Mix Pictures Quotes

Andrea: "....I think a dog is a great idea. I just never pictured you with a mutant poodle.” Kate: “He isn’t a poodle. He’s a Doberman mix." Andrea: “Aha. Keep telling yourself that.

Why aren't you in school? I see you every day wandering around." "Oh, they don't miss me," she said. "I'm antisocial, they say. I don't mix. It's so strange. I'm very social indeed. It all depends on what you mean by social, doesn't it? Social to me means talking to you about things like this." She rattled some chestnuts that had fallen off the tree in the front yard. "Or talking about how strange the world is. Being with people is nice. But I don't think it's social to get a bunch of people together and then not let them talk, do you? An hour of TV class, an hour of basketball or baseball or running, another hour of transcription history or painting pictures, and more sports, but do you know, we never ask questions, or at least most don't; they just run the answers at you, bing, bing, bing, and us sitting there for four more hours of film-teacher. That's not social to me at all. It's a lot of funnels and lot of water poured down the spout and out the bottom, and them telling us it's wine when it's not. They run us so ragged by the end of the day we can't do anything but go to bed or head for a Fun Park to bully people around, break windowpanes in the Window Smasher place or wreck cars in the Car Wrecker place with the big steel ball. Or go out in the cars and race on the streets, trying to see how close you can get to lampposts, playing 'chicken' and 'knock hubcaps.' I guess I'm everything they say I am, all right. I haven't any friends. That's supposed to prove I'm abnormal. But everyone I know is either shouting or dancing around like wild or beating up one another. Do you notice how people hurt each other nowadays?

The adventure is over. Everything gets over, and nothing is ever enough. Except the part you carry with you. It's the same as going on a vacation. Some people spend all their time on a vacation taking pictures so that when they get home they can show their friends evidence that they had a good time. They don't pause to let the vacation enter inside of them and take that home.

Some people spend all their time on a vacation taking pictures so that when they get home they can show their friends evidence that they had a good time. They don’t pause to let the vacation enter inside of them and take that home.

I laugh with him. I imagine mixing poison into his tea, then watching his face turn purple and anguished; I picture myself leaning over him, looking on patiently, with my chin resting in my hands, admiring his dying, writhing body as I count out the minutes.

The way I pictured it, all this grief would be like a winter night when you're standing outside. You'll warm up once you get used to the cold. Except after you've been out there for awhile, you feel the warmth draining out of you and you realize the opposite is happening; you're getting colder and colder, as the body heat you brought outside with you seeps out of your skin. Instead of getting used to it, you get weaker the longer you endure it.

Those swirls in the cream mixing into the coffee? That’s us. Ephemeral patterns of complexity, riding a wave of increasing entropy from simple beginnings to a simple end. We should enjoy the ride.

The more Lord Maccon considered it, the more he grew to like the idea. Certainly his imagination was full of pictures of what he and Alexia might do together once he got her home in a properly wedded state, but now those lusty images were mixing with others: waking up next to her, seeing her across the dining table, discussing science and politics, having her advice on points of pack controversy and BUR difficulties. No doubt she would be useful in verbal frays and social machinations, as long as she was on his side.

Personally, I like to mix and match--I prefer to get a couple of milk shakes, a banana split ... a sundae or two. Then I top it off with a mocha chip in a cone. I don't know why. I guess that's like the dinner mint at the end of a meal to me. Know what I mean?" Mary had to turn around again. Bitty was looking forward, her brows super-high, her little face the picture of surprise. "He's not kidding," Mary murmured. "Even if you're not into the ice cream, watching him eat all that is something to see.

both you and paintings are layered… first, ephemera and notations on the back of the canvas. Labels indicate gallery shows, museum shows, footprints in the snow, so to speak. Then pencil scribbles on the stretcher, usually by the artist, usually a title or date. Next the stretcher itself. Pine or something. Wooden triangles in the corners so the picture can be tapped tighter when the canvas becomes loose. Nails in the wood securing the picture to the stretcher. Next, a canvas: linen, muslin, sometimes a panel; then the gesso - a primary coat, always white. A layer of underpaint, usually a pastel color, then, the miracle, where the secrets are: the paint itself, swished around, roughly, gently, layer on layer, thick or thin, not more than a quarter of an inch ever -- God can happen in that quarter of an inch -- the occasional brush hair left embedded, colors mixed over each other, tones showing through, sometimes the weave of the linen revealing itself. The signature on top of the entire goulash. Then varnish is swabbed over the whole. Finally, the frame, translucent gilt or carved wood. The whole thing is done.

She was a woman with a broom or a dust- pan or a washrag or a mixing spoon in her hand. You saw her cutting piecrust in the morning, humming to it, or you saw her setting out the baked pies at noon or taking them in, cool, at dusk. She rang porcelain cups like a Swiss bell ringer to their place. She glided through the halls as steadily as a vacuum machine, seeking, finding, and setting to rights. She made mirrors of every window, to catch the sun. She strolled but twice through any garden, trowel in hand, and the flowers raised their quivering fires upon the warm air in her wake. She slept quietly and turned no more than three times in a night, as relaxed as a White glove to which, at dawn, a brisk hand will return. Waking, she touched people like pictures, to set their frames straight.

Preverbal, love is the smell of a known body, the touch of a recognized hand, the blurred face in a haze of light. Words come, and love sharpens. Love becomes describable, narratable, relatable. Over time, one love comes to lay atop another, a mother's love, a father's love, a lover's love, a friend's love, an enemy's love. This promiscuous mixing of feelings and touches, of smiles and cries in the dark, of half-pushed pleasures and heart-cracking pain, of shared unutterable intimacies and guttural expressions, layer in embellished bricolage. One love coats another, like the clear pages of an anatomy textbook, drawing pictures of things we can only ever see in fractions. With the coming of words, love writes and is then overwritten; love is marginalia illegibly scrawled in your own illegible hand. In time, love becomes a dense manuscript, a palimpsest of inscrutable, epic proportions, one love is overlaying another, thick and hot and stinking of beds. It's an unreadable mess.

We laughed and something inside me clicked into place. It was as if the mix of colors on the canvas was finally perfect for the picture I wanted so desperately to create.

When once more alone, I reviewed the information I had got; looked into my heart, examined its thoughts and feelings, and endeavoured to bring back with a strict hand such as had been straying through imagination's boundless and trackless waste, into the safe fold of common sense. Arraigned to my own bar, Memory having given her evidence of the hopes, wishes, sentiments I had been cherishing since last night--of the general state of mind in which I had indulged for nearly a fortnight past; Reason having come forward and told, in her quiet way a plain, unvarnished tale, showing how I had rejected the real, and rapidly devoured the ideal--I pronounced judgement to this effect-- That a greater fool than Jane Eyre had never breathed the breath of life; that a more fantastic idiot had never surfeited herself on sweet lies, and swallowed poison as if it were nectar. "You," I said, "a favourite with Mr. Rochester? You're gifted with the power of pleasing him? You're of importance to him in any way? Go!--your folly sickens me. And you have derived pleasure from occasional tokens of preference--equivocal tokens shown by a gentleman of family and a man of the world to dependent and novice. How dared you? Poor stupid dupe! Could not even self-interest make you wiser? You repeated to yourself this morning the brief scene of last night? Cover your face and be ashamed! He said something in praise of your eyes, did he? Blind puppy! Open their bleared lids and look on your own accursed senselessness! It does no good to no woman to be flattered by her superior, who cannot possibly intend to marry her; and it is madness in all women to let a secret love kindle within them, which, if unreturned and unknown, must devour the life that feeds it; and if discovered and responded to, must lead into miry wilds whence there is no extrication. "Listen, then, Jane Eyre, to your sentence: tomorrow, place the glass before you, and draw in chalk your own pictures, faithfully, without softening on defect; omit no harsh line, smooth away no displeasing irregularity; write under it, 'Portrait of a Governess, disconnected, poor, and plain.' "Afterwards, take a piece of smooth ivory--you have one prepared in your drawing-box: take your palette, mix your freshest, finest, clearest tints; choose your most delicate camel-hair pencils; delineate carefully the loveliest face you can imageine; paint it in your softest shades and sweetest lines, according to the description given by Mrs. Fairfax of Blanche Ingram; remember the raven ringlets, the oriental eye--What! you revert to Mr. Rochester as a model! Order! No snivel!--no sentiment!--no regret! I will endure only sense and resolution... "Whenever, in the future, you should chance to fancy Mr. Rochester thinks well of you, take out these two pictures and compare them--say, "Mr. Rochester might probably win that noble lady's love, if he chose to strive for it; is it likely he would waste a serious thought on this indignent and insignifican plebian?" "I'll do it," I resolved; and having framed this determination, I grew calm, and fell asleep.

Everything gets over, and nothing is ever enough. Except the part you carry with you. It’s the same as going on a vacation. Some people spend all their time on a vacation taking pictures so that when they get home they can show their friends evidence that they had a good time. They don’t pause to let the vacation enter inside of them and take that home.

This was the last time I ever saw my mother alive. Just the same, this picture gets all mixed up in my mind with pictures I had of her when she was younger. The way I always see her is the way she used to be on Sunday afternoon, say, when the old folks were talking after the big Sunday dinner. I always see her wearing pale blue. She'd be sitting on the sofa. And my father would be sitting in the easy chair, not far from her. And the living room would be full of church folks and relatives. There they sit, in chairs all around the living room, and the night is creeping up outside, but nobody knows it yet. You can see the darkness growing against the windowpanes and you hear the street noises every now and again, or maybe the jangling beat of a tambourine from one of the churches close by, but it's real quiet in the room. For a moment nobody's talking, but every face looks darkening, like the sky outside. And my mother rocks a little from the waist, and my father's eyes are closed. Everyone is looking at something a child can't see. For a minute they've forgotten the children. Maybe a kid is lying on the rug, half asleep. Maybe somebody's got a kid in his lap and is absent-mindedly stroking the kid's head. Maybe there's a kid, quiet and big-eyed, curled up in a big chair in the corner. The silence, the darkness coming, and the darkness in the faces frighten the child obscurely. He hopes that the hand which strokes his forehead will never stop-- will never die. He hopes that there will never come a time when the old folks won't be sitting around the living room, talking about where they've come from, and what they've seen, and what's happened to them and their kinfolk. But something deep and watchful in the child knows that this is bound to end, is already ending. In a moment someone will get up and turn on the light. Then the old folks will remember the children and they won't talk anymore that day. And when light fills the room, the child is filled with darkness. He knows that every time this happens he's moved just a little closer to that darkness outside. The darkness outside is what the old folks have been talking about. It's what they've come from. It's what they endure. The child knows that they won't talk anymore because if he knows too much about what's happened to them, he'll know too much too soon, about what's going to happen to him.

But mixing is the way of the world. The world passes through us - food, books, pictures, other people.

Above the TV was a framed picture of Jesus bringing a boy and girl a puppy. I was in no way surprised. In flyover country, they have a way of getting Christ and Santa all mixed up.

Does she ever see him watching her through the picture window? Most likely. Does she think he’s a lecherous old man? Very probably. But he isn’t exactly that. How to convey the mix of longing, wistfulness, and muted regret that he feels? His regret is that he isn’t a lecherous old man, but he wishes he were. He wishes he still could be.

The adventure is over. Everything gets over, and nothing is ever enough. Except the part you carry with you. It's the same as going on a vacation. Some people spend all their time on a vacation taking pictures so that when they get home they can show their friends evidence that they had a good time. They don't pause to let the vacation enter inside of them and take that home.” ― E. L. Konigsburg, From The Mixed Up Files Of Mrs. Basil E. Frankweiler

That little guy, said Boris in the car on the way to Antwerp. You know the painter saw him-he wasn't painting that bird from his mind, you know? That's a real little guy, chained up on the wall, there. If I saw him mixed up with dozen other birds all the same kind, I could pick him out, no problem. And he's right. So could I. And if I could go back in time I'd clip the chain in a heartbeat and never care a minute that the picture was never painted.

There is her heart. I've never seen one beating.I had no idea they moved so much. You put your hand on your heart and you picture something pulsing slightly but basically still, like a hand on a desktop tapping Morse code. This things is going wild in there. It's a mixing-machine part, a stoat squirming in its burrow, an alien life form that's just won a Pontiac on The Price Is Right. If you were looking for the home of the human body's animating spirit, I could imagine believing it to be here, for the simple reason that it is the human body's most animated organ.

Remember when we didn't know that colours can mix and form other colours. When we were not introduced to strokes that brushes can form, when light and dark were not necessary for the picture to be completed, and when it was a matter of lines that were not suppose to be connected. When feelings crashed on a white heart unintentionally and when our soul was not held in captive. Remember?

The more Lord Maccon considered it, the more he grew to like the idea. Certainly his imagination was full of pictures of what he and Alexia might do together once he got her home in a properly wedded state, but now those lusty images were mixing with others: waking up next to her, seeing her across the dining table, discussing science and politics, having her advice on points of pack controversy and BUR difficulties.

Yes. All the worth-while things in life. All mixed up. Rooms in candle-light. Leisure. Colour. Travel. Books. Music. Pictures. People—all kinds of people. Work that you love. And growth—growth and watching people grow. Feeling very strongly about things and then developing that feeling to—to make

Like most people I lived for a long time with my mother and father. My father liked to watch the wrestling, my mother liked to wrestle; it didn't matter what. She was in the white corner and that was that. She hung out the largest sheets on the windiest days. She wanted the Mormons to knock on the door. At election time in a Labour mill town she put a picture of the Conservative candidate in the window. She had never heard of mixed feelings. There were friends and there were enemies. Enemies were: The Devil (in his many forms) Next Door Sex (in its many forms) Slugs Friends were: God Our dog Auntie Madge The Novels of Charlotte Bronte Slug pellets and me, at first.

They have bled together in her mind, those stories, become less a picture than a palette, a tone. Perhaps the city was less splendid. Perhaps there were shadows mixed in with the light.

I trace the letters on the tree behind us in the picture. No one knows what's churning inside of me. Crushing guilt...Pain...Relief. All mixed with knowledge that Trip is never coming back.

I asked him if he thought “there” was better than “here.” “Not better,” he said. “I mean, my great-great-grandpap got his leg shot off. But I feel like it was bigger somehow.” Hawkins flipped through pages of Civil War pictures. “At work, I mix dyes and put them in a machine. I’m thirty-six and I’ve spent almost half my life in Dye House No. 1. I make eight dollars sixty-one cents an hour, which is okay, ’cept everyone says the plant will close and go to China.” He put the book back on the shelf. “I just feel like the South has been given a bum deal ever since that War.

Preverbal, love is the smell of a known body, the touch of a recognized hand, the blurred face in a haze of light. Words come, and love sharpens. Love becomes describable, narratable, relatable. Over time, one love comes to lay atop another, a mother's love, a father's love, a lover's love, a friend's love, an enemy's love. This promiscuous mixing of feelings and touches, of smiles and cries in the dark, of half-pushed pleasures and heart-cracking pain, of shared unutterable intimacies and guttural expressions, layer in embellished bricolage. One love coats another, like the clear pages of an anatomy textbook, drawing pictures of things we can only ever see in fractions. With the coming of words, love writes and is then overwritten; love is marginalia illegibly scrawled in your own illegible hand. In time, love becomes a dense manuscript, a palimpsest of inscrutable, epic proportions, one love is overlaying another, thick and hot and stinking of beds. It's an unreadable mess.

Maybe John will come with me wherever it is I go, but whenever I picture the open highway, my only companion is a box of mix tapes. I decide to write a new story for Monday, one that looks to the future rather then the past, about a woman who starts a new life by making off with a stolen sports car, an Alfa Romeo spider convertible, and she drives west from Jersey to California, robbing banks and evading the law and breaking stereotypes and hearts.

I think we might have to add them to our harem,” Chad said. “I wasn’t planning on bringing any more dicks into the mix, but with the angel dude in the picture, we don’t stand a chance, and that grumpy one probably wants her too.

War is like art. It paints a picture mixed with lies and truths in order to help one find something absolute. It brings out imagination. It brings out intelligence. It brings out illumination. The art is worth dying for. The struggle is worth the reward, because even if cause looks futile now, the idea behind it has the power to bring liberation. Although it can be considered a necessary evil, it is a remissible good. War is like art, for it paints a picture of truth.

There is a curious idea among unscientific men that in scientific writing there is a common plateau of perfectionism. Nothing could be more untrue. The reports of biologists are the measure, not of the science, but of the men themselves. There are as few scientific giants as any other kind. In some reports it is impossible, because of inept expression, to relate the descriptions to the living animals. In some papers collecting places are so mixed or ignored that the animals mentioned cannot be found at all. The same conditioning forces itself into specification as it does into any other kind of observation, and the same faults of carelessness will be found in scientific reports as in the witness chair of a criminal court. It has seemed sometimes that the little men in scientific work assumed the awe-fullness of a priesthood to hide their deficiencies, as the witch-doctor does with his stilts and high masks, as the priesthoods of all cults have, with secret or unfamiliar languages and symbols. It is usually found that only the little stuffy men object to what is called "popularization", by which they mean writing with a clarity understandable to one not familiar with the tricks and codes of the cult. We have not known a single great scientist who could not discourse freely and interestingly with a child. Can it be that the haters of clarity have nothing to say, have observed nothing, have no clear picture of even their own fields? A dull man seems to be a dull man no matter what his field, and of course it is the right of a dull scientist to protect himself with feathers and robes, emblems and degrees, as do other dull men who are potentates and grand imperial rulers of lodges of dull men.

Once in a while, pictures of Maomao the cat were mixed in with the letters; these came from Chou-u. In lieu of a personal seal, Maomao’s toe beans would be pressed on the pictures in scarlet ink. The scratches on the pictures suggested she signed them under duress.

All the worth-while things in life. All mixed up. Rooms in candle-light. Leisure. Colour. Travel. Books. Music. Pictures. People—all kinds of people. Work that you love. And growth—growth and watching people grow… That’s what I mean by beauty. I want Dirk to have it.

There was a picture of Don Hector on the wall and next to the television was a phonograph with a large collection of cylinders. I looked through them. They were a mixture of old favourites – Dark Side of the Moon, Rumours, Ziggy Stardust – mixed with jazz and a little Puccini.

Even by Harry’s low standards in Divination, the exam went very badly. He might as well have tried to see moving pictures on the desktop as in the stubbornly blank crystal ball; he lost his head completely during tea-leaf reading, saying it looked to him as though Professor Marchbanks would shortly be meeting a round, dark, soggy stranger, and rounded off the whole fiasco by mixing up the life and head lines on her palm and informing her that she ought to have died the previous Tuesday. ‘Well, we were always going to fail that one,’ said Ron gloomily as they ascended the marble staircase. He had just made Harry feel rather better by telling him how he had told the examiner in detail about the ugly man with a wart on his nose in his crystal ball, only to look up and realise he had been describing his examiner’s reflection.

There will have to be an inquest, of course, and you must not be mixed up in it. Things like that make a man fashionable in Paris. But in London people are so prejudiced. Here, one should never make one's debut with a scandal. One should reserve that to give an interest to one's old age.

Listen, then, Jane Eyre, to your sentence: tomorrow, place the glass before you, and draw in chalk your own picture, faithfully, without softening one defect; omit no harsh line, smooth away no displeasing irregularity; write under it, 'Portrait of a Governess, disconnected, poor, and plain.' "Afterwards, take a piece of smooth ivory--you have one prepared in your drawing-box: take your palette, mix your freshest, finest, clearest tints; choose your most delicate camel-hair pencils; delineate carefully the loveliest face you can imagine; paint it in your softest shades and sweetest lines, according to the description given by Mrs. Fairfax of Blanche Ingram; remember the raven ringlets, the oriental eye;--What! you revert to Mr. Rochester as a model! Order! No snivel!--no sentiment!--no regret! I will endure only sense and resolution. Recall the august yet harmonious lineaments, the Grecian neck and bust; let the round and dazzling arm be visible, and the delicate hand; omit neither diamond ring nor gold bracelet; portray faithfully the attire, aerial lace and glistening satin, graceful scarf and golden rose; call it 'Blanche, an accomplished lady of rank.

