at escape. The Mage took a deep breath and swayed on his feet. "No." "No?" "Unfortunately—" Alain collapsed into a seated position on the cot next to her—"the effort of finding you has exhausted me. There were several walls to get through. I can do no more for some time. I am probably incapable of any major effort until morning." He shook his head. "I did not plan this well. Maybe the elders are right and seventeen is simply too young to be a Mage." Mari stared at him. "Are you telling me that you came to rescue me, following a metaphorical thread through imaginary holes, but now that you're in the same cell with me you can't get us out?" "Yes, that is correct. This one erred." "That one sure did. Now instead of one of us being stuck in here, we're both stuck in here." The Mage gave her a look which actually betrayed a trace of irritation. He must have really been exhausted for such a feeling to show. "I do not have much experience with rescues. Are you always so difficult?

Hannah Winter was sixty all of a sudden, as women of sixty are. Just yesterday - or the day before, at most - she had been a bride of twenty in a wine-coloured silk wedding gown, very stiff and rich. And now here she was, all of a sudden, sixty. (...) This is the way it happened! She was rushing along Peacock Alley to meet her daughter Marcia. Anyone who knows Chicago knows that smoke-blackened pile, the Congress Hotel; and anyone who knows the Congress Hotel has walked down that glittering white marble crypt called Peacock Alley. It is neither so glittering nor so white nor, for that matter, so prone to preen itself as it was in the hotel's palmy '90s. But it still serves as a convenient short cut on a day when Chicago's lake wind makes Michigan Boulevard a hazard, and thus Hannah Winter was using it. She was to have met Marcia at the Michigan Boulevard entrance at two, sharp. And here it was 2.07. When Marcia said two, there she was at two, waiting, lips slightly compressed. (...) So then here it was 2.07, and Hannah Winter, rather panicky, was rushing along Peacock Alley, dodging loungers, and bell-boys, and traveling salesmen and visiting provincials and the inevitable red-faced delegates with satin badges. In her hurry and nervous apprehension she looked, as she scuttled down the narrow passage, very much like the Rabbit who was late for the Duchess's dinner. Her rubber-heeled oxfords were pounding down hard on the white marble pavement. Suddenly she saw coming swiftly toward her a woman who seemed strangely familiar - a well-dressed woman, harassed-looking, a tense frown between her eyes, and her eyes staring so that they protruded a little, as one who runs ahead of herself in her haste. Hannah had just time to note, in a flash, that the woman's smart hat was slightly askew and that, though she walked very fast, her trim ankles showed the inflexibility of age, when she saw that the woman was not going to get out of her way. Hannah Winter swerved quickly to avoid a collision. So did the other woman. Next instant Hannah Winter brought up with a crash against her own image in that long and tricky mirror which forms a broad full-length panel set in the marble wall at the north end of Peacock Alley. Passerby and the loungers on near-by red plush seats came running, but she was unhurt except for a forehead bump that remained black-and-blue for two weeks or more. The bump did not bother her, nor did the slightly amused concern of those who had come to her assistance. She stood there, her hat still askew, staring at this woman - this woman with her stiff ankles, her slightly protruding eyes, her nervous frown, her hat a little sideways - this stranger - this murderess who had just slain, ruthlessly and forever, a sallow, high-spirited girl of twenty in a wine-coloured silk wedding gown.

The High 5 Habit is a moment every morning for you. It has two simple, but powerful, steps: Standing in front of the mirror, just be with yourself for a second. Don’t focus on your appearance. Go deeper. See the person who is inside that body. The spirit beneath the skin and the soul behind that face. When you feel ready, high five yourself in the mirror. Notice how your mind goes quiet. You might feel a boost of energy. You might feel a sense of comfort: It’ll be okay. You might think, I got this. It’s a powerful moment. Without saying a