Did you know that Jesse James was shot while he was standing on a chair, dusting the top of a picture frame?” “You must have mixed feelings about that,” I suggested. He nodded vigorously. “I know. On the one hand, a cold-blooded killer was finally brought down. On the other hand . . . he was dusting!” “Wasn’t he also shot in the back?” “Sure, but that’s not the important part. The man was dusting. What kind of coward shoots a man when he’s dusting?” “I wonder if he finished the entire frame.” “My question exactly. I wrote a letter to the True West Historical Society but they never replied.

But if we look a little deeper we shall find there is a pathetic, one might almost say a tragic, side to the picture. A shy man means a lonely man—a man cut off from all companionship, all sociability. He moves about the world, but does not mix with it. Between him and his fellow-men there runs ever an impassable barrier—a strong, invisible wall that, trying in vain to scale, he but bruises himself against. He sees the pleasant faces and hears the pleasant voices on the other side, but he cannot stretch his hand across to grasp another hand. He stands watching the merry groups, and he longs to speak and to claim kindred with them. But they pass him by, chatting gayly to one another, and he cannot stay them. He tries to reach them, but his prison walls move with him and hem him in on every side. In the busy street, in the crowded room, in the grind of work, in the whirl of pleasure, amid the many or amid the few—wherever men congregate together, wherever the music of human speech is heard and human thought is flashed from human eyes, there, shunned and solitary, the shy man, like a leper, stands apart. His soul is full of love and longing, but the world knows it not. The iron mask of shyness is riveted before his face, and the man beneath is never seen. Genial words and hearty greetings are ever rising to his lips, but they die away in unheard whispers behind the steel clamps. His heart aches for the weary brother, but his sympathy is dumb. Contempt and indignation against wrong choke up his throat, and finding no safety-valve whence in passionate utterance they may burst forth, they only turn in again and harm him. All the hate and scorn and love of a deep nature such as the shy man is ever cursed by fester and corrupt within, instead of spending themselves abroad, and sour him into a misanthrope and cynic.

Yes. All the worth-while things in life. All mixed up. Rooms in candle-light. Leisure. Colour. Travel. Books. Music. Pictures. People—all kinds of people. Work that you love. And growth—growth and watching people grow. Feeling very strongly about things and then developing that feeling to—to make something fine come of it.

Of course I refuse. I will have absolutely nothing to do with it. I don't care what shame comes on you. You deserve it all. I should not be sorry to see you disgraced, publicly disgraced. How dare you ask me, of all men in the world, to mix myself up in this horror? I should have thought you knew more about people's characters. Your

The moment they came together, Cassie understood why they belonged to each other. He filled her, and she took away his scars. Cassie wrapped her arms around Alex's neck, surprised by the tears that leaked from the edges of her eyes. She turned her face to the open window, breathing in the sweet mix of herself and Alex and endless ocean. She was drifting off to sleep when Alex's voice slipped over her. 'You don't have to get your memory back, Cass. I know who you are.' 'Oh?' she said, smiling. She drew Alex's arm around her. 'Who am I?' She felt Alex's peace curl against her like a benediction. He pulled her back against his front, into the place where she just fit. 'You're my other half,' he said.

Picture a summer stolen whole from some coming-of-age film set in the small-town 1950s. This is none of Ireland's subtle seasons mixed for a connoisseur's palate, watercolor nuances within a pinch-sized range of cloud and soft rain; this is summer full-throated and extravagant in a hot pure silkscreen blue. This summer explodes on your tongue tasting of chewed blades of long grass, your own clean sweat, Marie biscuits with butter squirting through the holes and shaken bottles of red lemonade picnicked in tree houses. It tingles on your skin with BMX wind in your face, ladybug feet up your arm; it packs every breath full of mown grass and billowing wash lines; it chimes and fountains with birdcalls, bees, leaves and football-bounces and skipping-chants, One! two! three! This summer will never end. It starts every day with a shower of Mr. Whippy notes and your best friend's knock at the door, finishes it with long slow twilight and mothers silhouetted in doorways calling you to come in, through the bats shrilling among the black lace trees. This is Everysummer decked in all its best glory.

Most ordinary people ... want to do their jobs, love their people, and live in peace with others. Add kindness to the mix and you have a picture of beauty. I may be different to you, believe differently from what you do, speak a different language to your home language, or have a different bank balance to yours, but when I act kindly toward you, I am bridging a divide between your world and mine.

when he was little, and I picture him bouncing and smiling. So happy. I tried so hard to comfort him last night, but I just couldn’t find the right words. And now I think of how close I came to being a grandmother and it is too much. Tears. No sound: just the sensation of wetness on my cheeks. I let myself cry while drinking my coffee, the saltiness of the tears running into my mouth and mixing with the drink, and then I shake my head and reach for tissues from my bag on the counter. I wipe my face, sniff and turn to look back at the flowers. Automatic pilot again. I dry my hands carefully on the towel by the sink and select double-sided ivory ribbon from the drawer – the expensive roll set aside for weddings – and the little packet of pearl pins. This bit needs real care. I lift the flowers from

As you take the stairs down, away from the scanning department, you feel the notion, the idea of the child leaving you with each step. You feel its fingers loosening, disentangling themselves from yours. You sense its corporeality disintegrating, becoming mist. Gone is the child with blond or dark or auburn hair; gone is the person they might have been, the children they themselves might have had. Gone is that particular coded mix of your and your husband’s genes. Gone is the little brother or sister you pictured for your son. Gone is the knitted rabbit, wrapped and ready in tissue paper, pushed to the back of a cupboard, because you cannot bring yourself to throw it out or give it away. Gone are your plans for and expectations of the next year of your life. Instead of a baby, there will be no baby.

Merleau-Ponty's painting inhabits the same rhetoric as early cinema: it makes the invisible visible, or rather it makes visibility visible; it forms from the thresholds of the visible and invisible world, an order, mode, or aesthetic of visuality. Not only of the small or fast, but of visibility as such. The visuality of the visible and the invisible is found in the mixture of the body and its world, of your body and your world, all your worlds, all your bodies in this world and all those others. Painting is the process by which the visuality of the visible and invisible is made manifest: "Painting mixes up all our categories in laying out its oneiric universe of carnal essences, of effective likenesses, of mute meanings." Each painting is a universal archive, a picture of the universe, a universal image—and like a dream.

Does she ever see him watching her through the picture window? Most likely. Does she think he’s a lecherous old man? Very probably. But he isn’t exactly that. How to convey the mix of longing, wistfulness, and muted regret that he feels? His regret is that he isn’t a lecherous old man, but he wishes he were. He wishes he still could be. How to describe the deliciousness of ice cream when you can no longer taste it? He

She braced herself to stand the awful trial of some one looking at her picture. One must, she said, one must. And if it must be seen, Mr. Bankes was less alarming than another. But that any other eyes should see the residue of her thirty-three years, the deposit of each day's living mixed with something more secret than she had ever spoken or shown in the course of all those days was an agony. At the same time it was immensely exciting.

[That little guy, said Boris in the car on the way to Antwerp. You know the painter saw him—he wasn’t painting that bird from his mind, you know? That’s a real little guy, chained up on the wall, there. If I saw him mixed up with dozen other birds all the same kind, I could pick him out, no problem.] And he’s right. So could I. And if I could go back in time I’d clip the chain in a heartbeat and never care a minute that the picture was never painted.

I close the door to my cottage and lock it. I spy a crumpled wad of Kleenex on the nightstand beside my bed. I pick it up with a paper towel and shove it deep down to the bottom of my wastebasket. Then I pull off my blankets and strip off my sheets and discover three of my bras mixed up in everything. I don’t know how they ended up in my bed and I don’t want to know. Tomorrow I will put everything in the laundry and I will try to forget this happened.

Addie's father told her so many stories of Paris. Made it sound like a place of glamour and gold, rich with magic and dreams waiting to be uncovered. Now she wonders if he ever saw it, or if the city was nothing but a name, an easy backdrop for princes and knights, adventures and queens. They have bled together in her mind, those stories, become less a picture than a palette, a tone. Perhaps the city was less splendid. Perhaps there were shadows mixed in with the light.

That’s what our life is like: little bits and broken pieces…Picture your life as a mixed media collage. Whatever you add to the collage from this point forward is up to you. You can keep moving those broken parts around. You can add similar pieces…But God might have something more for you. God’s plans for you are so much bigger than what you can ever imagine for yourself. He can use you in so many ways if you let him. You can grow in him and share in the masterpiece he wants to make of your life’s collage.

Hoping to ground herself, Rosie closed her eyes and thought of butter, the way other people probably pictured relaxing tropical idylls. Her favorite thing in the world was creaming butter and sugar, watching the way two disparate ingredients come together to form something new. She could picture it in her mind, back in the kitchen at home: the soft pale yellow of the butter, the old wooden spoon, and the cracked brown mixing bowl. Butter was magic. The starting point for cookies and cake and pie and muffins and everything good.

I don’t know how I didn’t see it for so many years of Bible reading, but I didn’t.  Paul didn’t teach the Gentiles not to follow the law, he didn’t teach people not to have their sons circumcised (in fact he himself had Timothy circumcised in Acts 16:3).  And Paul himself kept the law.  Otherwise, James would have been telling Paul to lie about what he was doing.   So we traded Christmas for Sukkot, the true birth of Messiah during the Feast of Tabernacles, which is a shadow picture of Him coming back to reign for a thousand years.  When we keep that feast, we are making a declaration that we believe He was, is, and is coming.  We keep Yom Kippur, which is a declaration that we believe that Yeshua is the salvation of the nation of Israel as a whole, that “all Israel shall be saved.”  We keep Yom Teruah, the day of Trumpets, which occurs on “the day and hour that no man knows” at the sighting of the first sliver of the new moon during the 7th biblical month of Tishri.  We traded Pentecost for Shavuot, the prophetic shadow picture of the spirit being poured out on the assembly, as we see in the book of Acts,  just as the law was given at Mt Sinai to the assembly, which according to Stephen was the true birth of the church (Acts 7:38) – not in Jerusalem, but at Sinai. We also traded Easter for Passover, the shadow picture of Messiah coming to die to restore us to right standing with God, in order to obey Him when He said, “from now on, do this in remembrance of Me.”  We traded Resurrection Sunday for First Fruits, the feast which served as a shadow of Messiah rising up out of the earth and ascending to be presented as a holy offering to the Father.  In Leviticus 23, these are called the Feasts of the LORD, and were to be celebrated by His people Israel forever, not just the Jews, but all those who are in covenant with Him. Just like at Mt Sinai, the descendants of Jacob plus the mixed multitude who came out of Egypt.    We learned from I John 3:4 that sin is defined as transgression of the law.  I John 1:10 says that if we claim we do not sin we are liars, so sin still exists, and that was written long after the death of the other apostles, including Paul.  I read what Peter said about Paul in 2 Peter 3:15-16 – that his writings were hard to understand and easily twisted.  And I began to see that Peter was right because the more I understood what everyone besides Paul was saying, the more I realized that the only way I could justify what I had been doing was with Paul’s writings.  I couldn’t use Yeshua (Jesus), Moses, John, Peter or any of the others to back up any of the doctrines I was taught – I had to ignore Yeshua almost entirely, or take Him out of context.  I decided that Yeshua, and not Paul, died for me, so I had to

There is her heart. I’ve never seen one beating. I had no idea they moved so much. You put your hand on your heart and you picture something pulsing slightly but basically still, like a hand on a desktop tapping Morse code. This thing is going wild in there. It’s a mixing-machine part, a stoat squirming in its burrow, an alien life form that’s just won a Pontiac on The Price Is Right. If you were looking for the home of the human body’s animating spirit, I could imagine believing it to be here, for the simple reason that it is the human body’s most animated organ.

Detailed analysis of the calendar of saints’ days revealed a picture that has been described as more romantic fiction than historical fact. Some saints appeared multiple times; other saints’ names had clearly been at best misrecorded, mixed with the names of the consuls for that year. Several saints appear never to have existed at all. It is now thought that fewer than ten martyrdom tales from the early Church can be considered reliable. The martyr stories, inspiring and entertaining though they may be, show what the scholar G.E.M. De Ste. Croix called “an increasing contempt for historicity.

Avril Lavigne—“Push” Taylor Swift—“Sparks Fly” Jessie Murph—“How Could You” Beyoncé—“If I Were a Boy” Ellie Goulding—“Under the Sheets” (Baby Monster Mix) Lana Del Rey—“Ride Monologue” Lady Gaga—“Shallow” Lauren Daigle—“Rescue” Adele—“Hello” Taylor Swift—“Cardigan” Pink—“Try” Taylor Swift—“This Love” Jessie J—“Flashlight” Colbie Caillat—“I Never Told You” Kellie Pickler—“Didn’t You Know How Much I Loved You” Heather Janssen—“Checkers” Taylor Swift—“Lover” No Doubt—“Underneath It All” Taylor Swift—“All Too Well” Daughter—“Medicine” Picture This—“With or Without You” Olivia O’Brien—“Complicated” CHVRCHES—“My Enemy” Taylor Swift—“I Knew You Were Trouble

A slave, Marcus Cato said, should be working when he is not sleeping. It does not matter whether his work in itself is good in itself—for slaves, at least. This sentiment still survives, and it has piled up mountains of useless drudgery. I believe that this instinct to perpetuate useless work is, at bottom, simply fear of the mob. The mob (the thought runs) are such low animals that they would be dangerous if they had leisure; it is safer to keep them too busy to think. A rich man who happens to be intellectually honest, if he is questioned about the improvement of working conditions, usually says something like this: "We know that poverty is unpleasant; in fact, since it is so remote, we rather enjoy harrowing ourselves with the thought of its unpleasantness. But don’t expect us to do anything about it. We are sorry fort you lower classes, just as we are sorry for a cat with the mange, of your condition. We feel that you are much safer as you are. The present state of affairs suits us, and we are not going to take the risk of setting you free, even by an extra hour a day. So, dear brothers, since evidently you must sweat to pay for our trips to Italy, sweat and be damned to you.” This is particularly the attitude of intelligent, cultivated people; one can read the substance if it in a hundred essays. Very few cultivated people have less than (say) four hundred pounds a year, and naturally they side with the rich, because they imagine that any liberty conceded to the poor is a threat to their own liberty. foreseeing some dismal Marxian Utopia as the alternative, the educated man prefers to keep things as they are. Possibly he does not like his fellow-rich very much, but he supposes that even the vulgarest of them are less inimical to his pleasures, more his kind of people, than the poor, and that he had better stand by them. It is this fear of a supposedly dangerous mob that makes nearly all intelligent people conservative in their opinions. Fear of the mob is a superstitious fear. It is based on the idea that there is some mysterious, fundamental difference between rich and poor, as though they were two different races, like negroes and white men. But in reality there is no such difference. The mass of the rich and the poor are differentiated by their incomes and nothings else, and the average millionaire is only the average dishwasher dressed in a new suit. Change places, and handy dandy, which is the justice, which is the thief? Everyone who has mixed on equal terms with the poor knows this quite well. But the trouble is that intelligent, cultivated people, the very people who might be expected to have liberal opinions, never do mix with the poor. For what do the majority of educated people know about poverty? In my copy of Villon’s poems the editor has actually thought it necessary to explain the line “Ne pain ne voyent qu'aux fenestres” by a footnote; so remote is even hunger from the educated man’s experience. From this ignorance a superstitious fear of the mob results quite naturally. The educated man pictures a horde of submen, wanting only a day’s liberty to loot his house, burn his books, and set him to work minding a machine or sweeping out a lavatory. “Anything,” he thinks, “any injustice, sooner than let that mob loose.

I struggle with words. Never could express myself the way I wanted. My mind fights my mouth, and thoughts get stuck in my throat. Sometimes they stay stuck for seconds or even minutes. Some thoughts stay for years; some have stayed hidden all my life. As a child, I stuttered. What was inside couldn't get out. I'm still not real fluent. I don't know a lot of good words. If I were wrongfully accused of a crime, I'd have a tough time explaining my innocence. I'd stammer and stumble and choke up until the judge would throw me in jail. Words aren't my friends. Music is. Sounds, notes, rhythms. I talk through music. Maybe that's why I became a loner, someone who loves privacy and doesn't reveal himself too easily. My friendliness might fool you. Come into my dressing room and I'll shake your hand, pose for a picture, make polite small talk. I'll be as nice as I can, hoping you'll be nice to me. I'm genuinely happy to meet you and exchange a little warmth. I have pleasant acquaintances with thousands of people the world over. But few, if any, really know me. And that includes my own family. It's not that they don't want to; it's because I keep my feelings to myself. If you hurt me, chances are I won't tell you. I'll just move on. Moving on is my method of healing my hurt and, man, I've been moving on all my life. Now it's time to stop. This book is a place for me to pause and look back at who I was and what I became. As I write, I'm seventy hears old, and all the joy and hurts, small and large, that I've stored up inside me...well, I want to pull 'em out and put 'em on the page. When I've been described on other people's pages, I don't recognize myself. In my mind, no one has painted the real me. Writers have done their best, but writers have missed the nitty-gritty. Maybe because I've hidden myself, maybe because I'm not an easy guy to understand. Either way, I want to open up and leave a true account of who I am. When it comes to my own life, others may know the cold facts better than me. Scholars have told me to my face that I'm mixed up. I smile but don't argue. Truth is, cold facts don't tell the whole story. Reading this, some may accuse me of remembering wrong. That's okay, because I'm not writing a cold-blooded history. I'm writing a memory of my heart. That's the truth I'm after - following my feelings, no matter where they lead. I want to try to understand myself, hoping that you - my family, my friends, my fans - will understand me as well. This is a blues story. The blues are a simple music, and I'm a simple man. But the blues aren't a science; the blues can't be broken down like mathematics. The blues are a mystery, and mysteries are never as simple as they look.

I am sure you’re very pleased to have a pair of foxes,” Kestrel told Irex now, “but you’ll have to do better.” “I set down my tile,” Irex said coldly. “I cannot take it back.” “I’ll let you take it back. Just this once.” “You want me to take it back.” “Ah. So you agree that I know what tile you mean to play.” Benix shifted his weight on Lady Faris’s delicate chair. It creaked. “Flip the damn tile, Irex. And you, Kestrel: Quit toying with him.” “I’m merely offering friendly advice.” Benix snorted. Kestrel watched Irex watch her, his anger mounting as he couldn’t decide whether Kestrel’s words were a lie, the well-meant truth, or a truth she hoped he would judge a lie. He flipped the tile: a fox. “Too bad,” said Kestrel, and turned over one of hers, adding a third bee to her other two matching tiles. She swept the four gold coins of the ante to her side of the table. “See, Irex? I had only your best interests at heart.” Benix blew out a gusty sigh. He settled back in his protesting chair, shrugged, and seemed the perfect picture of amused resignation. He kept his head bowed while he mixed the Bite and Sting tiles, but Kestrel saw him shoot Irex a wary glance. Benix, too, had seen the rage that turned Irex’s face into stone. Irex shoved back from the table. He stalked over the flagstone terrace to the grass, which bloomed with the highest members of Valorian society. “That wasn’t necessary,” Benix told Kestrel. “It was,” she said. “He’s tiresome. I don’t mind taking his money, but I cannot take his company.” “You couldn’t spare a thought for me before chasing him away? Maybe I would like a chance to win his gold.” “Lord Irex can spare it,” Ronan added. “Well, I don’t like poor losers,” said Kestrel. “That’s why I play with you two.” Benix groaned. “She’s a fiend,” Ronan agreed cheerfully. “Then why do you play with her?” “I enjoy losing to Kestrel. I will give anything she will take.” “While I live in hope to one day win,” Benix said, and gave Kestrel’s hand a friendly pat. “Yes, yes,” Kestrel said. “You are both fine flatterers. Now ante up.

Every new generation of women, it seems, feminist and housewife alike, is encouraged by popular culture to disavow its forebears and rebrand itself as an all-new, never-before-seen generational phenomenon, completely different in every way from what came before. The 'housewives' of the 1970s gave way to the Martha Stewart 'homemakers' of the 1980s, then the 'soccer moms' of the 1990s, then the stay-at-home moms of the 2000s. Next may come the homeschooling homesteaders of the impending post-apocalypse - who knows? What's significant is that the cycle of idealization, devaluation, and revision gives an appearance of progress, of superficial change, that distracts us from the big picture.

His life coiled back into the brown murk of the past like a twined filament of electric wire; he gave life, a pattern, and movement to these million sensations that Chance, the loss or gain of a moment, the turn of the head, the enormous and aimless impulsion of accident, had thrust into the blazing heat of him. His mind picked out in white living brightness these pinpoints of experience and the ghostliness of all things else became more awful because of them. So many of the sensations that returned to open haunting vistas of fantasy and imagining had been caught from a whirling landscape through the windows of the train. And it was this that awed him — the weird combination of fixity and change, the terrible moment of immobility stamped with eternity in which, passing life at great speed, both the observer and the observed seem frozen in time. There was one moment of timeless suspension when the land did not move, the train did not move, the slattern in the doorway did not move, he did not move. It was as if God had lifted his baton sharply above the endless orchestration of the seas, and the eternal movement had stopped, suspended in the timeless architecture of the absolute. Or like those motion-pictures that describe the movements of a swimmer making a dive, or a horse taking a hedge — movement is petrified suddenly in mid-air, the inexorable completion of an act is arrested. Then, completing its parabola, the suspended body plops down into the pool. Only, these images that burnt in him existed without beginning or ending, without the essential structure of time. Fixed in no-time, the slattern vanished, fixed, without a moment of transition. His sense of unreality came from time and movement, from imagining the woman, when the train had passed, as walking back into the house, lifting a kettle from the hearth embers. Thus life turned shadow, the living lights went ghost again. The boy among the calves. Where later? Where now? I am, he thought, a part of all that I have touched and that has touched me, which, having for me no existence save that which I gave to it, became other than itself by being mixed with what I then was, and is now still otherwise, having fused with what I now am, which is itself a cumulation of what I have been becoming. Why here? Why there? Why now? Why then? The fusion of the two strong egotisms, Eliza’s inbrooding and Gant’s expanding outward, made of him a fanatical zealot in the religion of Chance. Beyond all misuse, waste, pain, tragedy, death, confusion, unswerving necessity was on the rails; not a sparrow fell through the air but that its repercussion acted on his life, and the lonely light that fell upon the viscous and interminable seas at dawn awoke sea-changes washing life to him. The fish swam upward from the depth.

I'm no crazier than anyone else. I love life the same as most people - what else have we got that's real? I like to take a good picture; I like to wake up in love; I like to read a good book; I like to travel without many plans; I like a shifting mix of the expected and the unexpected; I like to swim in rivers and oceans; I like to walk; I like to see sunlight coming through trees; I like old cites and snow and live music and all the kooky things I've been doing these last few days. All of it, the good and the bad and the stuff in between. I'm not saying I haven't made mistakes. I'm not saying I haven't been rude or cavalier or predictable. I'm only saying that if you asked me, I'd say, Yeah, I'm too young to die.

On the Dangers of Confusing Saga with History The Four Loves (From Chapter II, “Likings and Loves for the Sub-human”) THE ACTUAL HISTORY OF EVERY COUNTRY IS FULL OF shabby and even shameful doings. The heroic stories, if taken to be typical, give a false impression of it and are often themselves open to serious historical criticism. Hence a patriotism based on our glorious past is fair game for the debunker. As knowledge increases it may snap and be converted into disillusioned cynicism, or may be maintained by a voluntary shutting of the eyes. But who can condemn what clearly makes many people, at many important moments, behave so much better than they could have done without its help? I think it is possible to be strengthened by the image of the past without being either deceived or puffed up. The image becomes dangerous in the precise degree to which it is mistaken, or substituted, for serious and systematic historical study. The stories are best when they are handed on and accepted as stories. I do not mean by this that they should be handed on as mere fictions (some of them are after all true). But the emphasis should be on the tale as such, on the picture which fires the imagination, the example that strengthens the will. The schoolboy who hears them should dimly feel—though of course he cannot put it into words—that he is hearing saga. Let him be thrilled—preferably ‘out of school’—by the ‘Deeds that won the Empire’; but the less we mix this up with his ‘history lessons’ or mistake it for a serious analysis—worse still,

There had even been online TV shows about it: computer-generated landscape pictures with deer grazing in Times Square, serves-us-right finger-wagging, earnest experts lecturing about all the wrong turns taken by the human race. There was only so much of that people could stand, judging from the ratings, which spiked and then plummeted as viewers voted with their thumbs, switching from imminent wipeout to real-time contests about hotdog-swallowing if they liked nostalgia, or to sassy-best-girlfriends comedies if they liked stuffed animals, or to Mixed Martial Arts Felony Fights if they liked bitten-off ears, or to Nitee-Nite live-streamed suicides or HottTotts kiddy porn or Hedsoff real-time executions if they were truly jaded. All of it so much more palatable than the truth.

Why aren't you in school? I see you every day wandering around." "Oh, they don't miss me," she said. "I'm antisocial, they say. I don't mix. It's so strange. I'm very social indeed. It all depends on what you mean by social, doesn't it? Social to me means talking to you about things like this." She rattled some chestnuts that had fallen off the tree in the front yard. "Or talking about how strange the world is. Being with people is nice. But I don't think it's social to get a bunch of people together and then not let them talk, do you? An hour of TV class, an hour of basketball or baseball or running, another hour of transcription history or painting pictures, and more sports, but do you know, we never ask questions, or at least most don't; they just run the answers at you, bing, bing, bing, and us sitting there for four more hours of film-teacher. That's not social to me at all. It's a lot of funnels and lot of water poured down the spout and out the bottom, and them telling us it's wine when it's not. They run us so ragged by the end of the day we can't do anything but go to bed or head for a Fun Park to bully people around, break windowpanes in the Window Smasher place or wreck cars in the Car Wrecker place with the big steel ball. Or go out in the cars and race on the streets, trying to see how close you can get to lampposts, playing 'chicken' and 'knock hubcaps.' I guess I'm everything they say I am, all right. I haven't any friends. That's supposed to prove I'm abnormal. But everyone I know is either shouting or dancing around like wild or beating up one another. Do you notice how people hurt each other nowadays?

Preverbal, love is the smell of a known body, the touch of a recognized hand, the blurred face in a haze of light. Words come, and love sharpens. Love becomes describable, narratable, relatable. Over time, one love comes to lay atop another, a mother’s love, a father’s love, a lover’s love, a friend’s love, an enemy’s love. This promiscuous mixing of feelings and touches, of smiles and cries in the dark, of half-hushed pleasures and heart-cracking pain, of shared unutterable intimacies and guttural expressions, layer in embellished bricolage. One love coats another, like the clear pages of an anatomy textbook, drawing pictures of things we can only ever see in fractions. With the coming of words, love writes and is then overwritten; love is marginalia illegibly scrawled in your own illegible hand. In time, love becomes a dense manuscript, a palimpsest of inscrutable, epic proportions, one love overlaying another, thick and hot and stinking of beds. It’s an unreadable mess.

The impossibility of exact knowledge is in the physical disintegration which protects the past from our trespasses; it forms a hygiene barrier against mixing with us, the present. For us, this impossibility is an advantage. The owners have left the house, they’ve gone away, and there is no one to see how we are dividing up all their many goods. For the full enjoyment of those olden days we need those who once peopled them to die - then we can begin the yearning process, trying out the role of rightful heirs. The heaped mass of witness accounts only teases us in our hunger: rifle through the bank of pictures, enlarge them, bring them up close to your eyes, spend a lifetime gazing at a single iconic image. It’s all pointless: scoop it all out, to the very bottom of the cup, it’s thin walls, you can walk into the house of the past, but you can’t penetrate it, nor will it enter you, like a chill slick of a ghost that appears out of nowhere in the warm twilight of a July evening.

If you're still hungry, I have some apples for dessert." She held one out that was a mix of reds and greens with a hint of gold. "These are Red Fire apples." Henri took a bite. "That's heaven. What did you call it? A Red Fire? I've never had anything like it." "They're only grown in our kingdom. My mother was the one who created the hybrid," Snow said proudly. She used to beg her parents to tell her the story of their courtship over and over. She could picture her mother laughing. Snow, there must be something else you want to talk about! "It's what you get when you cross red apple seeds with some pears and green apple seeds," Snow told Henri now. "She came up with it at the apple orchard she helped tend when she was my age. My father loved them and had them planted all over the countryside." Snow picked up one and stared at it. "It was the Red Fire apple that endeared my mother to my father, actually. He adored her apples." Henri smirked. "So it was love at first bite?" She laughed. "I suppose so!

Everyone is free to create his world as he wants it if he knows that the whole thing is responding to him. In Luke 13 we are told the story of five Galileans who have been murdered by Pilate. ‘And he mixed their blood with their offering, etc.’And the central figure of the gospels which is your awakened Imagination says to his followers; ‘Do you think these five were worse sinners than the others? I tell you ‘No.’ But unless you repent you will all likewise perish in the same manner.’Here on one level we think it served them right, just as those who saw the scene on the Sunset Blvd. would say ‘It served her right cutting across the street like that!’ In this story in Luke we are told that a man sinned in the past and was murdered by Pilate. It has nothing to do with it. Then Jesus asked them, ‘Do you think that the eighteen upon whom the tower in Siloam fell and killed them were worse offenders than the others who dwell in Jerusalem? I tell you, No; but unless you repent you will all likewise perish. On this level of the dream people think of getting even. It is a dream of confusion and people are reactivating, but man has to awaken and become an actor. On this present level man is always reflecting life, not knowing he is the cause of all he observes. But when he awakens from the dream and then becomes an actor. What percentage would have done what this lady in the car did? They would have reacted, or feasted on the fruit of the tree of good and evil. They would have had a violent reaction, and then they would have had a violent resistance from this dead universe. But this lady makes her dream and the whole thing comes to pass exactly as she pictured it, even to the number of blocks. You might almost think she had manufactured that little old lady in gray, but I tell you everything comes in response to our own wonderful imaginal activity. You can be anything in this world but you cannot know it or expect it to come unless you Act. If you react based on the past, you continue in the same pattern. To be the man you desire to be you must create the scene, as this lady did, and the whole world will be convulsed if that is necessary to bring it to pass. There is no other power but God, but God had to ‘forget’ he was God in this state of sleep, and then He awakens and consciously determines the conditions he wants in the world.

Mamá was mixing bread dough by the kitchen window, pressing and pulling in a culinary tug of war. It took all her strength to mix four loaves at once, flour up to her elbows, tendrils of hair escaping from her bun, but it hardly made sense to do less. Her good bread disappeared as fast as she made it. Why, her family could hammer away a whole loaf in one sitting. Mamá smiled, then crossed herself against the sin of pride. Modesta was always saying, “That’s too much work! Why not just buy a loaf at the store?” Those sickly soft things they call bread? Mamá snorted as she slapped her dough. It was a sin to call such cotton bread! Her bread could stand up to thick bacon sandwiches and homemade blackberry jam. Hers melted in your mouth like cake. Indeed, after supper Father often buttered a big slice for dessert. At the thought of her husband, Mamá crossed herself again, this time not for pride, but for love. Everything she did was done for him. She meant to work for God, to make her life a prayer, but since the first time she saw Manuel, long before they were married, his was the face she pictured as she wiped her brow, bent her back to the task at hand. She shrugged. Perhaps her daughters would do better...

This week we'll be learning about key elements of high quality picture books. Using the award winner lists in our course materials, select one picture book and share why it received its award. For example, Abuela is listed in the 100 Picture Books Everyone Should Know. According to Publishers Weekly, this is why it's so good: "In this tasty trip, Rosalba is "always going places" with her grandmother--abuela . During one of their bird-feeding outings to the park, Rosalba wonders aloud, "What if I could fly?" Thus begins an excursion through the girl's imagination as she soars high above the tall buildings and buses of Manhattan, over the docks and around the Statue of Liberty with Abuela in tow. Each stop of the glorious journey evokes a vivid memory for Rosalba's grandmother and reveals a new glimpse of the woman's colorful ethnic origins. Dorros's text seamlessly weaves Spanish words and phrases into the English narrative, retaining a dramatic quality rarely found in bilingual picture books. Rosalba's language is simple and melodic, suggesting the graceful images of flight found on each page. Kleven's ( Ernst ) mixed-media collages are vibrantly hued and intricately detailed, the various blended textures reminiscent of folk art forms. Those searching for solid multicultural material would be well advised to embark.

Until the war had broken out, there had been some sort of order in the strange and complex mixture of the four disparate peoples crowded into the little valley, all calling themselves Bosnians. They celebrated separate holidays, ate different foods, feasted and fasted on different days, yet all depended on one another, but never admitted it. They had lived amidst an ever present, if dormant, mixture of hatred and love for each other. The Muslims with their Ramadan, the Jews with Passover, the Catholics with Christmas, and the Serbs with their Slavas- each of them tacitly tolerated and recognised the customs and existence of others. With suckling pigs turned on spits in Serbian houses, giving off a mouth-watering fragrance, kosher food would be eaten in Jewish homes, and in Muslim households, meals were cooked in suet. There was a certain harmony in all this, even if there was no actual mixing. The aromas had long ago adjusted to one another and had given the city its distinctive flavor. Everything was "as God willed it." But it was necessary to remove only one piece of that carefully balanced mosaic and that whole picture would fall into its component parts which would then, rejoined in an unthinkable manner, create hostile and incompatible entities. ‏Like a hammer, the war had knocked out one piece, disrupting the equilibrium.

EVEN HERE, IN THESE FIRST glimmers of liberty, we begin to see the character of a continent. The American-born were hungry for liberties, yet unaccustomed to freedom; resourceful, yet unacquainted with self-rule; racially mixed, yet mistrustful of whatever race they were not. For three hundred years of authoritarian reign, Spain had carefully instilled these qualities. “Divide and subjugate” had been the rule. Education had been discouraged, in many cases outlawed, and so ignorance was endemic. Colonies were forbidden from communicating with each other, and so—like spokes of a wheel—they were capable only of reporting directly to a king. There was no collaborative spirit, no model for organization, no notion of hierarchy. It was why the people of Coro or Maracaibo or Guayana refused to obey their newly independent brothers in Caracas; given the choice, they preferred the crown. And even though Americans had been inclined to mix across racial lines from the beginning, Spain had worked hard to keep the races apart, feed their suspicions. Add to this a church that was thoroughly opposed to independence, and a picture emerges unlike any other in that age of revolutions. If Spanish America now found itself strong enough to rise up against Spain, it would never quite rid itself of the divisions that the Council of the Indies had carefully installed in the first place.

My mint chocolate is delicious----and not at all leafy. Benny has made a mixed-berries-and-cream concoction that is, I hate to admit upon tasting it, next level. Nia, Seb, and Lily are brought in as the blind taste testers, and while they stress that both ice creams were excellent, two out of three prefer Benny's. He takes an obnoxious bow as the whole group---including me, grudgingly---gives him a round of applause. I try not to let my annoyance show until filming wraps up and most people disperse from the kitchen, at which point I take it out on a sticky spot on the counter where some batter spilled. "I think you got it all." Benny's voice is so close behind me that I nearly jump out of my shoes. "Keep scrubbing that hard and you'll wear a hole through the counter." "Keep minding your own business if you don't want me to wear a hole through your head, mister." He laughs as he leans against the counter beside me, one muscular forearm making its way into my line of sight. "I'm not even sure what that means, but you're cute when you're grumpy. Relax, Reese's Pieces. It's still early in the season and we're only oh-and-one. Not that anyone's keeping score." I grit my teeth but say no more, and soon enough he gets the picture and makes himself scarce. He's joking around, but I'm already all too aware of the score, picturing it in bold letters and neon lights: Benny---1, Reese---0.

He had, he said, floated off from a very ordinary series of dream-pictures into a scene whose strangeness was related to nothing he had ever read. It was of this world, and yet not of it—a shadowy geometrical confusion in which could be seen elements of familiar things in most unfamiliar and perturbing combinations. There was a suggestion of queerly disordered pictures superimposed one upon another; an arrangement in which the essentials of time as well as of space seemed dissolved and mixed in the most illogical fashion. In this kaleidoscopic vortex of phantasmal images were occasional snapshots, if one might use the term, of singular clearness but unaccountable heterogeneity. Once my uncle thought he lay in a carelessly dug open pit, with a crowd of angry faces framed by straggling locks and three-cornered hats frowning down on him. Again he seemed to be in the interior of a house—an old house, apparently—but the details and inhabitants were constantly changing, and he could never be certain of the faces or the furniture, or even of the room itself, since doors and windows seemed in just as great a state of flux as the more presumably mobile objects. It was queer—damnably queer—and my uncle spoke almost sheepishly, as if half expecting not to be believed, when he declared that of the strange faces many had unmistakably borne the features of the Harris family. And all the while there was a personal sensation of choking, as if some pervasive presence had spread itself through his body and sought to possess itself of his vital processes.

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Gina flopped back on her cot, arm up over her eyes. “Oh, my God, Molly, what am I going to do? The fact that he came here tonight at all is . . . He’s clearly interested, but that’s probably just because he thinks I’m a total perv.” “Whoa,” Molly said. “Wait. You lost me there.” Gina sat up, a mix of earnestness, horror, and amusement on her pretty face. “I didn’t tell you this, but after I first spoke to Lucy’s sister—we were in the shower tent so no one would see us—I let her leave first and then I waited, like, a minute, thinking we shouldn’t be seen leaving the tent together. And before I go, he came in.” He. “Leslie Pollard?” Molly clarified. Gina nodded. “I freaked out when I saw him coming, and it’s stupid, I know, but I hid. And I should have just waited until I heard the shower go on, but God, maybe he wouldn’t have pulled the curtain, because he obviously thought he was in there alone . . .” Molly started to laugh. “Oh my.” “Yeah,” Gina said. “Oh my. So I decide to run for it, only he’s not in one of the changing booths, he’s over by the bench, you know?” Molly nodded. The bench in the main part of the room. “In only his underwear,” Gina finished, with a roll of her eyes. “Oh, my God.” “Really? Molly asked. Apparently Jones was taking his change of identity very seriously. He hated wearing underwear of any kind, but obviously he thought it wouldn’t be in character for Leslie Pollard to go commando. “Boxers or briefs?” Gina gave her a look, but she was starting to laugh now, too, thank goodness. “Briefs. Very brief briefs.” She covered her mouth with her hands. “Oh, my God, Molly, he was . . . I think he showers at noon because he knows no one else will be in there, so he can, you know, have an intimate visit with Mr. Hand.” Oh, dear. “And now I know, and he knows I know, and he also probably thinks I lurk in the men’s shower,” Gina continued. “And the fact that he actually came to tea tonight, instead of hiding from me, in his tent, forever, means . . . something awful, don’t you think? Did I mention he has, like, an incredible body?” Molly shook her head. Oh dear. “No.” “Yes,” Gina said just a little too grimly, considering the topic. “Who would’ve guessed that underneath those awful shirts he’s a total god? And maybe that’s what’s freaking out the most.” “You mean because . . . you’re attracted to him?” Molly asked. “No!” Gina said. “God! Because I’m not. I felt nothing. I’m standing there and he’s . . . You know how I said he reminds me of Hugh Grant?” Molly nodded, too relieved to speak. “Well, I got the wrong Hugh. This guy is built like Hugh Jackman. And beneath the hats and sunblock and glasses, he’s actually got cheekbones and a jaw line, too. I’m talking total hottie. And, yes, I can definitely appreciate that on one level, but . . .” She glanced over at the desk, at her digital camera. She’d gotten it out of her trunk earlier today. Which, Molly had learned, meant that she’d spent more time this afternoon looking at her saved pictures. Which included at least a few of Max. Molly’s relief over not having to deal with the complications of Gina having a crush on Leslie felt a whole lot less good. She wished someone would just go ahead and steal Gina’s camera already. Maybe that would help her move on.

the device had the property of transresistance and should have a name similar to devices such as the thermistor and varistor, Pierce proposed transistor. Exclaimed Brattain, “That’s it!” The naming process still had to go through a formal poll of all the other engineers, but transistor easily won the election over five other options.35 On June 30, 1948, the press gathered in the auditorium of Bell Labs’ old building on West Street in Manhattan. The event featured Shockley, Bardeen, and Brattain as a group, and it was moderated by the director of research, Ralph Bown, dressed in a somber suit and colorful bow tie. He emphasized that the invention sprang from a combination of collaborative teamwork and individual brilliance: “Scientific research is coming more and more to be recognized as a group or teamwork job. . . . What we have for you today represents a fine example of teamwork, of brilliant individual contributions, and of the value of basic research in an industrial framework.”36 That precisely described the mix that had become the formula for innovation in the digital age. The New York Times buried the story on page 46 as the last item in its “News of Radio” column, after a note about an upcoming broadcast of an organ concert. But Time made it the lead story of its science section, with the headline “Little Brain Cell.” Bell Labs enforced the rule that Shockley be in every publicity photo along with Bardeen and Brattain. The most famous one shows the three of them in Brattain’s lab. Just as it was about to be taken, Shockley sat down in Brattain’s chair, as if it were his desk and microscope, and became the focal point of the photo. Years later Bardeen would describe Brattain’s lingering dismay and his resentment of Shockley: “Boy, Walter hates this picture. . . . That’s Walter’s equipment and our experiment,

One day, at a quiet hour, I found myself alone in a certain gallery, wherein one particular picture of pretentious size set up in the best light, having a cordon of protection stretched before it, and a cushioned bench duly set in front for the accommodation of worshipping connoisseurs, who, having gazed themselves off their feet, might be fain to complete the business sitting. This picture, I say, seemed to consider itself the queen of the collection. It represented a woman, considerably larger, I thought, than the life. I calculated that this lady, put into a scale of magnitude suitable for the reception of a commodity of bulk, would infallibly turn from fourteen to sixteen stone. She was indeed extremely well fed, very much butcher's meat, to say nothing of bread, vegetables, and liquids must she have consumed to attain that breadth and height, that wealth of muscle, that affluence of flesh. She lay half reclined on a couch – why, it would be difficult to say. Broad daylight blazed round her. She appeared in hearty health, strong enough to do the work of two plain cooks. She could not plead a weak spine. She ought to have been standing, or at least sitting bolt upright. She had no business to lounge away the noon on a sofa. She ought likewise to have worn decent garments – a gown covering her properly, which was not the case. Out of abundance of material, seven and twenty yards I should say, of drapery, she managed to make inefficient raiment. Then, for the wretched untidiness surrounding her, there could be no excuse. Pots and pans – or perhaps I ought to say, vases and goblets – were rolled here and there on the foreground, a perfect rubbish of flowers was mixed amongst them, and an absurd and disorderly mass of curtain upholstery smothered the couch and cumbered the floor. On referring to the catalog, I found that this this notable production bore name: 'Cleopatra.