Don’t know if you have any hobbies.” She nodded. “I do. I may have to take a break from it for a bit while I’m out here, but normally when I have a light day on campus, I go to a class . . .” I waited. “It’s . . . pole dancing.” I stopped breathing, but at least I didn’t choke. Nodding, I took a sip of my wine to block my face, which I was pretty sure had turned the shade of a beet. “So, like Flashdance? Welder by day, dancer by night?” I barked out, feeling a stirring in my pants that was wholly inappropriate for my roomie, who’d been talking about diode lasers a minute earlier. She’s a goddamn pole dancer. She chuckled and crossed her arms over her chest as though trying to keep me from picturing her dancing. “Excellent movie reference. But no, that’s not even close to what I do.” It hardly mattered. My brain was stuck. Like a white-hot strobe had blinded me to everything except Sarah wearing lingerie and grinding on a pole under hot lights. For me. Stop picturing it. Fuck! “Cool,” I finally managed to say with a straight face. Like it meant nothing. She nodded. Like it meant nothing. Then she spread some brie cheese on a cracker and took a bite. I choked out an excuse and went to the bathroom to get a grip. This will be okay. It will. It has to be. In the bathroom, I splashed some cold water on my face and took a hard look at myself in the mirror. What was happening? I hadn’t been this jacked up over a woman anytime in the past two years. My emotions had been buried in caverns so deep I felt confident they were gone for good. I was fine with that. It made no sense. Or . . . maybe it did. I’ve always been competitive as fuck. If I’m told I can’t have something, I want it all the more and do anything in my power to make it mine. That had to be what was happening here. It was all in my head. I knew she was off limits, so the competitive motherfucker in me started bucking against that. I just needed to get my head together and think of her like any other human who happened to be using my second bedroom. When I got back to the table, Sarah looked up at me with a thin slice of Parma ham twirled around her fork and put the bit into her mouth. I had no defensible reason to focus on her lips or the soft contour of her jaw while she chewed. She swallowed and smiled at me. “I figured I should get a head start on eating while you were gone. In case you had more questions.” “Good plan. Maybe we should focus on the food for a few minutes, or we could be here all night.” I bit into a slider and closed my eyes at how delicious the slow-roasted meat tasted on the brioche bun. Who needed to cook when someone else could make food that tasted like this? It was how I’d become addicted to takeout and why I rarely ate at home anymore. That, and I spent a lot of time at work. Sarah finished the last of the cheesy bread and wiped her lips gingerly on a napkin before looking right at me with those gorgeous eyes. “This is weird, right? It’s not just me?” I tilted my head, trying to read her expression and decipher her meaning. “Could you be specific? She waved her hands between us. “This. Us. We’re in our thirties and we’re roommates. I don’t know about you, but I haven’t had a roommate for about ten years. Does it freak you out a little bit?” Yes, but not for the reasons she meant.

A knock came at the door and I stiffened, getting to my feet so that I could open it. Darius stood outside wearing a black tux which looked like it had been made specifically for him. It fit perfectly and my mouth dried up as my gaze roamed over him. His dark hair was slicked back and the rough stubble lining his jaw ached for me to brush my fingers over it. No, no, no. Bad Tory. “Darcy’s not here yet,” I said in place of a greeting. “I can see that,” he replied. Before I could lose myself to the spell of his unfairly good looks, I turned away from him, heading back to the mirror which hung on the wall as I applied another coat of lipstick which wasn’t in any way necessary. He stayed by the door, leaning against the frame as he watched me. “You’re not wearing the dress I sent you.” “This might be a good time for you to realise, I don’t tend to do as I’m told,” I said dismissively. “I think I like this one better anyway.” I turned to look at him in surprise as his gaze slid over me in a way that made heat rise along my skin. “Nice to know you can admit when you’re wrong,” I said. “So you’re actually going to stick to your word about being nice?” Darius flashed me a smile which transformed his face in a way I’d never seen before. “I am. Just try not to fall in love with me though, it could make things awkward when we go back to fighting with each other tomorrow.” I scoffed at that and tossed my lipstick into my clutch just as my Atlas pinged. Darcy: I bumped into Orion by The Orb. He says he’s coming with us and that you should meet us here... I raised an eyebrow in surprise and tapped out a quick response. Tory: Okay, I’ll be there to rescue you from his grumpy face ASAP x “Darcy says she’s going to meet us at The Orb. She ran into your bestie and he told her he can’t bear to spend the evening away from you so he’s tagging along. I just hope that this party isn’t going to be dull, because inviting a teacher has really lowered my expectations for debauchery,” I said as I moved out of my room and locked up behind me. “In all honesty, Lance is more likely to add to the debauchery than detract from it,” Darius said, offering me his arm. “Ooo Lance has a first name. Will he want me using that or is it a special right only given to those who get a tattoo in his honour?” I asked, touching my fingers to Darius’s forearm where I knew the Libra brand sat on his skin beneath the fancy suit. I didn’t take his arm though and started walking down the corridor unassisted. “What makes you think that tattoo is for him?” Darius asked, falling into step with me easily despite the fast pace I set. “Oh is it a secret? I thought everyone knew he was your Guardian and you’ve got that little soul bond thing going on.” “Who told you that?” Darius demanded, his voice dropping an octave. “You just did.” I flashed him a smile and he scowled at me. “Done playing nice so soon?” He released a long breath as we reached the common room but didn’t reply. A lot of eyes turned our way. I guessed the sight of the two of us suddenly hanging out was pretty weird. (Tory)