To begin with, it has nothing to do with archaism, with the salvaging of obsolete words and turns of speech, or with the setting-up of a "standard English" which must never be departed from. On the contrary, it is especially concerned with the scrapping of every word or idiom which has outworn its usefulness. It has nothing to do with correct grammar and syntax, which are of no importance so long as one makes one's meaning clear, or with the avoidance of Americanisms, or with having what is called "good prose style." On the other hand it is not concerned with fake simplicity and the attempt to make written English colloquial. Nor does it even imply in every case preferring the Saxon word to the Latin one, though it does imply using the fewest and shortest words that will cover one's meaning. What is above all needed is to let the meaning choose the word, and not the other way about. In prose the worst thing one can do with words is to surrender to them. When you think of a concrete object, you think wordlessly, and then, if you want to describe the thing you have been visualizing, you probably hunt about till you find the exact words that seem to fit it. When you think of something abstract you are more inclined to use words from the start, and unless you make a conscious effort to prevent it, the existing dialect will come rushing in and do the job for you, at the expense of blurring or even changing your meaning. Probably it is better to put off using words as long as possible and get one's meaning as clear as one can through pictures or sensations. Afterwards one can choose--not simply accept--the phrases that will best cover the meaning, and then switch round and decide what impression one's words are likely to make on another person. This last effort of the mind cuts out all stale or mixed images, all prefabricated phrases, needless repetitions, and humbug and vagueness generally.

The car ploughed uphill through the long squalid straggle of Tevershall, the blackened brick dwellings, the black slate roofs glistening their sharp edges, the mud black with coal-dust, the pavements wet and black. It was as if dismalness had soaked through and through everything. The utter negation of natural beauty, the utter negation of the gladness of life, the utter absence of the instinct for shapely beauty which every bird and beast has, the utter death of the human intuitive faculty was appalling. The stacks of soap in the grocers’ shops, the rhubarb and lemons in the green-grocers’! the awful hats in the milliners’! all went by ugly, ugly, ugly, followed by the plaster-and-gilt horror of the cinema with its wet picture announcements, “A Woman’s Love!”, and the new big Primitive chapel, primitive enough in its stark brick and big panes of greenish and raspberry glass in the windows. The Wesleyan chapel, higher up, was of blackened brick and stood behind iron railings and blackened shrubs. The Congregational chapel, which thought itself superior, was built of rusticated sandstone and had a steeple, but not a very high one. Just beyond were the new school buildings, expensive pink brick, and graveled playground inside iron railings, all very imposing, and mixing the suggestion of a chapel and a prison. Standard Five girls were having a singing lesson, just finishing the la-me-do-la exercises and beginning a “sweet children’s song.” Anything more unlike song, spontaneous song, would be impossible to imagine: a strange bawling yell that followed the outlines of a tune. It was not like savages: savages have subtle rhythms. It was not like animals: animals mean something when they yell. It was like nothing on earth, and it was called singing... What could possibly become of such a people, a people in whom the living intuitive faculty was dead as nails, and only queer mechanical yells and uncanny will power remained?

This was the last time I ever saw my Mother alive. Just the same, this picture gets all mixed up in my mind with pictures I had of her when she was younger. The way I always see her is the way she used to be on Sunday afternoon, say, when the old folks were talking after the big Sunday dinner. I always see her wearing pale blue. She'd be sitting on the sofa. And my Father would be sitting in the easy chair, not far from her. And the living room would be full of church folks and relatives. There they sit, in chairs all around the living room, and the night is creeping up outside, but nobody knows it yet. You can see the darkness growing against the windowpanes and you hear the street noises every now and again, or maybe the jangling beat of a tambourine from one of the churches close by, but it's real quiet in the room. For a moment nobody's talking, but every face looks darkening, like the sky outside. And my Mother rocks a little from the waist, and my Father's eyes are closed. Everyone is looking at something a child can't see. For a minute they've forgotten the children. Maybe a kid is lying on the rug, half asleep. Maybe somebody's got a kid in his lap and is absent-mindedly stroking the kid's head. Maybe there's a kid, quiet and big-eyed, curled up in a big chair in the corner. The silence, the darkness coming, and the darkness in the faces frighten the child obscurely. He hopes that the hand which strokes his forehead will never stop - will never die. He hopes that there will never come a time when the old folks won't be sitting around the living room, talking about where they've come from, and what they've seen, and what's happened to them and their kinfolk. But something deep and watchful in the child knows that this is bound to end, is already ending. In a moment someone will get up and turn on the light. Then the old folks will remember the children and they won't talk anymore that day. And when light fills the room, the child is filled with darkness. He knows that every time this happens he's moved just a little closer to that darkness outside. The darkness outside is what the old folks have been talking about. It's what they've come from. It's what they endure. The child knows that they won't talk anymore because if he knows too much about what's happened to them, he'll know too much too soon, about what's going to happen to him.

I once saw a striking contrast in the use made of material in Florence. I saw first in the Boboli gardens the two wonderful figures of the barbarians-you remember perhaps those antique stone statues. They are made of stone, consist of stone, represent the spirit of stone: you feel that stone has had the word! Then I went to the tombs of the Medici and saw what Michelangelo did to stone; there the stone has been brought to a super-life. It makes gestures which stone never would make; it is hysterical and exaggerated. The difference was amazing. Or go further to a man like Houdon and you see that the stone becomes absolutely acrobatic. There is the same difference between the Norman and Gothic styles. In the Gothic frame of mind stone behaves like a plant, not like a normal stone, while the Norman style is completely suggested by the stone. The stone speaks. Also an antique Egyptian temple is a most marvelous example of what stone can say; the Greek temple already plays tricks with stone, but the Egyptian temple is made of stone. It grows out of stone — the temple of Abu Simbel, for example, is amazing in that respect. Then in those cave temples in India one sees again the thing man brings into stone. He takes it into his hands and makes it jump, fills it with an uncanny sort of life which destroys the peculiar spirit of the stone. And in my opinion it is always to the detriment of art when matter has no say in the game of the artist. The quality of the matter is exceedingly important — it is all-important. For instance, I think it makes a tremendous difference whether one paints with chemical colors or with so-called natural colors. All that fuss medieval painters made about the preparation of their backgrounds or the making and mixing of their colors had a great advantage. No modern artist has ever brought out anything like the colors which those old masters produced. If one studies an old picture, one feels directly that the color speaks, the color has its own life, but with a modern artist it is most questionable whether the color has a life of its own. It is all made by man, made in Germany or anywhere else, and one feels it. So the projection into matter is not only a very important but an indispensable quality of art. Jung, C. G.. Nietzsche's Zarathustra: Notes of the Seminar given in 1934-1939. Two Volumes: 1-2, unabridged (Jung Seminars) (p. 948-949)

When I launched my AI career in 1983, I did so by waxing philosophic in my application to the Ph.D. program at Carnegie Mellon. I described AI as “the quantification of the human thinking process, the explication of human behavior,” and our “final step” to understanding ourselves. It was a succinct distillation of the romantic notions in the field at that time and one that inspired me as I pushed the bounds of AI capabilities and human knowledge. Today, thirty-five years older and hopefully a bit wiser, I see things differently. The AI programs that we’ve created have proven capable of mimicking and surpassing human brains at many tasks. As a researcher and scientist, I’m proud of these accomplishments. But if the original goal was to truly understand myself and other human beings, then these decades of “progress” got me nowhere. In effect, I got my sense of anatomy mixed up. Instead of seeking to outperform the human brain, I should have sought to understand the human heart. It’s a lesson that it took me far too long to learn. I have spent much of my adult life obsessively working to optimize my impact, to turn my brain into a finely tuned algorithm for maximizing my own influence. I bounced between countries and worked across time zones for that purpose, never realizing that something far more meaningful and far more human lay in the hearts of the family members, friends, and loved ones who surrounded me. It took a cancer diagnosis and the unselfish love of my family for me to finally connect all these dots into a clearer picture of what separates us from the machines we build. That process changed my life, and in a roundabout way has led me back to my original goal of using AI to reveal our nature as human beings. If AI ever allows us to truly understand ourselves, it will not be because these algorithms captured the mechanical essence of the human mind. It will be because they liberated us to forget about optimizations and to instead focus on what truly makes us human: loving and being loved. Reaching that point will require hard work and conscious choices by all of us. Luckily, as human beings, we possess the free will to choose our own goals that AI still lacks. We can choose to come together, working across class boundaries and national borders to write our own ending to the AI story. Let us choose to let machines be machines, and let humans be humans. Let us choose to simply use our machines, and more importantly, to love one another.

As Japan recovered from the post-war depression, okonomiyaki became the cornerstone of Hiroshima's nascent restaurant culture. And with new variables- noodles, protein, fishy powders- added to the equation, it became an increasingly fungible concept. Half a century later it still defies easy description. Okonomi means "whatever you like," yaki means "grill," but smashed together they do little to paint a clear picture. Invariably, writers, cooks, and oko officials revert to analogies: some call it a cabbage crepe; others a savory pancake or an omelet. Guidebooks, unhelpfully, refer to it as Japanese pizza, though okonomiyaki looks and tastes nothing like pizza. Otafuku, for its part, does little to clarify the situation, comparing okonomiyaki in turn to Turkish pide, Indian chapati, and Mexican tacos. There are two overarching categories of okonomiyaki Hiroshima style, with a layer of noodles and a heavy cabbage presence, and Osaka or Kansai style, made with a base of eggs, flour, dashi, and grated nagaimo, sticky mountain yam. More than the ingredients themselves, the difference lies in the structure: whereas okonomiyaki in Hiroshima is carefully layered, a savory circle with five or six distinct layers, the ingredients in Osaka-style okonomiyaki are mixed together before cooking. The latter is so simple to cook that many restaurants let you do it yourself on table side teppans. Hiroshima-style okonomiyaki, on the other hand, is complicated enough that even the cooks who dedicate their lives to its construction still don't get it right most of the time. (Some people consider monjayaki, a runny mass of meat and vegetables popularized in Tokyo's Tsukishima district, to be part of the okonomiyaki family, but if so, it's no more than a distant cousin.) Otafuku entered the picture in 1938 as a rice vinegar manufacturer. Their original factory near Yokogawa Station burned down in the nuclear attack, but in 1946 they started making vinegar again. In 1950 Otafuku began production of Worcestershire sauce, but local cooks complained that it was too spicy and too thin, that it didn't cling to okonomiyaki, which was becoming the nutritional staple of Hiroshima life. So Otafuku used fruit- originally orange and peach, later Middle Eastern dates- to thicken and sweeten the sauce, and added the now-iconic Otafuku label with the six virtues that the chubby-cheeked lady of Otafuku, a traditional character from Japanese folklore, is supposed to represent, including a little nose for modesty, big ears for good listening, and a large forehead for wisdom.

Elizabeth’s breakfast had cured Ian’s hunger, in fact, the idea of ever eating again made his stomach churn as he started for the barn to check on Mayhem’s injury. He was partway there when he saw her off to the left, sitting on the hillside amid the bluebells, her arms wrapped around her knees, her forehead resting atop them. Even with her hair shining like newly minted gold in the sun, she looked like a picture of heartbreaking dejection. He started to turn away and leave her to moody privacy; then, with a sigh of irritation, he changed his mind and started down the hill toward her. A few yards away he realized her shoulders were shaking with sobs, and he frowned in surprise. Obviously there was no point in pretending the meal had been good, so he injected a note of amusement into his voice and said, “I applaud your ingenuity-shooting me yesterday would have been too quick.” Elizabeth started violently at the sound of his voice. Snapping her head up, she stared off to the left, keeping her tear-streaked face averted from him. “Did you want something?” “Dessert?” Ian suggested wryly, leaning slightly forward, trying to see her face. He thought he saw a morose smile touch her lips, and he added, “I thought we could whip up a batch of cream and put it on the biscuit. Afterward we can take whatever is left, mix it with the leftover eggs, and use it to patch the roof.” A teary chuckle escaped her, and she drew a shaky breath but still refused to look at him as she said, “I’m surprised you’re being so pleasant about it.” “There’s no sense crying over burnt bacon.” “I wasn’t crying over that,” she said, feeling sheepish and bewildered. A snowy handkerchief appeared before her face, and Elizabeth accepted it, dabbing at her wet cheeks. “Then why were you crying?” She gazed straight ahead, her eyes focused on the surrounding hills splashed with bluebells and hawthorn, the handkerchief clenched in her hand. “I was crying for my own ineptitude, and for my inability to control my life,” she admitted. The word “ineptitude” startled Ian, and it occurred to him that for the shallow little flirt he supposed her to be she had an exceptionally fine vocabulary. She glanced up at him then, and Ian found himself gazing into a pair of green eyes the amazing color of wet leaves. With tears still sparkling on her long russet lashes, her long hair tied back in a girlish bow, her full breasts thrusting against the bodice of her gown, she was a picture of alluring innocence and intoxicating sensuality. Ian jerked his gaze from her breasts and said abruptly, “I’m going to cut some wood so we’ll have it for a fire tonight. Afterward I’m going to do some fishing for our supper. I trust you’ll find a way to amuse yourself in the meantime.” Startled by his sudden brusqueness, Elizabeth nodded and stood up, dimly aware that he did not offer his hand to assist her.

I am first affrighted and confounded with that forelorn solitude, in which I am plac'd in my philosophy, and fancy myself some strange uncouth monster, who not being able to mingle and unite in society, has been expell'd all human commerce, and left utterly abandon'd and disconsolate. Fain wou'd I run into the crowd for shelter and warmth; but cannot prevail with myself to mix with such deformity. I call upon others to join me, in order to make a company apart; but no one will hearken to me. Every one keeps at a distance, and dreads that storm, which beats upon me from every side. I have expos'd myself to the enmity of all metaphysicians, logicians, mathematicians, and even theologians; and can I wonder at the insults I must suffer? I have declar'd my disapprobation of their systems; and can I be surpriz'd, if they shou'd express a hatred of mine and of my person? When I look abroad, I foresee on every side, dispute, contradiction, anger, calumny and detraction. When I turn my eye inward, I find nothing but doubt and ignorance. All the world conspires to oppose and contradict me; tho' such is my weakness, that I feel all my opinions loosen and fall of themselves, when unsupported by the approbation of others. Every step I take is with hesitation, and every new reflection makes me dread an error and absurdity in my reasoning. For with what confidence can I venture upon such bold enterprises, when beside those numberless infirmities peculiar to myself, I find so many which are common to human nature? Can I be sure, that in leaving all established opinions I am following truth; and by what criterion shall I distinguish her, even if fortune shou'd at last guide me on her foot-steps? After the most accurate and exact of my reasonings, I can give no reason why I shou'd assent to it; and feel nothing but a strong propensity to consider objects strongly in that view, under which they appear to me. Experience is a principle, which instructs me in the several conjunctions of objects for the past. Habit is another principle, which determines me to expect the same for the future; and both of them conspiring to operate upon the imagination, make me form certain ideas in a more intense and lively manner, than others, which are not attended with the same advantages. Without this quality, by which the mind enlivens some ideas beyond others (which seemingly is so trivial, and so little founded on reason) we cou'd never assent to any argument, nor carry our view beyond those few objects, which are present to our senses. Nay, even to these objects we cou'd never attribute any existence, but what was dependent on the senses; and must comprehend them entirely in that succession of perceptions, which constitutes our self or person. Nay farther, even with relation to that succession, we cou'd only admit of those perceptions, which are immediately present to our consciousness, nor cou'd those lively images, with which the memory presents us, be ever receiv'd as true pictures of past perceptions. The memory, senses, and understanding are, therefore, all of them founded on the imagination, or the vivacity of our ideas.

DEAR CHILD Please to fancy, if you can, that you are reading a real letter, from a real friend whom you have seen, and whose voice you can seem to yourself to hear wishing you, as I do now with all my heart, a happy Easter. Do you know that delicious dreamy feeling when one first wakes on a summer morning, with the twitter of birds in the air, and the fresh breeze coming in at the open window – when, lying lazily with eyes half-shut, one sees as in a dream green boughs waving, or water rippling in a golden light? It is a pleasure very near to sadness, bringing tears to one’s eyes like a beautiful picture or poem. And is not that a Mother’s gentle hand that undraws your curtains, and a Mother’s sweet voice that summons you to rise? To rise and forget, in the bright sunlight, the ugly dreams that frightened you so when all was dark – to rise and enjoy another happy day, first kneeling to thank that unseen Friend, who sends you the beautiful sun? Are these strange words from a writer of such tales as ‘Alice’? And is this a strange letter to find in a book of nonsense? It may be so. Some perhaps may blame me for thus mixing together things grave and gay; others may smile and think it odd that any one should speak of solemn things at all, except in church and on Sunday: but I think – nay, I am sure – that some children will read this gently and lovingly, and in the spirit of which I have written it. For I do not believe God means us thus to divide life into two halves – to wear a grave face on Sunday, and to think it out-of-place to even so much as mention Him on a week-day. Do you think He cares to see only kneeling figures, and to hear only tones of prayer – and that He does not also love to see the lambs leaping in the sunlight, and to hear the merry voices of the children, as they roll among the hay? Surely their innocent laughter is as sweet in His ears as the grandest anthem that ever rolled up from the ‘dim religious light’ of some solemn cathedral? And if I have written anything to add to those stories of innocent and healthy amusement that are laid up in books for the children I love so well, it is surely something I may hope to look back upon without shame and sorrow (as how much of life must then be recalled!) when my turn comes to walk through the valley of shadows. This Easter sun will rise on you, dear child, feeling your ‘life in every limb’, and eager to rush out into the fresh morning air – and many an Easter-day will come and go, before it finds you feeble and gray-headed, creeping wearily out to bask once more in the sunlight – but it is good, even now, to think sometimes of that great morning when the ‘Sun of Righteousness shall arise with healing in his wings’. Surely your gladness need not be less for the thought that you will one day see a brighter dawn than this – when lovelier sights will meet your eyes than any waving trees or rippling waters – when angel-hands shall undraw your curtains, and sweeter tones than ever loving Mother breathed shall wake you to a new and glorious day – and when all the sadness, and the sin, that darkened life on this little earth, shall be forgotten like the dreams of a night that is past! Your affectionate friend, LEWIS CARROLL Easter, 1876

To those who have looked at Rome with the quickening power of a knowledge which breathes a growing soul into all historic shapes, and traces out the suppressed transitions which unite all contrasts, Rome may still be the spiritual centre and interpreter of the world. But let them conceive one more historical contrast: the gigantic broken revelations of that Imperial and Papal city thrust abruptly on the notions of a girl who had been brought up in English and Swiss Puritanism, fed on meagre Protestant histories and on art chiefly of the hand-screen sort; a girl whose ardent nature turned all her small allowance of knowledge into principles, fusing her actions into their mould, and whose quick emotions gave the most abstract things the quality of a pleasure or a pain; a girl who had lately become a wife, and from the enthusiastic acceptance of untried duty found herself plunged in tumultuous preoccupation with her personal lot. The weight of unintelligible Rome might lie easily on bright nymphs to whom it formed a background for the brilliant picnic of Anglo-foreign society; but Dorothea had no such defence against deep impressions. Ruins and basilicas, palaces and colossi, set in the midst of a sordid present, where all that was living and warm-blooded seemed sunk in the deep degeneracy of a superstition divorced from reverence; the dimmer but yet eager Titanic life gazing and struggling on walls and ceilings; the long vistas of white forms whose marble eyes seemed to hold the monotonous light of an alien world: all this vast wreck of ambitious ideals, sensuous and spiritual, mixed confusedly with the signs of breathing forgetfulness and degradation, at first jarred her as with an electric shock, and then urged themselves on her with that ache belonging to a glut of confused ideas which check the flow of emotion. Forms both pale and glowing took possession of her young sense, and fixed themselves in her memory even when she was not thinking of them, preparing strange associations which remained through her after-years. Our moods are apt to bring with them images which succeed each other like the magic-lantern pictures of a doze; and in certain states of dull forlornness Dorothea all her life continued to see the vastness of St. Peter's, the huge bronze canopy, the excited intention in the attitudes and garments of the prophets and evangelists in the mosaics above, and the red drapery which was being hung for Christmas spreading itself everywhere like a disease of the retina. Not that this inward amazement of Dorothea's was anything very exceptional: many souls in their young nudity are tumbled out among incongruities and left to "find their feet" among them, while their elders go about their business. Nor can I suppose that when Mrs. Casaubon is discovered in a fit of weeping six weeks after her wedding, the situation will be regarded as tragic. Some discouragement, some faintness of heart at the new real future which replaces the imaginary, is not unusual, and we do not expect people to be deeply moved by what is not unusual. That element of tragedy which lies in the very fact of frequency, has not yet wrought itself into the coarse emotion of mankind; and perhaps our frames could hardly bear much of it. If we had a keen vision and feeling of all ordinary human life, it would be like hearing the grass grow and the squirrel's heart beat, and we should die of that roar which lies on the other side of silence. As it is, the quickest of us walk about well wadded with stupidity.

Jamie stared at the file open on her screen, at the names of his parents. Kevin and Margaret Hammond.  The address was in the good part of Brentwood. An expensive area.  You’d have to be well-off to live there. A picture was forming in her head. Hard-working parents neglect their son for their careers. He rebels, lashes out, resents the private schooling, the luxury of his life. Starts mixing with the wrong crowd. Wouldn’t mum and dad just hate it if I got a tattoo? If I went out with this girl? If I tried heroin.  She was gripping her phone hard, seeing it play out in her head.  She knew it was possible. Easy even. Her own father had been an addict her whole life and she’d not known until she was in her early teens. Until then, she thought her dad was superman. Catching bad guys by day, devoted father and husband by night. Nothing could have been further from the truth.

Every aspect of job performance gets better as we age,” Peter Cappelli, the director of the Wharton Center for Human Resources, reported after he began to investigate the stereotypes that often surround older workers. “I thought the picture might be more mixed, but it isn’t. The juxtaposition between the superior performance of older workers and the discrimination against them in the workplace just really makes no sense.

Later that week, on the plane home, Ross wrote me a scathing eleven-page confidential report. He called my "$2 billion by 2020" vision "statistically impossible" and "ridiculous," and listed my blind spots as a leader. "Charity: water is a shop of 15 people, but a team of exactly one. You," Ross wrote. "You control everything, You even run everything. You are the product design guy. The merchandising guy. The fundraising guy. The message guy. Probably even the check-signing guy ... Metaphorically, if you're still in the club biz, you can either be the bartender or running the show ... You can't mix the drinks and run the whole club." Ross said I needed to start thinking like a CEO, which meant grow up, stop worrying about day-to-day details, and start focusing on big-picture, multi-year goals. "Whether history records you as a success or failure," Ross warned, "will depend on whether you can shift from living in today to living in tomorrow." It was some of the best advice I'd ever gotten. p221

11:25. they prophesied. What exactly do they do? Prophecy in the Bible does not primarily involve prediction. It is not that they are going about telling the future. What is happening that makes it obvious to Moses, Joshua, and apparently everyone that they are doing something that is associated with prophets? Some suggest that they are in some sort of trance, but trance behavior is not generally part of what is pictured in the fifteen books of the prophets in the Tanak or in the cases of prophecy in the Tanak's narrative books. What is typical of prophecy, as opposed to historical narrative, in the Bible is that prophecy is in poetry (or in combinations of poetry and prose). Biblical prophecy has the characteristics of oral formulaic poetry. That is, the prophet composes it on the spot, using lines that he or she has already composed and memorized, and mixing these "formulas" with new lines that occur to him or her spontaneously. When such poems occurred to the ancient poets, the poets must have truly felt inspired. And the people who watched and listened to them must have perceived them to be inspired as well. When we a man spontaneously says: They'll beat their swords into plowshares and their spears into pruning hooks. A nation won't lift a sword against a nation, and they won't learn anymore. we can easily imagine him and his audience feeling that it is God moving through him.

There's no messing with perfection. (Okay, a little messing, just for fun.) A few crystals of coarse sea salt, a drizzle of local olive oil, and a sprig or two of purple basil. Sliced and layered in a white ceramic dish, the tomatoes often match the hues of the local sunsets--- reds and golds, yellows and pinks. If there were such a thing in our house as "too pretty to eat," this would be it. Thankfully, there's not. If I'm not exactly cooking, I have done some impromptu matchmaking: baby tomatoes with smoked mozzarella, red onions, fennel, and balsamic vinegar. A giant yellow tomato with a local sheep's milk cheese and green basil. Last night I got a little fancy and layered slices of beefsteak tomato with pale green artichoke puree and slivers of Parmesan. I constructed the whole thing to look like the Leaning Tower of Pisa. I love to think of the utterly pretentious name this would be given in a trendy Parisian bistro: Millefeuille de tomate provençale, tapenade d'artichaut et coppa de parmesan d'Italie (AOC) sur son lit de salade, sauce aigre douce aux abricots. And of course, since this is a snooty Parisian bistro and half their clientele are Russian businessmen, the English translation would be printed just below: Tomato napoleon of artichoke tapenade and aged Parmigiano-Reggiano cheese on a bed of mixed greens with sweet-and-sour apricot vinaigrette. The sauce abricot was a happy accident. While making the dressing for the green salad, I mistook a bottle of peach/apricot syrup for the olive oil. Since I didn't realize my mistake until it was at the bottom of the bowl, I decided to try my luck. Mixed with Dijon mustard and some olive oil, it was very nice--- much sweeter than a French vinaigrette, more like an American-style honey Dijon. I decided to add it to my pretentious Parisian bistro dish because, believe it or not, Parisian bistros love imitating American food. Anyone who has been in Paris in the past five years will note the rise of le Tchizzberger. (That's bistro for "cheeseburger.") I'm moderate in my use of social media, but I can't stop taking pictures of the tomatoes. Close up, I've taken to snapping endless photos of the voluptuously rounded globes. I rejoice in the mingling of olive oil and purply-red flesh. Basil leaves rest like the strategically placed tassels of high-end strippers. Crystals of sea salt catch the afternoon sun like rhinestones under the glaring lights of the Folies Bergère. I may have invented a whole new type of food photography: tomato porn.

I’m pretty sure that this is the guy I met the night before Easter in 1989. You see these?” He picked out Polaroids depicting a severed penis, a black male’s scalp with a large Jheri curl still attached, and a painted skull. “These belong to him.” This was the first time he kept his victim’s body parts. He met Anthony Sears at closing time in front of a dance club called La Cage. He was with a friend, a white man, and after accepting Dahmer’s offer to come home with him, the friend gave them a ride to 57th and National. They walked the remainder of the way to Grandma’s, and Dahmer gave him the drink mixed with Halcion. He had sex with him before and after death. On Easter Sunday, while Grandma attended church, Dahmer dismembered the body by severing the flesh, keeping the individual’s scalp, genitals, and skull. He wanted to preserve these body parts, so he went to a hardware store and told the clerk he was interested in drying and treating a wild rabbit pelt. They informed him that acetone would do the trick, and he purchased some. After cleaning the body parts, Dahmer treated them with the acetone for preservation. “It actually worked quite well, as you can see from the pictures. When they were dried, I wore his scalp. It helped me to fantasize and remember the night I was with him. I could suck on his penis and masturbate.

Soft washed river sand is still the best toy ever invented for children. It serves countless other purposes too. It cannot be beat for scouring dirty pots and pans and for cleaning wooden floors. Mixed with burnt powdered clam shells, you have the finest cement. Take a smooth slab of wood and cover it with tree or bush resin, sprinkle different colored river sand on the sticky resin to form colored pictures. River sand laid under animal traps prevent them from freezing down even in the coldest weather. River sand makes fine sidewalks and good insulation under buildings.

Second, join and participate in at least one group outside your occupational interests. Association with people who have different job interests broadens your thinking and helps you to see the big picture. You’ll be surprised how mixing regularly with people outside your occupational area will stimulate your on-the-job thinking.

1973 was the year when the United Kingdom entered the European Economic Union, the year when Watergate helped us with a name for all future scandals, Carly Simon began the year at number one with ‘You’re So Vain’, John Tavener premiered his Variations on ‘Three Blind Mice’ for orchestra, the year when The Godfather won Best Picture Oscar, when the Bond film was Live and Let Die, when Perry Henzell’s film The Harder They Come, starring Jimmy Cliff, opened, when Sofia Gubaidulina’s Roses for piano and soprano premiered in Moscow, when David Bowie was Aladdin Sane, Lou Reed walked on the wild side and made up a ‘Berlin’, Slade were feeling the noize, Dobie Gray was drifting away, Bruce Springsteen was ‘Blinded by the Light’, Tom Waits was calling ‘Closing Time’, Bob Dylan was ‘Knocking on Heaven’s Door’, Sly and the Family Stone were ‘Fresh’, Queen recorded their first radio session for John Peel, when Marvin Gaye sang ‘What’s Going On’ and Ann Peebles’s ‘I Can’t Stand the Rain’, when Morton Feldman’s Voices and Instruments II for three female voices, flute, two cellos and bass, Alfred Schnittke’s Suite in the Old Style for violin and piano and Iannis Xenakis’s Eridanos for brass and strings premiered, when Ian Carr’s Nucleus released two albums refining their tangy English survey of the current jazz-rock mind of Miles Davis, when Ornette Coleman started recording again after a five-year pause, making a field recording in Morocco with the Master Musicians of Joujouka, when Stevie Wonder reached No. 1 with ‘Superstition’ and ‘You Are the Sunshine of My Life’, when Free, Family and the Byrds played their last show, 10cc played their first, the Everly Brothers split up, Gram Parsons died, and DJ Kool Herc DJed his first block party for his sister’s birthday in the Bronx, New York, where he mixed instrumental sections of two copies of the same record using two turntables.

The grisaille (gree-zah-yuh) is like painting a black and white picture of the scene. In fact, if you have your smart phone available, take a photo and, in the photo app, you can quickly remove the color to get a black and white version of the scene. This is not a bad practice because it gives you a quick look at the values. Still you need to determine the values for yourself. You need to know how to determine values by using some kind of value scale. Start by squeezing a pile of white paint at the top of your palette and a pile of black paint (mixture of burnt umber and blue, or premixed black) at the bottom. Between the white and the black, mix up at least three values of gray, ranging in value from white to black.

Large fountain glasses arrived at our table, layered with sweet beans, caramelized saba bananas, jackfruit, palm fruit, nata de coco, and strips of macapuno topped with shaved ice, evaporated milk, a slice of leche flan, a healthy scoop of ube halaya, and a scattering of pinipig, the toasted glutinous rice adding a nice bit of crunch. This frosty rainbow confection raised my spirits every time I saw it, and both Sana and I pulled out our phones to take pictures of the dish. She laughed. "This is almost too pretty to eat, so I wanted to document its loveliness before digging in." "This is for the restaurant's social media pages. My grandmother only prepares this dish in the summer, so I need to remind our customers to come while it lasts." "How do we go about this?" Rob asked, looking at his rapidly melting treat in trepidation. "Up to you. You can mix everything together like the name says so that you get a bit of everything in each bite. Or you can tackle it layer by layer. I'm a mixing girl, but you better figure it out fast or you're going to be eating dessert soup." We all dug in, each snowy bite punishing my teeth making me shiver in delight. I loved the interplay of textures---the firmness of the beans versus the softness of the banana and jackfruit mingling with the chewiness of the palm fruit, nata de coco, and macapuno. The fluffy texture of the shaved ice soaked through with evaporated milk, with the silky smoothness of the leche flan matched against the creaminess of the ube halaya and crispiness of the pinipig. A texture eater's (and sweet tooth's) paradise. "This is so strange," Valerie said. "I never would've thought of putting all these things together, especially not in a dessert. But it works. I mean, I don't love the beans, but they're certainly interesting. And what are these yellow strips?" "Jackfruit. When ripe, they're yellow and very sweet and fragrant, so they make a nice addition to lots of Filipino desserts. They were also in the turon I brought to the meeting earlier. Unripe jackfruit is green and used in vegetarian recipes, usually.

In retrospect this period of Roman Catholic missionary expansion represents a mixed picture. Christianity did spread far beyond the borders of Europe and the Mediterranean basin as a result, but at the cost of being inextricably associated with Western colonialism in the minds of the subject peoples. This same problem of disentangling the essentials of Christian faith from its Western political and cultural trappings was also to face Protestant missionaries in succeeding centuries.

She was a matchless beauty, elegant, brilliant, worldly, and if he’d seen nothing like her in Chicago, what must the hidalgos have thought of her out there under the open sky? He pictured her in the arms of a tall mustachioed figure in a sombrero, some sunburned hybrid of Tom Mix and Teddy Roosevelt, and felt the loss of her like a physical ache.

Once in a while, pictures of Maomao the cat were mixed in with the letters; these came from Chou-u. In lieu of a personal seal, Maomao’s toe beans would be pressed on the pictures in scarlet ink. The scratches on the

Seriously. Do you believe in love at first sight?” “No.” I shake my head. “But I do believe you’ve mixed a little too much whiskey and Benadryl, and it’s making you say things you’re going to regret in the morning.” “Can’t regret the truth. And you can’t run from it either. It’s always going to be staring you in the face until you finally accept it.” “Love at first sight,” I repeat, trying to picture it. “I believe in love at first sight,” he says. “I loved you the first moment I met you.” “That’s called lust.” “Nope.” “Lust fades out. Whatever you planted in my chest just keeps growing, no matter how much my demons try to hack it away. I loved you the first time I saw you, and nothing’s ever going to make that stop.

If you're asking if she had an influence on my picture-taking, yes, Joan Eardley more than anyone. Her work has an immediate quality, a realism and a kind of urgency. Here in her paintings were the chidren of the tenements as I recall them in my own childhood in Garnethill, which was a very mixed area; Hungarians, Italians, Irish, Polish, Lithuanian. And the ladies going to the steamie, hanging the washing out of the window. It made a fair mark on me.

History is a very tricky thing. To begin with, you can't get it mixed up with the past. The past actually happened, but history is only what someone wrote down.

Let us live by dreams and for dreams, undoing the Universe and remaking it, distractedly, as best suits our moment to dream. Let us do this conscious of its utter futility. Let us ignore life with every pore of our body, stray from reality with all of our senses, and abdicate from love with all our soul. Let us fill with useless sand the pitchers we take to the well, then empty them out, only to refill them and empty them again; the more futile the better. Let us weave garlands and, once they're finished, carefully, meticulously unpick them. Let us choose paints and mix them on the palette with no canvas before us to paint. Let us send for stone to chisel when we have no chisel and we are not sculptors. Let us render everything absurd and adorn our sterile hours with more utilities. Let us play hide and seek with our consciousness of being alive. Let us, with an amused, incredulous smile on our lips, listen to God telling us that we exist. Let us watch Time painting the world and finding the resulting picture not only false but hollow. Let us think with sentences that contradict one another, speaking out loud in sounds that aren’t colours. Let us affirm - and grasp, which would be impossible - that we are conscious of not being conscious, and that we are not what we are. Let us explain all this in an obscure, paradoxical way, saying that things have a divine, othersidedness to them, and let us not believe too much in that explanation so that we do not have to discard it. Let us carve out of empty silence all our dreams of speaking. Let us allow all our thoughts of action to slide into stagnant torpor. Yet dreamed landscapes are merely the smoke from known landscapes and the tedium of dreaming them is almost as great as the tedium of looking at the world. And hovering distractedly above all this, like a vast blue sky, the horror of living.

Cannon Films […] already had a Vietnam script for its own kicking around. Impressed by Norris in a way they had not been by Van Damme, Golan and Globus signed him up to a five-film contract and greenlit both of the war pictures, to be released as Missing in Action and Missing in Action 2. The first was set during the conflict itself, with Norris’s character, American POW Jim Braddock, tormented by his Vietnamese captors. One torture scene called for Braddock to be hung upside down from a tree, a sack placed over his head, and a ravenous rat placed inside it. After a violent tussle, it would end with the reveal that Braddock has bitten the creature to death, rather than vice versa. “They were getting ready to do this scene, and I see all these mountain rats in cages,” remembers Norris. “I say, ‘Where’s the fake rat?’ No one says anything. So I say to the director, ‘How are you going to do this scene?’ And he says, ‘I haven´t really thought about it that much.’” Norris faced a choice: cancel the scene or have an actual rat killed and placed inside his mouth (the American Humane Association had clearly not been invited on set). But he didn’t see it as a choice at all. He ordered the animal killed, bit into its bulbous, furry corpse, and was hoisted up for the scene, shaking to simulate a struggle while fake blood poured down the rope. “The blood is coming down into my mouth, mixed with the saliva of the rat. I’m shaking all over, and finally I’m about to throw up,” Norris says, shuddering. “All I can taste is this rat in my mouth and I’m thinking I’ve got the bubonic plague from doing this with a mountain rat. But the scene was good.” Norris’s wife, Dianne, refused to kiss him for a week.