Do you know the man who is buried there?” Ravyn asked. She laughed, her voice sharp. “As well as I know this glen, bird. As well as I know this tree, and all the faces that have tarried beneath it.” She twisted her finger in the tail of her plait. “You’ve heard of him, I suppose.” Her lips curled in a smile. “He’s a strange man, my father. Wary. Clever. Good.” Ravyn’s breath faltered. “The Shepherd King is your father?” Her smile faded, her yellow eyes growing distant. “They did not give him a King’s burial. Perhaps that is why he does not…” Her gaze returned to Ravyn. “You haven’t seen him with your Mirror Card, have you? He promised he would find us when he passed through the veil. But he has not come.” “Us?” The girl turned, her eyes tracing the woods on the other side of the meadow. “Mother is over there, somewhere. She does not come as often as she did. Ilyc and Afton linger near the statuary. Fenly and Lenor keep to your castle.” Her brow furrowed. “Bennett is often somewhere else. He did not die here. Not like the rest of us.

Here.” He held out his hand. “I’ll carry you on my back, but we have to move. There might be a highway within reach. You could hitch a ride into Belize and get to the coast, maybe to an airport.” “Why am I the only one hitching a ride?” When he ran his fingers through his hair, she said, “What? Tell me.” “The moon is full this eve.” “Oh.” Of course she’d noticed, but she hadn’t thought the ramifications could be this dire until she’d seen his expression just now. Oh, hell. “I’ve been debating the best way to get you out of my reach. If I run from you, I leave you vulnerable. If I stay with you . . .” He trailed off. “You look like the apocalypse has arrived. Is it really so dangerous?” Instead of reassuring her, he nodded. “Aye. I lose control over myself, and the difference between us in strength is just too vast. If given free leave to take you, I’d rend you in two.” She swallowed. “What exactly do you turn into, MacRieve? Describe it to me.” He answered, “The Lykae call it saorachadh ainmhidh bho a cliabhan—letting the beast out of its cage. My face will change, becoming a cross between lupine and human. My body grows larger, taller. My strength increases exponentially.” “I’ve seen the fangs and claws.” “Sharper and longer. And flickering over me will be an image of the beast inside me. It is . . . harrowing to those not of my kind.” “What would you do to me?” He looked away. “I’d take you in the dirt like an animal. I’d mark your body with my fangs, and even after the bite healed, Lykae could still see it forever and know you’d been claimed.” He rubbed his hand over his mouth, as if imagining it even then. “What does your gut feeling tell you to do with me?” he asked, facing her again. “Take away everything else—what do you sense?” She thought for a moment, trying to digest what he’d just told her. She’d known Lykae bit and scratched each other during sex. But she’d never imagined that Bowen would want to sink his fangs in her skin, marking her forever—or that he’d lose control over himself so totally. “Honestly, I have no idea. But I could ask the mirror what to do.” He clenched his jaw, clearly struggling with the idea. “What can it tell you?” he finally said. “I usually only get cursory answers. Classic oracular.” He hesitated for long moments, the conflict within him clear on his face. “Ask it, then. Would it be more dangerous to escape me—or to remain within my reach?