Cannon Films […] already had a Vietnam script for its own kicking around. Impressed by Norris in a way they had not been by Van Damme, Golan and Globus signed him up to a five-film contract and greenlit both of the war pictures, to be released as Missing in Action and Missing in Action 2. The first was set during the conflict itself, with Norris’s character, American POW Jim Braddock, tormented by his Vietnamese captors. One torture scene called for Braddock to be hung upside down from a tree, a sack placed over his head, and a ravenous rat placed inside it. After a violent tussle, it would end with the reveal that Braddock has bitten the creature to death, rather than vice versa. “They were getting ready to do this scene, and I see all these mountain rats in cages,” remembers Norris. “I say, ‘Where’s the fake rat?’ No one says anything. So I say to the director, ‘How are you going to do this scene?’ And he says, ‘I haven´t really thought about it that much.’” Norris faced a choice: cancel the scene or have an actual rat killed and placed inside his mouth (the American Humane Association had clearly not been invited on set). But he didn’t see it as a choice at all. He ordered the animal killed, bit into its bulbous, furry corpse, and was hoisted up for the scene, shaking to simulate a struggle while fake blood poured down the rope. “The blood is coming down into my mouth, mixed with the saliva of the rat. I’m shaking all over, and finally I’m about to throw up,” Norris says, shuddering. “All I can taste is this rat in my mouth and I’m thinking I’ve got the bubonic plague from doing this with a mountain rat. But the scene was good.” Norris’s wife, Dianne, refused to kiss him for a week.

I’m struck by the fresh clean scent of central air-conditioning—mixed with a hint of Murphy Oil, as if someone has just given the floors a good scrubbing. All

Can you picture Ghandi or Buddha storming into the polling place of a local election, shouting, overturning tables, sending the participants fleeing? Now throw a small carnival into the mix, which they also need rout. Impossible. Whoever did this would have to be really committed to clear the building. Fierce and intentional. This is a breathtaking quality - especially when compared to our present age where doubt masquerades as humility, passivity cloaks as rest, and emasculated indecision poses as laid-back enlightenment.

house with a great view. You’ll see that at the party tonight. Wish Char would be here for that, too, but we’ll all be together soon.” At least, Kate thought, Jack Lockwood, alias former father, would not be here tonight, so she could enjoy herself. Not only was she curious to see Grant Mason, but she also couldn’t wait to examine the Adena burial site she’d found on an old map in the university archives when she was back in the States at Christmas. The so-called Mason Mound was about twenty yards behind Grant’s house, and she was much more eager to see it than him. * * * The caterers Grant had hired from the upscale Lake Azure area had taken over the kitchen, and he didn’t want to disturb the setup for the buffet or the bar at the far end of the living room. So he sat in his favorite chair looking out over the back forest view through his massive picture window. The guests for the party he was throwing for his best friend, Gabe, and his fiancée, Tess, would be here soon—eighteen people, a nice number for mixing and chatting. He’d laid in champagne for toasts to the happy couple. Gabe and Grant had been best friends since elementary school, when a teacher had seated them in alphabetical order by first names. Grant had been the first to marry. Lacey had been his high-school sweetheart, head of the cheerleaders, prom queen to his king. How unoriginal—and what a disaster.

In our scientific age, a materialist picture of the world now holds many captive. Add to that the postmodern suspicion that all truth claims are in fact disguised bids for power and you get a potent mix of skepticism and cynicism, a cocktail guaranteed to make one’s blood run old before its time.

I+V=R (Imagination mixed with Vividness becomes Reality.) The speaker pointed out that the mind thinks in pictures, not in words. And as we vividly picture in our mind what we desire, it will become a reality.

After parking in the west lot, far from a certain gang member with a reputation that could scare off even the toughest Fairfield football players, Sierra and I walk up the front steps of Fairfield High. Unfortunately, Alex Fuentes and the rest of his gang friends are hanging by the front doors. “Walk right past them,” Sierra mutters. “Whatever you do, don’t look in their eyes.” It’s pretty hard not to when Alex Fuentes steps right in front of me and blocks my path. What’s that prayer you’re supposed to say right before you know you’re going to die? “You’re a lousy driver,” Alex says with his slight Latino accent and full-blown-I-AM-THE-MAN stance. The guy might look like an Abercrombie mode with his ripped bod and flawless face, but his picture is more likely to be taken for a mug shot. The kids from the north side don’t really mix with kids from the south side. It’s not that we think we’re better than them, we’re just different. We’ve grown up in the same town, but on totally opposite sides. We live in big houses on Lake Michigan and they live next to the train tracks. We look, talk, act, and dress different. I’m not saying it’s good or bad; it’s just the way it is in Fairfield. And, to be honest, most of the south side girls treat me like Carmen Sanchez does…they hate me because of who I am. Or, rather, who they think I am. Alex’s gaze slowly moves down my body, traveling the length of me before moving back up. It’s not the first time a guy has checked me out, it’s just that I never had a guy like Alex do it so blatantly…and so up-close. I can feel my face getting hot. “Next time, watch where you’re goin’,” he says, his voice cool and controlled. He’s trying to bully me. He’s a pro at this. I won’t let him get to me and win his little game of intimidation, even if my stomach feels like I’m doing one hundred cartwheels in a row. I square my shoulders and sneer at him, the same sneer I use to push people away. “Thanks for the tip.” “If you ever need a real man to teach you how to drive, I can give you lessons.” Catcalls and whistles from his buddies set my blood boiling. “If you were a real man, you’d open the door for me instead of blocking my way,” I say, admiring my own comeback even as my knees threaten to buckle. Alex steps back, pulls the door open, and bows like he’s my butler. He’s totally mocking me, he knows it and I know it. Everyone knows it. I catch a glimpse of Sierra, still desperately searching for nothing in her purse. She’s clueless. “Get a life,” I tell him. “Like yours? Cabróna, let me tell you somethin’,” Alex says harshly. “Your life isn’t reality, it’s fake. Just like you.” “It’s better than living my life as a loser,” I lash out, hoping my words sting as much as his words did. “Just like you.” Grabbing Sierra’s arm, I pull her toward the open door. Catcalls and comments follow us as we walk into the school. I finally let out the breath I must have been holding, then turn to Sierra. My best friend is staring at me, all bug-eyed. “Holy shit, Brit! You got a death wish or something?” “What gives Alex Fuentes the right to bully everyone in his path?” “Uh, maybe the gun he has hidden in his pants or the gang colors he wears,” Sierra says, sarcasm dripping from every word. “He’s not stupid enough to carry a gun to school,” I reason. “And I refuse to be bullied, by him or anyone else.

To me, the best part about opening yourself up to hearing from Spirit is that you can do it just by being yourself. You don’t need tarot cards or crystals. You don’t even need to hold or wear an object with your family member’s energy, like a lot of people think. When I mention a necklace or ring during a session that you’ve brought with you, it’s not because I’m drawn to that energy like a magnet. It’s because Spirit tells me to reference it. In fact, I once did a phone reading for a woman who had a lot of female energy around her that had passed on, including a mom, grandmother, aunt, and cousin. She also had a grandfather and father on the Other Side. Anyway, Spirit showed me a picture I have of Victoria, wearing the most random clothes—a baseball cap, sunglasses, Rug Rat pajamas, holding the pet parakeet that Gram got her, and Mardi Gras beads. So I said, “This is going to sound bizarre, but I feel like you’re wearing a strange mix of items: pajamas, a silk scarf, a man’s hat, gloves, rosary beads, and jewelry that doesn’t match. Are you wearing an article from every dead person you want to hear from?” There was total silence on the phone. I think she was a little embarrassed, but I have to admit that I was actually relieved she didn’t dress like that all the time!

What makes Capa a great photo journalist?" asks a reporter covering a 1998 retrospective of his work. "We see his own appetite for life, his mix of urgency with compassion . . . the artistic thrust of his photography always had more to do with its emotional pitch, which remained genuine and deeply felt." Or, in Capa's own words, a great picture "is a cut out of the whole event which will show more of the real truth of the affair to some one who was not there than the whole scene.

He also has Sadie,” Kerry added. “Unless Big Jack is so old-school that he can’t picture a woman running the family empire.” Cooper shot her a quick smile. “I think we both know that Sadie’s not meant to live her whole life on Cameroo Downs. I can’t even--don’t want to--think about the time when she’ll be wanting to head off, but I’m fair to certain she will.” “What makes you say that?” He glanced at Kerry again. “I’ve seen the way she looks at you, Starfish. She’s got a bit of the wanderlust herself. You’re her hero.” Kerry ducked her chin, but she was smiling. When he looked at her again, she was staring through the front windshield, a mix of wistfulness and guilt on her face. “I didn’t say that to make you feel bad.” “I know,” she said. “But I do, all the same.” She shifted in her seat so she was angled more toward him. “Whatever happens between us, I’d like it if--do you think she’d still want to hear from me?” He nodded immediately. “She’s got a huge heart, as you know, and she misses you greatly. She’d be over the moon.” “She’s counting on you to bring me home, isn’t she.” She didn’t make it a question. “They all are,” he said quite honestly. “But they won’t hold it against you if your heart says otherwise. They--we--wouldn’t want you there if it’s not where you want to be.” He looked back to the road. “You’ve two families who support your life choices now, you know, regardless of their own wants or desires.” He didn’t look at her then, well aware that he’d added to the guilt and fear she already was feeling. He supposed, if he were being brutally honest, she’d earned a bit of the guilt where it concerned not staying in touch with Sadie as she’d promised, but the rest…well, it was all water under the bridge now. “I appreciate that,” she said in a quiet but steady voice. “More than you know. More than I knew.

Finally, every society develops a system of aesthetic standards that get manifested in everything from decorative art, music, and dance to the architecture and planning of buildings and communities. There are many different ways we could examine artistic systems. One way of thinking about it is to observe the degree to which a society's aesthetics reflect clear lines and solid boundaries versus fluid ones. Many Western cultures favor clean, tight boundaries whereas many Eastern cultures prefer more fluid, indiscriminate lines. In most Western homes, kitchen drawers are organized so that forks are with forks and knives are with knives. The walls of a room are usually uniform in color, and when a creative shift in color does occur, it usually happens at a corner or along a straight line midway down the wall. Pictures are framed with straight edges, molding covers up seams in the wall, and lawns are edged to form a clear line between the sidewalk and the lawn. Why? Because we view life in terms of classifications, categories, and taxonomies. And cleanliness itself is largely defined by the degree of order that exists. It has little to do with sanitation and far more to do with whether things appear to be in their proper place. Maintaining boundaries is essential in the Western world; otherwise categories begin to disintegrate and chaos sets in.13 Most Americans want dandelion-free lawns and roads with clear lanes prescribing where to drive and where not to drive. Men wear ties to cover the adjoining fabric on the shirts that they put on before going to the symphony, where they listen to classical music based on a scale with seven notes and five half steps. Each note has a fixed pitch, defined in terms of the lengths of the sound waves it produces.14 A good performance occurs when the musicians hit the notes precisely. In contrast, many Eastern cultures have little concern in everyday life for sharp boundaries and uniform categories. Different colors of paint may be used at various places on the same wall. And the paint may well “spill” over onto the window glass and ceiling. Meals are a fascinating array of ingredients where food is best enjoyed when mixed together on your plate. Roads and driving patterns are flexible. The lanes ebb and flow as needed depending on the volume of traffic. In a place like Cambodia or Nigeria, the road space is available for whichever direction a vehicle needs it most, whatever the time of day. And people often meander along the road in their vehicles the same way they walk along a path. There are many other ways aesthetics between one place and another could be contrasted. But the important point is some basic understanding of how cultures differ within the realm of aesthetics. Soak in the local art of a place and chalk it up to informing your strategy for international business.

for the faults of the many, judge not the whole. Everything on earth is of mixed character, like a mingling of sand and sugar. Be like the wise ant which seizes only the sugar, and leaves the sand untouched.

Tsk, tsk, tsk, Maziar,” he said sarcastically. “Don’t play games with me, or you will make me angry again. Don’t tell me that you don’t know about these parties where men and women start with dinner and drinking alcohol and then go to the swimming pool, where they eat chocolate off each other’s bodies.” I sat silently, trying to picture it. How on earth does one eat chocolate off another person’s body in a swimming pool? I had a picture in my mind of chocolate floating on the surface of the water, and then I began to imagine the mixed taste of chlorine and chocolate.

The pictures she drew on were vibrant as ever, though. The crumbling stone farmstead overlooking the great Luberon valley where she was born. The blending room of the distillery in Manosque where she had experienced a kind of rebirth, beginning the transformation into the woman she was now. Scent was memory, and memory a complex blend of scent and emotion: the perfect flowers of the lavender hills, like millions of mauve butterflies fluttering on stalks; the violet; the heliotrope of home, with its heart of sweet almond and cherry vanilla. She mixed them all into her signature fragrance Lavande de Nuit, along with a breath of civet musk and a haunting trace of smoke.

A poet is an artist that paints pictures by mixing thought, imagination, and emotion with words.

Watching Dad figure things out was like watching an artist paint a picture. He used to say an investigation was a lot like art, just a blank canvas and a whole lot of different colors in little jars. All the clues were there, just like a painting was already in those little jars of paint. But you had to mix them together and put them on the canvas right, so it all made sense.

One evening, a young boy hopped up on his father’s lap and whispered, “Dad, we don’t spend enough time together.” The father, who dearly loved his son, knew in his heart this was true and replied, “You’re right and I’m so sorry. But I promise I’ll make it up to you. Since tomorrow is Saturday, why don’t we spend the entire day together? Just you and me!” It was a plan, and the boy went to bed that night with a smile on his face, envisioning the day, excited about the adventurous possibilities with his Pops. The next morning the father rose earlier than usual. He wanted to make sure he could still enjoy his ritual cup of coffee with the morning paper before his son awoke, wound up and ready to go. Lost in thought reading the business section, he was caught by surprise when suddenly his son pulled the newspaper down and enthusiastically shouted, “Dad, I’m up. Let’s play!” The father, although thrilled to see his son and eager to start the day together, found himself guiltily craving just a little more time to finish his morning routine. Quickly racking his brain, he hit upon a promising idea. He grabbed his son, gave him a huge hug, and announced that their first game would be to put a puzzle together, and when that was done, “we’ll head outside to play for the rest of the day.” Earlier in his reading, he had seen a full-page ad with a picture of the world. He quickly found it, tore it into little pieces, and spread them out on the table. He found some tape for his son and said, “I want to see how fast you can put this puzzle together.” The boy enthusiastically dove right in, while his father, confident that he had now bought some extra time, buried himself back in his paper. Within minutes, the boy once again yanked down his father’s newspaper and proudly announced, “Dad, I’m done!” The father was astonished. For what lay in front of him—whole, intact, and complete—was the picture of the world, back together as it was in the ad and not one piece out of place. In a voice mixed with parental pride and wonder, the father asked, “How on earth did you do that so fast?” The young boy beamed. “It was easy, Dad! I couldn’t do it at first and I started to give up, it was so hard. But then I dropped a piece on the floor, and because it’s a glass-top table, when I looked up I saw that there was a picture of a man on the other side. That gave me an idea! “When I put the man together, the world just fell into place.

The cultural divides within the advertising industry became wider when web pages became part of the marketing mix, beginning in 1995. Early web pages were like printed catalogs, and traditional advertising agencies knew how to design catalogs – they were just pictures and words in a different medium, right? The rub was that web pages seemed to clients and agencies more like the domain of software folk, like computer programmers, rather than the domain of traditional copywriters and art directors. An automotive company that wanted to put up web pages to help consumers choose car models and features was more likely to go to a group of programmers than to a traditional agency. The web production costs were exceptionally high, too – the hours spent by web designers and programmers far outstripped the creative hours spent on catalogs. Wasn’t the business of web design (and later, web advertising) a separate business? Traditional

The body’s initial response to a noxious local insult is to produce a local inflammatory response with sequestration and activation of white blood cells and the release of a variety of mediators to deal with the primary ‘insult’ and prevent further damage either locally or in distant organs. Normally, a delicate balance is achieved between pro- and anti-inflammatory mediators. However, if the inflammatory response is excessive, local control is lost and a large array of mediators, including prostaglandins, leukotrienes, free oxygen radicals and particularly pro-inflammatory cytokines (p. 72), are released into the circulation. The inflammatory and coagulation cascades are intimately related. The process of blood clotting not only involves platelet activation and fibrin deposition but also causes activation of leucocytes and endothelial cells. Conversely, leucocyte activation induces tissue factor expression and initiates coagulation. Control of the coagulation cascade is achieved through the natural anticoagulants, antithrombin (AT III), activated protein C (APC) and tissue factor pathway inhibitor (TFPI), which not only regulate the initiation and amplification of the coagulation cascade but also inhibit the pro-inflammatory cytokines. Deficiency of AT III and APC (features of disseminated intravascular coagulation (DIC)) facilitates thrombin generation and promotes further endothelial cell dysfunction. Systemic inflammation During a severe inflammatory response, systemic release of cytokines and other mediators triggers widespread interaction between the coagulation pathways, platelets, endothelial cells and white blood cells, particularly the polymorphonuclear cells (PMNs). These ‘activated’ PMNs express adhesion factors (selectins), causing them initially to adhere to and roll along the endothelium, then to adhere firmly and migrate through the damaged and disrupted endothelium into the extravascular, interstitial space together with fluid and proteins, resulting in tissue oedema and inflammation. A vicious circle of endothelial injury, intravascular coagulation, microvascular occlusion, tissue damage and further release of inflammatory mediators ensues. All organs may become involved. This manifests in the lungs as the acute respiratory distress syndrome (ARDS) and in the kidneys as acute tubular necrosis (ATN), while widespread disruption of the coagulation system results in the clinical picture of DIC. The endothelium itself produces mediators that control blood vessel tone locally: endothelin 1, a potent vasoconstrictor, and prostacyclin and nitric oxide (NO, p. 82), which are systemic vasodilators. NO (which is also generated outside the endothelium) is implicated in both the myocardial depression and the profound vasodilatation of both arterioles and venules that causes the relative hypovolaemia and systemic hypotension found in septic/systemic inflammatory response syndrome (SIRS) shock. A major component of the tissue damage in septic/SIRS shock is the inability to take up and use oxygen at mitochondrial level, even if global oxygen delivery is supranormal. This effective bypassing of the tissues results in a reduced arteriovenous oxygen difference, a low oxygen extraction ratio, a raised plasma lactate and a paradoxically high mixed venous oxygen saturation (SvO2). Role of splanchnic ischaemia In shock, splanchnic hypoperfusion plays a major role in initiating and amplifying the inflammatory response, ultimately resulting in multiple organ failure (MOF). The processes involved include: • increased gut mucosal permeability • translocation of organisms from the gastrointestinal tract lumen into portal venous and lymphatic circulation • Kupffer cell activation with production and release of inflammatory mediators.

The main problem facing immigrant communities was to change the sort of sociability they practiced from an ascriptive to a voluntary form. That is, the traditional social structures they brought with them were based on family, ethnicity, geographic origin, or some other characteristic with which they were born. For the first generation that landed in the United States, they created the trust necessary for revolving credit associations, family restaurants, laundries, and grocery stores. But in subsequent generations they could become a constraint, narrowing the range of business opportunities and keeping descendants in ethnic ghettoes. For the most successful ethnic groups, the sons and daughters of first-generation immigrants had to learn a broader kind of sociability that would get them jobs in the mainstream business world or in the professions. The speed with which immigrants could make the transition from a member of an ethnic enclave to assimilated mainstream American explains how the United States could be both ethnically diverse and strongly disposed to community at the same time. In many other societies, the descendants of immigrants were never permitted to leave their ethnic ghetto. Although solidarity within the ethnic enclave remained high, the society as a whole was balkanized and conflicted. Diversity can have clear benefits for a society, but is better taken in small sips than in large gulps. It is easily possible to have too diverse a society, in which people not only fail to share higher values and aspirations but even fail to speak the same language. The possibilities for spontaneous sociability then begin to flow only within the cleavage lines established by race, ethnicity, language, and the like. Assimilation through language policy and education must balance ethnicity if broader community is to be possible. The United States presents a mixed and changing picture. If we take into account factors like America’s religious culture and ethnicity, there are ample grounds for categorizing it simultaneously as both an individualistic and a group-oriented society. Those who see only the individualism are ignoring a critical part of American social history. “Yet the balance has been shifting toward individualism rapidly in the last couple of decades, so it is perhaps no accident that Asians and others see it as the epitome of an individualistic society. This shift has created numerous problems for the United States, many of which will play themselves out in the economic sphere.

At Abu Ghraib, several prisoners mixed it up with guards on October 18, 2003, led by a detainee with a smuggled pistol. A few of the MPs chose their own countermeasure, not unlike the 1-8 Infantry soldiers at the Tigris River. That night, five enlisted MPs pulled twelve Iraqi prisoners from their cells. They stripped the captives naked and then piled them in sexually humiliating positions. A week or so later, the same guards put a hooded man on a box with fake electrodes clipped on his fingers; the prisoner was told the wires were real, and if he stepped off the box, he’d be electrocuted. Three days later, the same MPs again stripped prisoners and put them in sexually embarrassing poses. This incident also involved K-9 police dogs. A trio of military intelligence soldiers participated. These abuses were not linked to any interrogation. The soldiers later explained that they were teaching the Iraqis a lesson, the same reason offered by the soldiers in 1-8 Infantry. The MPs, however, took a lot of pictures.

mother's love of books and spent a great deal of time outdoors, where she grew up independent and free spirited. Nature became an important part of her life and later her work. When she was eleven, she and her sisters took private art lessons, but she grew tired of the lessons because her teacher insisted that her students copy pictures from a stack of prints she kept in a cupboard. At home, she painted the imaginary scenes she really wanted to paint. She liked experimenting with shading and light and mixing colors to get just the right effect. By the time she was thirteen, she knew she wanted to be an artist and took art lessons all through high school. She resented it when her teachers touched up her paintings because she wanted other people to see things just as she saw them. When her family moved to Virginia her last two years of high school, she was enrolled at a boarding school for girls. In Virginia she was quite different from the more traditionally feminine southern girls who wore frilly dresses with ruffles and bows and

Marcie looked at the ugly thing and took a minute to rearrange her mental picture of the family gathered around the wood-burning stove, replacing the quaint, charming piece in her imagination with this big, brown metal beast, which would heat their home but not burn little fingers. It would be like a large, beloved dog of some hideous mixed breed, that fit right into their family and served its purpose so well that no one noticed or cared what it looked like.

Publishing your writing is a bewildering mix of emotions somewhere between parental angst and walking down a public beach wearing only a thong. [scrub all you want that mental picture isn’t going anywhere] You feel all the pride and joy as well as the fear and trepidation that come with putting your child out into the world. At the same time you’ve exposed a part of yourself that is normally private and while you hope people will appreciate it, there is a very real possibility of a backlash. You’ve prepared yourself for either eventuality but a ‘no comment’ feels like crickets chirping in your soul.

Surprised at Kaye’s belated display of maternal instincts, Sean relented, promising he’d get in touch with Lily. Besides, he knew his own mother would never forgive him if he refused such a simple request. As he made his way down the narrow streets to the pensione opposite the Pantheon, where Lily and her roommate were staying, Sean steadfastly refused to acknowledge any other reason for agreeing to take Lily out. It had been three years since they’d left for college, not once had she come home to visit. But Sean still couldn’t look at a blonde without comparing her to Lily. He’d mounted the four flights of narrow, winding stairs, the sound of his steps muffled by red, threadbare carpet. At number seventeen, he’d stopped and stood, giving his racing heart a chance to quiet before he knocked. Calm down, he’d instructed himself. It’s only Lily. His knock echoed loudly in the empty hall. Through the door he heard the sound of approaching footsteps. Then it opened and there she was. She stood with her mouth agape. Her eyes, like beacons of light in the obscurity of the drab hallway, blinked at him with astonishment. “What are you doing here?” The question ended on a squeak. As if annoyed with the sound, she shut her mouth with an audible snap. Was it possible Kaye hadn’t bothered to tell Lily he’d be coming? “I heard you were spending a few days in Rome.” Sean realized he was staring like a dolt, but couldn’t help himself. It rattled him, seeing Lily again. A barrage of emotions and impressions mixed and churned inside him: how good she looked, different somehow, more self-confident than in high school, how maybe this time they might get along for more than 3.5 seconds. He became aware of a happy buzz of anticipation zinging through him. He was already picturing the two of them at a really nice trattoria. They’d be sitting at an intimate corner table. A waiter would come and take their order and Sean would impress her with his flawless Italian, his casual sophistication, his sprezzatura. By the time the waiter had served them their dessert and espresso, she’d be smiling at him across the soft candlelight. He’d reach out and take her hand. . . . Then Lily spoke again and Sean’s neat fantasy evaporated like a puff of smoke. “But how did you know I was here?” she’d asked, with what he’d conceitedly assumed was genuine confusion—that is, until a guy their age appeared. Standing just behind Lily, he had stared back at Sean through the aperture of the open door with a knowing smirk upon his face. And suddenly Sean understood. Lily wasn’t frowning from confusion. She was annoyed. Annoyed because he’d barged in on her and Lover Boy. Lily didn’t give a damn about him. At the realization, his jumbled thoughts at seeing her again, all those newborn hopes inside him, faded to black. His brain must have shorted after that. Suave, sophisticated guy that he was, Sean had blurted out, “Hey, this wasn’t my idea. I only came because Kaye begged me to—” Stupendously dumb. He knew better, had known since he was eight years old. If you wanted to push Lily Banyon into the red zone, all it took was a whispered, “Kaye.” The door to her hotel room had come at his face faster than a bullet train. He guessed he should be grateful she hadn’t been using a more lethal weapon, like the volleyball she’d smashed in his face during gym class back in eleventh grade. Even so, he’d been forced to jump back or have the number seventeen imprinted on his forehead. Their last skirmish, the one back in Rome, he’d definitely lost. He’d stood outside her room like a fool, Lover Boy’s laughter his only reply. Finally, the pensione’s night clerk had appeared, insisting he leave la bella americana in peace. He’d gone away, humiliated and oddly deflated.

As soon as I was through the door, Brandon was hugging me and reaching for the pictures. “Look at him! He was asleep, but look at him sucking his thumb!” I exclaimed. Mom and Bree giggled when they passed us. Yeah, not fooling them. He dropped down to a squat and put his hands tenderly on my stomach, “Hey little man!” Brandon’s deep husky voice was warm and melodic whenever he spoke to him. “How could you sleep through the whole appointment, huh? Your momma was hoping to see you moving around today. Next time, right buddy?” I watched the one sided conversation, biting my lip to keep from grinning like an idiot. Brandon would be such a good father. Whoa. Where did that come from? Don’t go down that road Harper. Brandon stood back up and absentmindedly began tracing shapes along my stomach. “What did Dr. Lowdry say?” “She said everything’s great!” That was another thing, he always asked how I felt and how the appointments went. Even Konrad and Dad didn’t do that, “I go back in another two weeks, she said he’s still big, so there’s a possibility she’s going to put me on bedrest after my next appointment to try to keep him in there as long as possible.” “Bedrest?” His hazel eyes looked worried, “But she said everything is okay?” I smoothed out his furrowed brow, and stared at his eyes. I’d finally figured them out. They were brown if he was shirtless, or wearing a brown or white shirt. Gray if he was wearing a black or gray shirt. Green was pretty self-explanatory, he had to be wearing green, and any other color would make his eyes the perfect mix of the three. “It’s fine, don’t worry about it. If I have to, it’s just to make sure he doesn’t come too early.

I am all for encouraging the arts and literature, but I do think writers should seek out their own publishers and write their own introductions. The perils of doing this sort of thing was illustrated when I was prevailed upon to write a short introduction to a book about a dreaded man-eater who had taken a liking to the flesh of the good people of Dogadda, near Lansdowne. The author of the book could hardly write a decent sentence, but he managed to string together a lengthy account of the leopard's depradations. He was so persistent, calling on me or ringing me up that I finally did the introduction. He then wanted me to edit or touch up his manuscript; but this I refused to do. I would starve if I had to sit down and rewrite other people's books. But he prevailed upon me to give him a photograph. Months later, the book appeared, printed privately of course. And there was my photograph, and a photograph of the dead leopard after it had been hunted down. But the local printer had got the captions mixed up. The dead animal's picture earned the line: 'Well-known author Ruskin Bond.' My picture carried the legend: 'Dreaded man-eater, shot after it had killed its 26th victim.' The printer's devil had turned me into a serial killer. Now

(In response to a picture critic.) I'm actually a very joyful person. But being a genius with a photographic memory mixed with a strong case of OCD makes for a difficult picture sometimes.

The interior of Toast was just as charming as the outside. White walls reflected the light streaming in through the huge picture windows, and the wooden floor was painted a pale jade green. A jumble of endearingly mismatched tables and chairs dotted the main room, each decorated with a vintage cut-glass vase of winter branches. The entire back wall of the restaurant had floor-to-ceiling shelves stocked with local edible goods. Jars of East Sussex honey. Bottles of cider. Bunches of lavender and sage. It was cozy and serene and tidy. For so many years I'd dreamed of this place, and to see it here in real life was overwhelming. I felt a swell of emotion as I took it all in, pride mixed with sorrow, bittersweet.

She sighed and sniffed the air. The smell of dirty water hung thickly in it. They were supposed to be running a clean-up initiative. Whether they had and failed, or they’d succeeded and it had grown filthy again she wasn’t sure. Either way, she wasn’t fancying a swim.  ‘Johansson,’ Roper called from the tent, beckoning her over, the report from the uniformed officer already in his hand. ‘Come on.’ She approached and he held the edge of the door-flap open for her so she could pass inside. It was eight feet by eight feet, and the translucent material made everything bright with daylight.  The kid in front of them could have been no more than eighteen or nineteen. He was skinny and had thick curly brown hair. His skin was blued from the cold and had the distinctly greyish look of someone who did more drugs than ate food. He was lying on his back on the bank, eyes closed, hands bound together on his stomach. His clothes were enough to tell them that he was homeless. It was charity shop mix and match. A pair of jeans that were two sizes too big, tied tight around pronounced hip bones with a shoelace. He was wearing a t-shirt with the cookie monster on it that looked as old as he was. But that was it. He had no jacket despite the time of year and no socks or shoes.  Jamie crouched down, pulling a pair of latex gloves from her jacket pocket. She had a box of them in the car. ‘We got an ID?’ she asked, not looking up. She knew Roper wouldn’t get down next to her. He didn’t have the stamina for it for one, and with his hangover the smell would make him puke.  He’d leave the close inspection to her.  ‘Uh, yeah. He matches the description of a missing person’s — Oliver Hammond. Eighteen years old. No positive ID yet though. No picture on file.’ ‘Eighteen,’ Jamie mumbled, looking over him more closely. ‘Jesus.’ ‘Yup.’ Roper sighed. ‘Probably scored, got high, took a little stroll, fell in the river… And here we are.’ ‘Did he zip-tie his hands together before or after shooting up?’ She side-eyed him as he scrolled through something on his phone. She hoped it was the missing person’s report, but thought it was more likely to be one of the daily news items his phone prepared for him. ‘I’m just testing you,’ he said absently. ‘What else d’you see?’ Jamie pursed her lips. No one seemed to care when homeless people turned up dead. There’d been eight this month alone in the city — two of which had been floaters like this. She’d checked it out waiting at some traffic lights. There were more than a hundred and forty homeless missing persons reported in the last six months in London. Most cases were never closed. She grimaced at the thought and went back to her inspection. Oliver’s wrists were rubbed raw from the zip-tie, but that looked self-inflicted. She craned her neck to see his arms. His elbows were grazed and rubbed raw, and the insides were tracked out, like Roper had said. He wasn’t new to the needle. She didn’t need to check his ankles and toes to know that they’d be the same.  She lingered on his fingers, honing in on the ones with missing nails.  ‘Ripped out,’ Roper said, watching as she lifted and straightened his fingers, careful not to disturb anything before the SOCOs showed up to take their photographs. In a perfect world the body would have stayed in situ in the water, but these things couldn’t be helped.  She inspected the middle and the index fingers on the right hand — the nails were completely gone. ‘Torture,’ Roper added to the silence. ‘Probably over the heroin. You know, where’s my money?

That everyone in the corporate food chain, up to Price and even Bezos, was convinced of the need to work with theaters on their terms and not put their movies on Amazon Prime until five months after they debuted on the big screen proved the company was all-in on art-house movies. It was, in fact, the core of Amazon’s strategy. Rather than serve everyone everything they might want, as Netflix was doing with its mix of Adam Sandler comedies, Will Smith action flicks, and some indies, Amazon wanted to build a distinct identity for its Prime Video service. By making a particular kind of movie, everyone at Amazon figured, they would build an identity for their service, one that made it noticeably different from what almost everyone else in Hollywood was doing. Sure, many people wouldn’t be interested in the weird, depressing, or simply outré works that it was releasing, but at least those who were into it would love it. Amazon executives distinctly didn’t want a studio that was as bland as the company’s selection of USB cables. “We don’t want something that 80 percent of the audiences eventually gets around to watching,” said Hope. “We want the thing that 20 percent of the audience is so passionate about, they’ll break up with you if you don’t feel the same way. We want to inspire an urgent need to see.” In addition, the people who go to art-house movies tend to be upscale, well-educated people who live in cities and who like to shop online. If the ultimate goal of Amazon’s movie business was to attract, retain, and engage Prime subscribers, it only made sense to draw people who would buy the most computers, books, and Kindles online. “They are often very good retail customers,” Price said sheepishly. “So that’s not a bad thing.

Until the war had broken out, there had been some sort of order in the strange and complex mixture of the four disparate peoples crowded into the little valley, all calling themselves Bosnians. They celebrated separate holidays, ate different foods, feasted and fasted on different days, yet all depended on one another, but never admitted it. They had lived amidst an ever present, if dormant, mixture of hatred and love for each other. The Muslims with their Ramadan, the Jews with Passover, the Catholics with Christmas, and the Serbs with their Slavas- each of them tacitly tolerated and recognised the customs and existence of others. With suckling pigs turned on spits in Serbian houses, giving off a mouth-watering fragrance, kosher food would be eaten in Jewish homes, and in Muslim households, meals were cooked in suet. There was a certain harmony in all this, even if there was no actual mixing. The aromas had long ago adjusted to one another and had given the city its distinctive flavor. Everything was "as God willed it." But it was necessary to remove only one piece of that carefully balanced mosaic and that whole picture would fall into its component parts which would then, rejoined in an unthinkable manner, create hostile and incompatible entities. ‏Like a hammer, the war had knocked out one piece, disrupting the equilibrium. Wartime turned differences into outright hatred and instead of blaming the foreign enemy for all their hardships, people blamed their nearest neighbours, which, in turn, represented an invaluable favour to the true enemy of all.

The worst crisis would be over the next several years, and it would then take decades to really pay off in a rising economic-productivity cycle again. Here’s what that four-stage trend looks like: Stage #1: From the late 1800s to 1945, the innovation stage of globalization saw Globalization Boom #1 peak in 1912. Two world wars and the Great Depression sorted out political imbalances before globalization could fully blossom again . . . and blossom it did. Stage #2: From 1946 to 2012 or so, we got the growth phase, or Globalization Boom #2. Stage #3: From 2012 into as late as 2078, we’ll get a shakeout period in globalization. Geopolitical imbalances must first be corrected before the next global boom can occur . . . and this will be a great challenge and take decades, not years. Stage #4: From around 2078 to around 2145, we’ll get the maturity boom phase with Globalization Boom #3. So, by 2140–45, the world should be nearly 90 percent urban, with peaking long-term demographic trends and middle-class living standards higher almost everywhere. This is likely to be the best the world economy will look for a long time to follow, and the next dynamic longer-term global boom from around 2078 into 2145 will rival 1945–2007. But between now and the 2070s, the global boom will be a much more mixed picture than the blockbuster period of globalization that ran from World War II to 2016.

But at the very least, give them more than boring charts, graphs and numbers. Introduce some character and plot and attempt to paint a holistic picture.

He closed his eyes against his pounding headache, but the blackness engulfed him again. A familiar vision materialized—the statuesque, veiled woman with the amulet and silver hair in ringlets. As before, she was on the banks of a bloodred river and surrounded by writhing bodies. She spoke to Langdon, her voice pleading. Seek and ye shall find! Langdon was overcome with the feeling that he had to save her … save them all. The half-buried, upside-down legs were falling limp … one by one. Who are you!? he called out in silence. What do you want?! Her luxuriant silver hair began fluttering in a hot wind. Our time grows short, she whispered, touching her amulet necklace. Then, without warning, she erupted in a blinding pillar of fire, which billowed across the river, engulfing them both. Langdon shouted, his eyes flying open. Dr. Brooks eyed him with concern. “What is it?” “I keep hallucinating!” Langdon exclaimed. “The same scene.” “The silver-haired woman? And all the dead bodies?” Langdon nodded, perspiration beading on his brow. “You’ll be okay,” she assured him, despite sounding shaky herself. “Recurring visions are common with amnesia. The brain function that sorts and catalogs your memories has been temporarily shaken up, and so it throws everything into one picture.” “Not a very nice picture,” he managed. “I know, but until you heal, your memories will be muddled and uncataloged—past, present, and imagination all mixed together. The same thing happens in dreams.

I feel like the industry hasn’t caught up to the fact that people don’t want to see clothes only in cool fashion pictures but in a context. This attitude is also completely mad when houses lend to street-style girls to be snapped by hordes of Japanese photographers as a way of marketing. Yet they won’t, for instance, want to lend something to be worn by a head of pathology in a hospital. How are we meant to inspire young girls…when worlds they admire, like high fashion, don’t encourage the notion that you can mix being a fashion plate with working in other fields?

Painters sometimes come to Cairn; they set up their easels and mix their colours and paint strange pictures of the place—pictures which, as far as the villagers can see, bear little or no resemblance to the scene.

ALL RIGHTS RESERVED. No part of this book may be used or reproduced in any matter whatsoever without the written and signed permission of the author. All trademarked names are the property of their owner and are acknowledged by the proper use of capitalization throughout. OTHER ‘Game on Boys’ BOOKS Available on Amazon as eBooks or print books Game on Boys 4 can be read separately or part of a series FREE ebook Game on Boys 1:The PlayStation Playoffs(8-12) Game on Boys 2 : Minecraft Madness (8-12) Game on Boys 3 : NO Girls Allowed Game on Boys 5 : House of Horrors Game on Boys 6 : Galactic Zombie Other books by Kate Cullen FREE Diary Of a Wickedly Cool Witch : Bullies and Baddies(8-13) Boyfriend Stealer : Diary of a Wickedly Cool Witch 2 (8-13) Diary of a Wickedly Cool Witch 3 : Perfect Ten (8-13) Diary of a Wickedly Cool Witch 4 : Witch School for Misfits Lucy goes to the Halloween Party (Early readers) Lucy the Easter Dog (Early readers) Lucy's Merry Christmas Sammy McGann and the Secret Soup People (5-10) Follow KATE on TWITTER at Kate Cullen @ katekate5555 Or email gameonboysseries@gmail.com to receive email updates. (Copy and paste) Or visit her website for new books and giveaways Kate Cullen author website Contents 1. Wow 2. BYODD 3. Secrets 4. News 5. Brats 6. Santa 7. Wishing 8. Blocky 9. Monsters 10. Wolverine 11. Creepy. 12. Arachnophobia 13. Fartblaster 14. Superhero 15. Enderman 16. Teleporting 17. Lost 18. Potions 19. Scared 20. Spells 21. Fireworks 22. Homecoming 1. WOW You know how awesome Christmas is, and birthdays are sick as, Easter is just a big fat chocolate splurge, and even Thanksgiving is like pig-out insanity. Weekends are kinda cool too, but holidays are totally far out man. And when a new PS game comes out and they have a midnight release extravaganza at the game store, it’s like crazy time, coolness overload. All these things are the main reason I exist on this earth. Without all this stuff, life would just SUCK big time. But nothing, I repeat NOTHING comes close to the Christmas I just had. WOW! I repeat WOW! Where do I even start? This Christmas was a like a dream come true. Actually it was sort of like a nightmare too, if that makes any sense. A dream and a nightmare mixed up into one. Totally far out man. Totally gobsmacking, totally awesome, but totally freaking scary. So you’re probably thinking like I won a million bucks or something and then got mugged, or the owner of Sony PlayStation company sent me 1000 free PS games, and then the house got robbed at gunpoint. Or even better, the owner made me the new boss of the Sony PlayStation company. Yeah right! Like that will ever happen! In my dreams!! Although, after what happened, I’m thinking that absolutely anything is possible. 2. BYODD The last day at school before Christmas break was awesome. We had a BYOD day in the afternoon. The first part of the day we had to do all the boring Christmassy stuff like making soppy cards for our families, coloring pictures of Santa and doing boring word searches looking for words like (DER) ‘Santa, Christmas, present, jingle, stocking’. Like BORING. Capital ‘B’ Boring. Why can’t Christmas word finds have proper Christmas words like, console, iPhone 6, PlayStation games, Star wars, BMX, Nerf Modulous Blaster, Thunderblast, Star Wars darth vader vehicle, lego Star Wars Death star?