A few minutes passed wherein the truck hummed, country music twanged on the radio, and I read the same paragraph in my history book four times. Then Tommy asked, “So, did you two hook up yet?” “Tommy!” I squealed. “What a question!” “What?” He half-turned toward me. “I’m just asking.” “If we hadn’t hooked up,” I said, “that question would be awkward and embarrassing. And if we had hooked up, it would be-“ “-awkward and embarrassing,” Hunter said. Tommy watched Hunter driving for a moment. Tommy’s expression was inscrutable, and I could see in the rearview mirror that Hunter’s was, too. “So you have hooked up,” Tommy concluded. “Of course not,” I said. “Hunter met his girlfriend in the bathroom. He has a fortune-teller and a bar waitress on the side.” “Never say I didn’t raise class.” Tommy turned all the way around to face me. “And how do you know this?” “We live in the same dorm.” Tommy grinned. “Uh-huh. You’re from the same town, the same farm even, you live in the same dorm, you know all about each other’s business, but you haven’t hooked up.” When he put it that way, why hadn’t we? He made it sound as if the prerequisites or hooking up were familiarity, proximity…and he must sense the desire, at least on my end. He didn’t understand the complications, the humiliations, the hundred reasons why not that hummed underneath us like the never-ending sound of New York traffic, or the drone of the Kentucky interstate behind the autumn trees. “It’s none of your business, Dad.” Maybe it was because I could hardly hear Hunter over the motor and the radio, but I was surprised by how embarrassed he sounded, and wistful.

My mind has evolved from that of a child to that of an adult and passed through countless changes along the way. My heart has known great love, heartache, joy, and anger—it has shifted directions more often than the wind. My body began as two cells, has grown, aged, and passed through sickness and health. Even the face in my mirror is far different than the one that once stared back at me just a few months ago. But through this state of flux that has defined my life, there is a part of me that has been entirely the same throughout. This changeless part of me has sat quietly witnessing, at peace and smiling softly.

Hadassah Hospital. She worked on Herschlag in his bed, a towel around his neck, while Nomi held a mirror, a tiny compact, for him to see, according to his wishes. “I can’t stand the prickly little hairs,” Elias said. “I need to take a shower.” The Songstress of Abu Dis, who had not hurried back to the nurse’s station, offered to accompany Elias to the shower. But he refused, and Nomi noticed the resentment in his eyes. “That’s his pride,” the nurse explained to Nomi while Elias showered. “He won’t let anyone bathe him. Doesn’t matter if it takes him an hour, he’ll do it himself. Don’t lock the door!” she shouted amicably. They heard the click of the lock, and Nomi smiled at her. The nurse returned a knowing smile. “He’s a prince,” she said before she went back to her work. “Not bad for a last haircut,” Elias said as he emerged from the shower. Herschlag smiled at the two women in the room. “Ne’iman,” Nomi said, using the Arabic blessing for someone who has bathed. His eyes filled with softness and warmth. Katy returned from the canteen and snuck four bottles of beer into the room, a look of mischief on her face. Elias and Herschlag