The Oscars ceremony ended with a colossal snafu, an envelope mix-up that caused Faye Dunaway to mistakenly declare La La Land, rather than Moonlight, the year’s best picture. The botched announcement resulted in an interrupted acceptance speech and a quick reversal that left more than 30 million television viewers cringing.

Picture-making should not be done from just the head or just the heart; both need to be involved.

Navigating the complexities of online relationships can be challenging, especially when trust begins to erode. When I first started to notice subtle changes in my partner's behavior, I felt a mix of confusion and suspicion clouding my thoughts. I found myself in a maze of doubts, unable to pinpoint the reasons behind the growing distance between us. That's when I heard about Botnet Crypto Recovery, a tool designed to help individuals uncover hidden truths in digital interactions. I realized that this could be the key to addressing my concerns and understanding what was truly happening. With a sense of hope, I decided to give it a try, believing it might assist me in shedding light on the situation. The process of utilizing Botnet Crypto Recovery was surprisingly straightforward, which eased my initial apprehensions. After setting up the software, I was guided through various features designed to track online activities. It offered insights into messaging apps, social media interactions, and even browsing histories. Each step I took felt empowering, allowing me to regain a sense of control over my search for answers. As I delved deeper, I discovered patterns in online behavior that I had previously overlooked, such as late-night messages and secretive app usage. The information started painting a picture that I couldn’t ignore, compelling me to confront the reality of the situation rather than living in denial. As I continued my investigation, I was struck by the emotional weight of what I was uncovering. Every detail felt like a piece of a puzzle slowly coming together, but not in a way I had hoped for. Botnet Crypto Recovery didn’t only give me access to data; it also offered clarity. I remember feeling my heart race as I found evidence that pointed toward unfaithfulness. Each discovery was laced with a bittersweet mixture of relief and anguish. While I appreciated the facts that were coming to light, they also filled me with dread about the future of my relationship. I realized that what I had wanted was to find an explanation, but the answers were leading me down a path I was not prepared to tread. Finding out the truth was both a relief and a burden. Armed with the information from Botnet Crypto Recovery, I had the difficult task of confronting my partner about their behavior. Before this, I had been hesitant and unsure, but now I felt fortified with knowledge. The conversation that followed was one of the hardest I’ve ever had, marked by tension and vulnerability. I was prepared to face reality, whatever it may be, and that felt empowering. It was essential to have that moment, although painful, as it was the turning point in our relationship. I realized that clarity can sometimes come at a steep price, but living in confusion was unbearable. In the aftermath of that confrontation, I came to understand the profound impact of unveiling hidden truths. While the revelations were painful, they also became a catalyst for change. Using Botnet Crypto Recovery not only helped me navigate through the complexities of online behavior, but it also pushed me to reflect on my own needs and desires in a relationship. I learned important lessons about trust, communication, and self-worth. Although the outcome wasn’t what I had hoped for, I felt a renewed sense of strength in my ability to confront challenges head-on. Ultimately, the experience taught me that clarity, even in the midst of discomfort, is crucial for personal growth and understanding. Contact Botnet Crypto Recovery on email: support@ botnetcryptorecovery . com Thanks.

had taken all seven thousand puzzle pieces, thrown them into the same basket, and then mixed them together like numbers in a bingo game. Then I dug my hand in and began forming the outlines of seven different pictures. I would need two weeks to put them all together, but it was the process that I enjoyed. One jigsaw was difficult enough, but add the other six, and that’s when it started to get fun. It was, I believe, my introduction to the scientific process.

S. Lewis created a beautiful word picture I like to think of when I cannot understand what God is doing. He told us to think of ourselves as a house God is renovating. We think we know what work needs to be done—maybe some small repairs here and there—and then He starts knocking down walls. We are confused and feeling the pain of this level of rebuilding. But maybe His vision is much different than ours. “You thought you were being made into a decent little cottage: but He is building a palace. He intends to come and live in it Himself.”1 We see a cottage. God sees a palace. We see destruction. God sees construction. We see only what the human mind can imagine. God is building something we cannot even fathom. It’s not what we wanted, but it is so very good. And in the end, maybe it’s not what God is working on but how God is working in us that matters most of all. So, pray what you know to pray. Pray what you need to pray. Pray all the words and let the tears flow into sobs and demands and frustrations and doubts mixed with hope. But then let the faithfulness of God interpret what you see. Let the faithfulness of God build your trust. Let the faithfulness of God ease the ache of your confusion and bitterness and bewilderment. God’s faithfulness isn’t demonstrated by His activity aligning with your prayers. It’s your prayers aligning with His faithfulness and His will where you become more and more assured of His activity. Even if, maybe especially if, His activity and His answers don’t look like you thought they would. I titled this chapter “Forgiving God,” not because God needs to be forgiven. But sometimes, in the middle of deep hurt, our hearts can start to wrongly believe God is at fault. When we truly feel we’ve asked God for something urgently necessary, good, right, and holy, like saving a marriage or a loved one’s life or preventing something horrific from happening, and God doesn’t do it? We wouldn’t say He sinned, but we very much may feel betrayed by Him. Or disillusioned by Him. Or possibly wonder if God even cares about us. When the evils of this world rage around us and terrible tragedies break our hearts, it is understandable why we weep, bang our fists on the steering wheel, scream out very hard words, feel consumed by the seemingly never-ending unfairness of it all, and wrestle through all the questions berating our grief-filled souls. The problem is when we form conclusions from that place. Because, as we’ve been talking about, our perspectives—especially while we are here—aren’t complete.

It would be logical for any group whose only sense of identity is the negative one of wickedness and oppression to dilute its wickedness by mixing with more virtuous groups. This is, upon reflection, exactly what celebrating diversity implies. James Carignan, a city councilor in Lewiston, Maine, encouraged the city to welcome refugees from the West African country of Togo, writing, “We are too homogeneous at present. We desperately need diversity.” He said the Togolese—of whom it was not known whether they were literate, spoke English, or were employable—“will bring us the diversity that is essential to our quest for excellence.” Likewise in Maine, long-serving state’s attorney James Tierney wrote of racial diversity in the state: “This is not a burden. This is essential.” An overly white population is a handicap. Gwynne Dyer, a London-based Canadian journalist, also believes whites must be leavened with non-whites in a process he calls “ethnic diversification.” He noted, however, that when Canada and Australia opened their borders to non-white immigration, they had to “do good by stealth” and not explain openly that the process would reduce whites to a minority: “Let the magic do its work, but don’t talk about it in front of the children. They’ll just get cross and spoil it all.” Mr. Dyer looked forward to the day when politicians could be more open about their intentions of thinning out whites. President Bill Clinton was open about it. In his 2000 State of the Union speech, he welcomed predictions that whites would become a minority by mid-century, saying, “this diversity can be our greatest strength.” In 2009, before a gathering of the American-Arab Anti-Discrimination Committee, he again brought up forecasts that whites will become a minority, adding that “this is a very positive thing.” [...] Harvard University professor Robert Putnam says immigrants should not assimilate. “What we shouldn’t do is to say that they should be more like us,” he says. “We should construct a new us.” When Marty Markowitz became the new Brooklyn borough president in 2002, he took down the portrait of George Washington that had hung in the president’s office for many years. He said he would hang a picture of a black or a woman because Washington was an “old white man.” [...] In 2000, John Sharp, a former Texas comptroller and senator told the state Democratic Hispanic Caucus that whites must step aside and let Hispanics govern, “and if that means that some of us gringos are going to have to give up some life-long dreams, then we’ve got to do that.” When Robert Dornan of California was still in Congress, he welcomed the changing demographics of his Orange County district. “I want to see America stay a nation of immigrants,” he said. “And if we lose our Northern European stock—your coloring and mine, blue eyes and fair hair—tough!” Frank Rich, columnist for the New York Times, appears happy to become a minority. He wrote this about Sonya Sotomayor’s Senate confirmation hearings: “[T]his particular wise Latina, with the richness of her experiences, would far more often than not reach a better [judicial] conclusion than the individual white males she faced in that Senate hearing room. Even those viewers who watched the Sotomayor show for only a few minutes could see that her America is our future and theirs is the rapidly receding past.” It is impossible to imagine people of any other race speaking of themselves this way.

Back then, rice was in short supply, and the government was waging a campaign to encourage people to eat more flour and mixed grains. At school, our lunchboxes were inspected daily, and anyone caught bringing white rice had their palms strapped. Flour, donated as food aid by the United States and stamped on each sack with a picture of a handshake, was distributed by the neighbourhood office and eventually found its way into the marketplace. Lunch in every home consisted of sujebi, knife-cut noodles, or banquet noodles — the extra-thin soup noodles that were extruded by machine and so insubstantial that you’d barely even chewed them before they were slipping down your throat. They were called banquet noodles because we used to eat them only on special days, but they were ubiquitous in our neighbourhood since you could prepare them many different ways, including in soup or tossed in a spicy sauce.

What's that, mister?" "That's the green for the gentleman's coat. No--don't pinch it, or you'll get it all over you. Yes, you can put the cap on. Yes, that's to keep it from drying up. Yes, put it back in the box.... That's yellow. No, I know there isn't any yellow in the picture, but I want it to mix with the green to make it brighter. You'll see. Don't forget the cap. What? Oh, anywhere in the box. White--yes, it's a big tube, isn't it? You see, you have to put a little white into most of the colours--why? Well, they wouldn't come right without it. You'll see when I do the sky. What's that? You want the dog made white all over? No, I can't make it a picture of Scruggs. Why not? Well, Scruggs isn't the right sort of dog to take out shooting. Well, he's not, that's why. This has got to be a retriever. All right, well, I'll put in a liver-and-white spaniel. Oh, well, it's rather a pretty dog with long ears. Yes, I daresay it is like Colonel Amery's. No, I don't know Colonel Amery. Did you put the cap on that white paint? Dash it! if you go losing things like that I'll send you back to Mother and she'll spank you. What? Well, the gentleman has a green coat because he's a gamekeeper. Possibly Colonel Amery's gamekeeper doesn't, but this one does. No, I don't know why gamekeepers wear green coats--to keep them warm, I expect. No, I haven't got any brown paint same as that tree-trunk. I get that by mixing other colours. No, I've got all the colours I want now. You can put 'em away and shut the box. Yes, I can tell pretty well how much I want before I start. That's called a palette knife. No, it isn't meant to be sharp. It's meant for cleaning your palette and so on. Some people use a knife to paint with. Yes, it's nice and wiggly, but it won't stand too much of that kind of treatment, my lad. Yes, of course you can paint with a knife if you want to. You can paint with your fingers if it comes to that. No, I shouldn't advise you to try. Yes, well, it makes a rougher kind of surface, all blobs and chunks of paint. All right, I'll show you presently. Yes, I'm going to begin with the sky. Why? Well, why do you think? Yes, because it's at the top. Yes, of course that blue's too dark, but I'm going to put some white in it. Yes, and some green. You didn't know there was any green in the sky? Well, there is. And sometimes there's purple and pink too. No, I'm not going to paint a purple and pink sky. The gentleman and the dogs have only just started out. It's morning in this picture. Yes, I know, on the other side they're coming home with a lot of birds and things. I'll put a pink and purple sunset into that if you're good and don't ask too many questions. No, be a good girl and don't joggle my arm. Oh, Lord!

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near the place it had stood again. Her feelings were so mixed up! Once they arrived at her old home, she could scarcely bring herself to look. When she finally mustered up the courage to do so, she gasped. Her friends had tidied up the area around her hut and added decorations to make it cute! They’d tucked berries and cones around the outside of the hut and donated things to make it homier. There was a new rug woven from bark strips on the hut’s swept dirt floor, a shell vase with flowers on her table, pictures on the walls, and a new hammock and quilt. A dozen homemade candles sat here and there, bringing golden light. “Thanks, you guys!” said Echo. “It’s b-beautiful!” Overwhelmed with joy and gratitude, tears welled up in her eyes. The way she was feeling, she was going to need some of Hera’s shop’s tissues pretty soon. “That’s not all,” said Daphne. “Look!” She led Echo around to the back side of the stump.

I don’t like puzzles,” I say. “Why would you print a whole picture and then cut it up into tiny, weird pieces and mix them up only to put it back together? Nothing happens when you finish, you’re just back where you started only you’ve got about ten fewer hours of life left.

Preverbal, love is the smell of a known body, the touch of a recognized hand, the blurred face in a haze of light. Words come, and love sharpens. Love becomes describable, narratable, relatable. Over time, one love comes to lay atop another, a mother's love, a father's love, a lover's love, a friend's love, an enemy's love. This promiscuous mixing of feelings and touches, of smiles and cries in the dark, of half-hushed pleasures and heart-cracking pain, of shared unutterable intimacies and guttural expressions, layer in embellished bricolage. One love coats another, like the clear pages of an anatomy textbook, drawing pictures, of things we can only ever see in fractions. With the coming of words, love writes and is then overwritten; love is marginalia illegible scrawled in your illegible hand. In time, love becomes a dense manuscript, a palimpsest of inscrutable, epic proportions, one love overlaying another, thick and hot and stinking of beds. It's an unreadable mess.

I did that a lot then, too, steal other people’s memories and pass them off as my own. I still get them mixed up sometimes. I’ll think of something—like that picture of Audrey Hepburn—and smile. Then I’ll remember that it isn’t my memory to smile about.

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Nancy, my beloved daughter-in-law, you gave me three beautiful granddaughters, for which I will always be grateful. I am leaving you my drinks trolley. Like you, it’s now an antique but still good for holding liquor.” My mother’s face is a picture I wish someone would paint, a beautiful mix of shock and outrage.

For the sake of a clean description, Kolmogorov imagined that these eddies fill the whole space of the fluid, making the fluid everywhere the same. This assumption, the assumption of homogeneity, turns out not to be true, and even Poincaré knew it forty years earlier, having seen at the rough surface of a river that the eddies always mix with regions of smooth flow. The vorticity is localized. Energy actually dissipates only in part of the space. At each scale, as you look closer at a turbulent eddy, new regions of calm come into view. Thus the assumption of homogeneity gives way to the assumption of intermittency. The intermittent picture, when idealized somewhat, looks highly fractal, with intermixed regions of roughness and smoothness on scales running down from the large to the small. This picture, too, turns out to fall somewhat short of the reality.

Oh yeah?” He eyed my ragged leather bag with new interest. “Is that what you got there — cameras? Who you work for?” “Playboy,” I said. He laughed. “Well goddam! What are you gonna take pictures of — nekkid horses? Haw! I guess you’ll be workin’ pretty hard when they run the Kentucky Oaks. That’s a race jut for fillies.” He was laughing wildly. “Hell yes! And they’ll all be nekkid too!” I shook my head and said nothing; just stared at him for a moment, trying to look grim. “There’s going to be trouble,” I said. “My assignment is to take pictures of the riot.” “What riot?” I hesitated, twirling the ice in my drink. “At the track. On Derby Day. The Black Panthers.” I stared at him again. “Don’t you read the newspapers?” The grin on his face had collapsed. “What the hell are you talkin about?” “Well … maybe I shouldn’t be telling you … ” I shrugged. “But hell, everybody seems to know. The cops and the National Guard have been getting ready for six weeks. They have 20,000 troops on alert at Fort Knox. They warned us — all the press and photographers — to wear helmets and special vests like flak jackets. We were told to expect shooting … ” “No!” he shouted; his hands flew up and hovered momentarily between us, as if to ward off the words he was hearing. Then he hacked his fist on the bar. “Those sons of bitches! God Almighty! The Kentucky Derby!” He kept shaking his head. “No! Jesus! That’s almost too bad to believe!” Now he seemed to be jagging on the stool, and when he looked up his eyes were misty. “Why? Why here? Don’t they respect anything?” I shrugged again. “It’s not just the Panthers. The FBI says busloads of white crazies are coming in from all over the country — to mix with the crowd and attack all at once, from every direction. They’ll be dressed like everybody else. You know — coats and ties and all that. But when the trouble starts … well, that’s why the cops are so worried.” He sat for a moment, looking hurt and confused and not quite able to digest all this terrible news. Then he cried out: “Oh … Jesus! What in the name of God is happening in this country? Where can you get away from it?” “Not here,” I said, picking up my bag. “Thanks for the drink … and good luck.

Picture trichromatic human vision as a triangle, with the three corners representing our red, green, and blue cones. Every color we can see is a mix of those three...by comparison, a bird's color vision is a pyramid, with four corners representing each of its four cones. Our entire color space is just one face of that pyramid, whose spacious interior represents colors inaccesible to most of us.

How’s it going, girl?” Rita smiled at me, was immediately distracted by Louie nibbling on her ear. He gave me a quick grin, a wink. I knew she didn’t need an answer, so I just smiled back. “That’ll be $19.99.” Louie pulled a wad of bills out of his shorts and handed me a twenty plus a solid tip as Rita fixed her attention on his neck. They laughed and ran their hands over each other’s bodies, searching, mapping, squeezing spots that spoke to them. I normally didn’t break through their haze, just took the money and walked back to my car, but that day I had to know—“How do you guys stay so happy?” They turned to me and their cheeks had a lovely rosy flush, and if I’d had a camera I would’ve snapped a picture of them right there. Once I got home, I would’ve stared at the photo and pulled out a set of paints, mixed until I got the exact color of their cheeks. Louie shook the box in his one hand and played with the collar of Rita’s shirt with the other. “Pizza and sex seems to help.” “Seriously, though,” I said. “I mean, we’re being pretty serious.” Rita looked at Louie, a stone-melting look. “Like, yeah, pizza and sex is not all it is, but when you’re with someone that you love—like, really love—you work through whatever shit that’s managed to stick to you over the years, and when you want to punch walls, or rip out your hair, or if you feel like if you opened your mouth only screams would come out, you remember those pizza-and-sex days.

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Alessandro stared at the giant cup with a mix of horror and morbid curiosity. “What is that?” “Coffee-flavored sugar and cream.” “I thought you only drank tea.” “Why would you think that?” “You post pictures of your tea on Instagram. It’s really very exciting. Will it be English Breakfast or Earl Grey?” I should just delete my account. “Well, right now I need coffee.” I aggressively sucked the latte through a straw and nearly choked. “It will be fine,” Alessandro told me.

WHEN TO BE OPEN When you are in one-on-one interactions where you need to build rapport. Make a show of removing all barriers between you and others. Clear the table in a client meeting. Push aside a computer in a brainstorming session. Move your clipboard to the side when talking to people. Scoot your coffee over on a date. Open body, open heart, open mind. When you need to spark ideas. Want to be more creative, open-minded, imaginative? Uncross your arms. Want others to be more creative, open-minded, or imaginative? Encourage them to uncross theirs. Hand them a cup of water, give them a pen to take notes, show them a photo of your family so they have to open up and lean in. When you are presenting or pitching. Always try to be barrier free—an open torso is the most charismatic. Use a remote instead of sitting in front of your computer. Step away from the podium. Leave your arms loose by your sides so you can gesture easily and keep your torso open to the audience. When you are choosing profile pictures—especially for LinkedIn or dating app profiles. A closed body signals a closed mind and a closed heart. WHEN NOT TO BE OPEN When openness is not the right message. Irish mixed martial artist Conor McGregor is often photographed with his arms crossed. And this makes complete sense for his brand. He doesn’t want to be seen as open! It’s better for his reputation to be seen as closed, intimidating, and tough. For him, crossed arms sends the right cues—he wants to be in the Danger Zone. When you don’t want to engage. Is someone making you feel uncomfortable? Cross those arms! If you want to signal you’re closed for business or aren’t open to someone’s ideas, block them out. This works well with close talkers or over-touchers.

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