Tonight, with the umite candle burning low, she turned to her favorite entry in the journal and read Patton’s familiar handwriting: Having returned scant hours ago from a singular adventure, I now find myself unable to suppress the urge to impart my thoughts. I have seldom considered whom I intend to read the covert information compiled in this record. Upon the occasions when I have paid heed to the matter, I have vaguely concluded that I was jotting these notations for myself. But I am now aware that these words will reach an audience, and that her name is Kendra Sorenson. Kendra, I find this realization both thrilling and foreboding. You face challenging times. Some of the knowledge I possess could aid you. Regrettably, much of that same knowledge could usher you into unspeakable danger. I keep staging vigorous internal debates in the attempt to discern what information will grant you an advantage over your enemies and what information might further imperil your situation. Much of what I know has the potential to cause more harm than good. Your enemies among the Society of the Evening Star will balk at nothing to obtain the five artifacts that together can open Zzyzx, the great demon prison. At the time I left you, to our knowledge, they had acquired only one artifact, while your able grandfather retained another. I have information about two of the artifacts that you lack, and could probably acquire more knowledge with some effort. And yet I hesitate to share. If you or others try to pursue or guard the artifacts, you might inadvertently lead our enemies to them. Or you could be harmed in the attempt to retrieve them. Conversely, if the Sphinx is in avid pursuit of the artifacts, I am inclined to believe that he will eventually succeed. Under certain circumstances, it would benefit our cause for you to have my knowledge in order to keep the artifacts out of his grasp. Therefore, Kendra, I have elected to rely on your judgment. I will not include the specifics in this journal, for who could resist such temptingly convenient access, regardless of that person’s integrity? But in the hidden chamber beyond the Hall of Dread I will disguise further details regarding the hiding places of two of the artifacts. Unearth that information only if you find it becomes absolutely necessary. Otherwise, do not even mention that such knowledge exists. Use discretion and patience and courage. My hope is that the information will lie dormant for your whole lifetime. If not, information about the location of the hidden chamber awaits elsewhere in this journal. Go to the chamber and use a mirror to find the message on the ceiling. Kendra, I wish I could be there to help you. Your loved ones are strong and capable. Put your trust where it belongs and make smart decisions. Keep that brother of yours in line. I am grateful to have such an exemplary niece. Drumming

The Dawn of Understanding In the quiet of dawn, a young boy named Eli stands alone, his silhouette barely visible against the awakening sky. The world around him is waking up, but inside, Eli feels as if everything has come to a standstill. The questions that plague his mind are like a relentless storm, with no sign of clearing. Eli’s mother had been his rock, his guiding star, but her silent battle with her own demons was one she couldn’t win. Her departure from this world left a gaping wound in Eli’s heart, one that seemed impossible to heal. “Why?” he whispers to the open sky, the only witness to his solitary grief. Jacob, a passerby, finds Eli by chance—or perhaps by fate. He sees the young boy’s pain, a mirror to his own past struggles. Jacob had once stood at the precipice of despair, never considering the ripple effects his absence would cause. But now, looking into Eli’s eyes, he sees a reflection of what could have been—of what he almost left behind. Together, they sit beneath the vast expanse of the sky, two souls connected by shared sorrow. Jacob doesn’t have all the answers, but he offers what he can—a listening ear and a promise that the pain won’t last forever. “Her love is a bond that won’t sever,” he assures Eli, “She’s watching over you, now and forever.” As the sun rises, bringing warmth to the chill of the morning, Eli feels a glimmer of hope. The “why” that echoed in his heart begins to fade, replaced by a newfound resolve. They are here for a reason, not just to survive the storms, but to cherish each moment of calm they’re given. Eli and Jacob part ways, but the lesson remains. They are more than their sorrows, more than their fears—they are the sum of love that endures through the years. And as Eli walks back home, the first rays of sunlight touching his face, he carries with him the dawn of understanding.

Horizontal comparisons tend to stimulate self-righteousness. Think of the contrast between the words of the Pharisee and the tax collector in Jesus’s parable in Luke 18. He also told this parable to some who trusted in themselves that they were righteous, and treated others with contempt: “Two men went up into the temple to pray, one a Pharisee and the other a tax collector. The Pharisee, standing by himself, prayed thus: ‘God, I thank you that I am not like other men, extortioners, unjust, adulterers, or even like this tax collector. I fast twice a week; I give tithes of all that I get.’ But the tax collector, standing far off, would not even lift up his eyes to heaven, but beat his breast, saying, ‘God, be merciful to me, a sinner!’ I tell you, this man went down to his house justified, rather than the other. For everyone who exalts himself will be humbled, but the one who humbles himself will be exalted.” (Luke 18:9–14) In comparing himself to other people who are obviously more sinful than he is, the Pharisee essentially tells God that he doesn’t need him, and he surely doesn’t need his forgiveness. How ironic it is to tell the One to whom you are praying that you don’t need him. How strange is it to turn prayer into an argument for your independence rather than a humble confession of personal need. The argument of the Pharisee has two parts. First, he compares himself to others, and then he offers evidence that he is really quite righteous. Sadly, in this man’s prayer, he is participating in his own deception—​​​a deception that will be his doom. The tax collector does just the opposite. Why is he so quick to cry out for God’s mercy? He’s quick to do so because he’s looked into the mirror of God’s Word. You cannot read God’s Word without becoming deeply aware that you are a person in desperate need. You cannot read God’s Word without being confronted with the sin that lives in your heart. You cannot read your Bible without facing the fact that you constantly fall beneath God’s wise and holy standard. You cannot properly celebrate the Christmas story without also being willing to receive its clear and loving rebuke.

How exactly do I start doing it? It’s very simple. Every morning, before you look at your phone or let the world in, take a moment to be with your reflection. The second you leave that bathroom, almost every moment is going to be about other people. You’ll be distracted by your phone, what’s going on at work, or what your kids need. The High 5 Habit is a moment every morning for you. It has two simple, but powerful, steps: Standing in front of the mirror, just be with yourself for a second. Don’t focus on your appearance. Go deeper. See the person who is inside that body. The spirit beneath the skin and the soul behind that face. When you feel ready, high five yourself in the mirror. Notice how your mind goes quiet. You might feel a boost of energy. You might feel a sense of comfort: It’ll be okay. You might think, I got this. It’s a powerful moment. Without saying a word you’re telling yourself, I love you. I see you. I believe in you. Let’s go. Don’t rush it. Revel in it. This moment is for you.

I hear from the sofa- ‘Wear a jacket, Karly!’ My mom thinks even when I’m dressed, I’m still half-naked. So, out the door, I see sis get on the yellow bus. Waving at me like a moron out the window! And the cold feels like a b*tch slap to my face, yet it is a good way to wake up. I got into the SUV that was wrecked the night before. Thinking that this thing is like a coffin to me, yet I could say anything, or Jenny would think I have completely lost my mind. So, we go down all the same roads, not stopping at any of the red or yellow lights or signs. When Liv gets into the car she leans forward and grabs my hot- chocolate, and the smell of her perfume is strawberry, it is a body spray she has been wearing devotedly ever senses she was twelve and her hips and boobs develop like the end of sixth grade, she buys like five bottles every time we go into Sally Beauty Supply. I know that she has it on her, so I ask her for a squirt, even though I am sick of it after all these years, and even though I don’t want to smell like her, I ask for it anyway, I don’t want to smell like balls! Even though it stopped being cool in seventh grade, to where kiddy stuff like she still does- I have to close my eyes, overwhelmed, and coffin as a puff of it surrounds me, or then what I asked for. Gross, I smell like a pre-teen after gym class now, just trying to cover it up. Closing my eyes was a horrible idea. One- I get to feeling car sick. Two- I can see where Jenny is driving, and the way it feels- it must be off the road. Three- I start to daydream about Marcel, plus heartsick over Ray still, even though I was done after what he did to me, I can stop having feelings for him, he was the first that took me from behind. Oh no, he was not my first love god no, I didn’t know what love was until I saw it in Marcel's eyes, but was it real? That is what I am afraid of- trusting my heart to a boy again. I could see all the flashes of sincere light within Marcel's home, I could see him holding as no boy has ever done with me. I could almost feel the tingle of his kiss on my lips. ‘Holy freaking crap balls,’ said Jenny. I snap my eyes open as Jenny swerves to avoid hitting a cuddly black cat, walking past. That is when I start to look out the window into the side mirror, and the glossy dark trees are flocking on either side of us like outlined ghosts in the navy-blue sky. I smell something hot. I said- ‘Yeah that’s just me.’ I hear Jenny shrieking not too long after I feel relaxed, and yet once more, I feel my stomach go to the bottom of my feet and back up, as the SUV rolls to the one side, tires wailing- ‘It was a family of deer this time, trying not to get murdered. You should have seen their faces. It’s like mine every time I ride in this SUV.

These two windows are my links with the outside world, the world of the rabble. But on the wall inside my room hangs a mirror in which I look at my face, and in my circumscribed existence that mirror is a more important thing than the world of the rabble-men which has nothing to do with me.

TWO YEARS AGO I FOUND AN IMAGE OF A KID WITH HER HANDS COVERING HER FACE. A SEATBELT REACHED ACROSS HER TORSO, RIDING UP HER NECK AND A MOP OF BLONDE HAIR STAYED SWEPT, FOR THE MOMENT, BEHIND HER EARS. HER EYES SEEMED CLEAR AND CALM BUT NOT BLANK, THE ROAD BEHIND HER SEEMED THE SAME, I PUT MYSELF IN HER SEAT THEN I PLAYED IT ALL OUT IN MY HEAD. THE CLAUSTROPHOBIA HITS AS THE SEATBELT TIGHTENS, PREVENTING ME FROM EVEN LEANING FORWARD IN MY SEAT, THE PRESSING ON INTERNAL ORGANS. I LEAN BACK AND FORWARD TO RELEASE IT, THEN BACKWARDS AND FORWARD AGAIN. THERE IT IS I GOT FREE. HOW MUCH OF MY LIFE HAS HAPPENED INSIDE OF A CAR? I WONDER IF THE ODDS ARE THAT I'LL DIE IN ONE, KNOCK ON WOOD-GRAIN. SHOULDN'T SPEAK LIKE THAT. WE LIVE IN CARS IN SOME CITIES, COMMUTING ACROSS SPACE EITHER FOR OUR LIVELIHOOD, OR DEVOURING FOSSIL FUELS FOR JOY. IT'S CLOSE TO AS MUCH TIME AS WE SPEND IN OUR BEDS, MORE FOR SOME. THE FIRST TIME I DID SHROOMS, MY MANAGER HAD TO COME RESCUE ME FROM CALTECH'S 'TRIP DAY. AS I GOT INTO HER CAR, I SWEAR TO GOD THE ALUMINUM CENTER CONSOLE IN HER PORSCHE TRUCK LOOKED LIKE IT WAS BREATHING, LIKE THE THROAT OF SOMETHING. ON THE FREEWAY, LEAVING PASADENA, WE SPOKE AND I LOOKED AWAY, OUTSIDE, AT THE WHEELS AND TIRES OF CARS DOING THAT OPTICAL ILLUSION THING THEY DO WHERE IT LOOKS LIKE THEY'RE SPINNING BACKWARDS, WHICH, ACCORDING TO GOOGLE, HAPPENS BECAUSE OUR BRAINS ARE ASSUMING SOMETHING COMPLETELY WRONG AND SHOWING IT TO US. STARING, I WAS TRANSFIXED BY ALL THE INDICATOR LIGHTS OSCILLATING AND THROBBING AGAINST THE WIND. WE DROVE THRU DOWNTOWN LA HEADED WEST, FLYING ON THE SAME FREEWAYS I USED TO RUN OUTTA GAS ON. WELCOMED IN BY THE PERENNIAL CREATURES, IMPERIAL PALM TREES AND CLIMBING VINES LIVING THEIR LIVES OUT JUST OFF THE SHOULDER. THE FEELING OF FAMILIAR ENHANCED, ON THE 10. I USED TO RIDE AROUND IN MY SINEWY CROSSOVER SUV, SMOKE AND LISTEN TO ROUGH MIXES OF MY OLD SHIT BEFORE IT CAME OUT, OR WHATEVER SOMEONE WANTED TO PLAY WHEN THEY HOOKED UP THEIR IPHONE TO THE AUX CORD A FEW YEARS AND A FEW DAILY-DRIVERS LATER I'M NOT DRIVING MUCH ANYMORE, IT'S BEEN A YEAR SINCE I MOVED TO LONDON, AT THE TIME OF WRITING THIS, AND THERE'S NO PRACTICAL REASON TO DRIVE IN THIS CITY. I ORDERED A GT3 RS AND IT'LL KEEP LOW MILES OUT HERE BUT I GUESS IT'S GOOD TO HAVE IN CASE OF EMERGENCY :) RAF SIMONS ONCE TOLD ME IT WAS CLICHE, MY WHOLE CAR OBSESSION MAYBE IT LINKS TO A DEEP SUBCONSCIOUS STRAIGHT BOY FANTASY. CONSCIOUSLY THOUGH, I DON'T WANT STRAIGHT A LITTLE BENT IS GOOD. I FOUND IT ROMANTIC, SOMETIMES, EDITING THIS PROJECT. THE WHOLE TIME I FELT AS THOUGH I WAS IN THE PRESENCE OF A $16M MCLAREN F1 ARMED WITH A DISPOSABLE CAMERA. MY MEMORIES ARE IN THESE PAGES, PLACES CLOSEBY AND LONG ASS-NUMBING FLIGHTS AWAY. CRUISING THE SUBURBS OF TOKYO IN RWB PORSCHES. THROWING PARTIES AROUND ENGLAND AND MOBBING FREEWAYS IN FOUR PROJECT M3S THAT I BUILT WITH SOME FRIENDS. GOING TO MISSISSIPPI AND PLAYING IN THE MUD WITH AMPHIBIOUS QUADS. STREET-CASTING MODELS AT A RANDOM KUNG FU DOJO OUT IN SENEGAL. COMMISSIONING LIFE-SIZE TOY BOXES FOR THE FUCK OF IT SHOOTING A MUSIC VIDEO FOR FUN WITH TYRONE LEBON, THE GENIUS GIANT. TAKING A BREAK-SLASH-RECONNAISSANCE MISSION TO TULUM, MEXICO, ENJOYING SOME STAR VISIBILITY FOR A CHANGE. RECORDING IN TOKYO, NYC, MIAMI, LA, LONDON, PARIS. STOPPING IN BERLIN TO WITNESS BERGHAIN FOR MYSELF, TRADING JEWELS AND SOAKING IN PARABLES WITH THE MANY-HEADED BRANDON AKA BASEDGOD IN CONVERSATION, I WROTE A STORY IN THE MIDDLE-IT'S CALLED 'GODSPEED', IT'S BASICALLY A REIMAGINED PART OF MY BOYHOOD. BOYS DO CRY, BUT I DON'T THINK I SHED A TEAR FOR A GOOD CHUNK OF MY TEENAGE YEARS. IT'S SURPRISINGLY MY FAVORITE PART OF LIFE SO FAR. SURPRISING, TO ME, BECAUSE THE CURRENT PHASE IS WHAT I WAS ASKING THE COSMOS FOR WHEN I WAS A KID. MAYBE THAT PART HAD IT'S ROUGH STRETCHES TOO, BUT IN MY REARVIEW MIRROR IT'S GETTING SMALL ENOUGH TO CONVINCE MYSELF IT WAS ALL GOOD. AND REALLY THOUGH... IT'S STILL ALL GOOD.

Heinlein, in Starship Troopers, by a description of a mirror reflection and the mention of an ancestor’s nationality, in the midst of a strophe on male makeup, generates the data that the first-person narrator, with whom we have been traveling now through two hundred and fifty-odd pages (of a three-hundred-and-fifty-page book), is black. Others have argued the surface inanities of this novel, decried its endless preachments on the glories of war, and its pitiful founderings on sublimated homosexual themes. But who, a year after reading the book, can remember the arguments for war—short of someone conscientiously collecting examples of human illogic? The arguments are inane; they do not relate to anything we know of war as a real interface of humanity with humanity: they do not stick in the mind. What remains with me, nearly ten years after my first reading of the book, is the knowledge that I have experienced a world in which the placement of the information about the narrator’s face is proof that in such a world the “race problem,” at least, has dissolved. The book as text—as object in the hand and under the eye—became, for a moment, the symbol of that world. In that moment, sign, symbol, image, and discourse collapse into one, nonverbal experience, catapulted from somewhere beyond the textus (via the text) at the peculiarly powerful trajectory only s-f can provide.

Just one more thing need be mentioned about The Narrow Road to the Deep North. In his preceding travel sketches, as I have already pointed out, Bashō failed to maintain an adequate balance between prose and haiku, making prose subservient to haiku, or haiku isolated from prose. In the present travel sketch, however, Bashō has mastered the art of writing haibun so completely that prose and haiku illuminate each other like two mirrors held up facing each other. This is something no one before him was able to achieve, and for this reason, The Narrow Road to the Deep North is counted as one of the classics of Japanese literature.